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Acheria, the Fox.—p. 43.
Acheria, the Fox.—p. 43.
On
The Basque Language,
Appendix: Basque Poetry.
Griffith and Farran,
Successors to Newbery and Harris,
Corner of St. Paul’s Churchyard;
And
Walbrook & Co., 52, Fleet Street, E. C.
1879.
All Rights Reserved.
Printed by
W. O. Walbrook,
at the
Fleet Street Printing Works,
52, Fleet Street, London.
Printed by
W. O. Walbrook,
at the
Fleet Street Printing Works,
52, Fleet Street, London.
To
M. Antoine D’Abbadie,
of Abbadia,
Member of the Institute of France,
this
Translation of Legends,
originally told in the language of his ancestors,
in grateful acknowledgment
of
kindly courtesy and of ever-ready assistance,
is
dedicated
by his obliged and obedient servant,
To
M. Antoine D’Abbadie,
of Abbadia,
Member of the Institute of France,
this
Translation of Legends,
originally told in the language of his ancestors,
in heartfelt gratitude
for
his kindness and constant support,
is
dedicated
by his grateful and loyal servant,
Wentworth Webster. [v]
Wentworth Webster. [__A_TAG_PLACEHOLDER_0__]

Contents.
- Page
- Welcome vii
- I.—Legends of the Tartar 1
- The Tartaro 4
- M. d’Abbadie’s Version 4
- Variations of above 5
- Errua, the Madman 6
- Variations of above 10
- The Three Brothers, the Cruel Master, and the Tartaro 11
- The Tartaro and Petit Perroquet 16
- II.—The Heren-Suge—The Seven-Headed Serpent 20
- The Grateful Tartaro and the Heren-Suge 22
- Variation of above 32
- The Seven-Headed Serpent 33
- The Serpent in the Wood 38
- III.—Animal Stories 42
- Acheria, the Fox 43
- The Ass and the Wolf 45
- IV.—Basa-Jaun, Basa-Andre, and Lamiñak 47
- Basa-Jauna 49
- The Servant at the Fairy’s 53
- The Fairy in the House 55
- The Pretty but Idle Girl 56
- The Devil’s Age 58
- The Fairy-Queen Godmother 59
- V.—Witchcraft and Sorcery 64
- The Witches at the Sabbat 66
- The Witches and the Idiots 67
- The Witch and the New-Born Infant 69
- The Changeling 73 [__A_TAG_PLACEHOLDER_0__]
- VI.—Fairy Tales 76
- (A) Tales like the Keltic 77
- Malbrouk 77
- The Fisherman and his Sons 87
- Tabakiera, the Snuff-Box 94
- Mahistruba, the Master Mariner 100
- Dragon 106
- Ezkabi-Fidel 111
- Variation of above 120
- The Lady-Pigeon and her Comb 120
- Suggested Explanation of above 130
- Laur-Cantons 132
- The Young School-Boy 136
- The Son who Heard Voices 137
- The Mother and her Idiot Son; or, the Clever Thief 140
- Juan Dekos, the Blockhead (Tontua) 146
- Variation of the above—Juan de Kalais 151
- The Duped Priest 154
- (B) Fairy Tales, derived directly from the French 158
- Ass’-Skin 158
- Variations of above 165
- The Step-Mother and Step-Daughter 166
- Beauty and the Beast 167
- Variation of above 172
- The Cobbler and his Three Daughters (Blue-Beard) 173
- Variations of above 175
- The Singing Tree, the Bird which tells the Truth, and the Water which makes Young 176
- Variation of above 181
- The White Blackbird 182
- The Sister and her Seven Brothers 187
- Variations, etc. 191
- List of Publication of Foreign Legends in France 192
- VII.—Religious Stories 194
- Fourteen 195
- Variation of above—Jesus Christ and the Old Soldier 199
- The Poor Soldier and the Rich Man 200
- The Widow and her Son 202
- The Story of the Hair-Cloth Shirt (La Cilice) 206
- The Saintly Orphan Girl 209
- The Slandered and Despised Girl 211
- An Essay on the Basque Language 219
- Appendix—Basque Poetry 235
[vii]
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Introduction.
The study of the recent science of Comparative Mythology is one of the most popular and attractive of minor scientific pursuits. It deals with a subject-matter which has interested most of us at one period of our lives, and turns the delight of our childhood into a charm and recreation for maturer age. Nor is it without more useful lessons. In it we see more clearly than perhaps elsewhere the reciprocal influence, which none can wholly escape, of words and language upon thought, and again of thought and fancy upon words and language; how mere words and syllables may modify both conception and belief; how the metaphor, which at first presented an object more clearly and vividly to the mind than any more direct form of speech could do, soon confuses and at last wholly distorts the original idea, and buries its meaning under a new and foreign superstructure. We may mark here, too, by numerous examples, how slowly the human mind rises to the conception of any abstract truth, and how continually it falls back upon the concrete fact which it is compelled to picture to itself in order to state in words the simplest [viii]mental abstraction. The phrase, “The dawn flies before the sun,” passing into the myth of Daphne and Apollo, is a lesson in psychology no less than in philology and in comparative mythology.
The study of the modern science of Comparative Mythology is one of the most popular and engaging of minor scientific pursuits. It covers a topic that has fascinated many of us at some point in our lives, transforming the joy of our childhood into a source of interest and enjoyment in adulthood. It also offers valuable insights. It makes clear, perhaps more than other fields, the mutual influence of words and language on thought, and vice versa; how simple words and syllables can shape both our understanding and beliefs; how a metaphor, which initially clarifies an idea more vividly than any straightforward expression could, can soon confuse and ultimately distort the original concept, hiding its meaning under a new and unrelated framework. We can also observe through various examples how gradually the human mind develops the idea of any abstract truth, often reverting to the tangible reality that it must visualize to express in words even the simplest mental abstraction. The phrase, “The dawn flies before the sun,” which evolves into the myth of Daphne and Apollo, serves as a lesson in psychology as much as in language studies and comparative mythology.
Now, both the interest and the value of these studies are enhanced in proportion as they become complete. Our conclusions approach nearer to certainty, and will gradually pass from theory to demonstration, as we find the same legends and modes of thought and expression on natural phenomena constantly reappearing among the most distant and the most isolated peoples, in languages which in their complex forms tell of the infancy of human speech, and also in those whose worn-down frame speaks of the world’s old age.
Now, both the interest and value of these studies increase as they become more complete. Our conclusions become more certain and will gradually shift from theory to proof as we observe the same legends and ways of thinking and expressing ideas about natural phenomena repeatedly appearing among the most distant and isolated cultures, in languages that, in their complex forms, reflect the early stages of human speech, and also in those whose simpler forms indicate the world’s old age.
Of the peoples now settled in Western Europe, the Basques are those which are the most separate from other populations; distinct in language, they represent, in a more or less mixed state, some older stratum of European ethnology. Their language, too, as regards the mass of the people, is still practically unwritten.1 Here there is a chance of finding legends in a purer and older form than among any other European people; and in what they have borrowed from others, we may have an almost unique crucial test of the time which it takes for such traditions to pass orally from people of one language to another and totally different one. None of these legends have been published or even noticed till within the last two years, when M. d’Abbadie read the legend of the Tartaro before the Société [ix]des Sciences et des Arts de Bayonne, and M. Cerquand his “Légendes et Récits Populaires du Pays Basque,” before the sister society at Pau.2
Among the groups now living in Western Europe, the Basques are the most distinct from other populations. Their unique language indicates that they represent, in various mixed forms, an older layer of European ethnic history. Their language, for the majority of the people, is still essentially unwritten. 1 Here, there's a chance of discovering legends in a purer and older version than those found among any other European cultures. Furthermore, in what they have borrowed from others, we can find a nearly unique crucial test of how long it takes for such traditions to be passed orally from one language group to another completely different one. None of these legends had been published or even recognized until the last two years when M. d’Abbadie presented the legend of the Tartaro before the Society [__A_TAG_PLACEHOLDER_0__] of Sciences and Arts of Bayonne, and M. Cerquand shared his “Legends and Folklore of the Basque Country” before the sister society in Pau. 2
Of course we must expect to find such legends very much altered, and in a state of almost inextricable confusion, and this not only through forgetfulness, and through the lapse of time since their origin, not only by the influence of a total change of religion, but they are also mingled and inter-penetrated with totally new ideas; the old and the new will be found side by side in striking and sometimes grotesque contrast. As in Campbell’s “Tales of the West Highlands,” personages of mythical antiquity go to kirk, and indulge in other decidedly post-Reformation practices, so in these Basque tales the reader must not be startled by the introduction of maize and tobacco, of cannon and gunpowder, of dances at the mairie, and the use of the guillotine, in stories which, perhaps, originally told of the movements of the stars, of the wars of the forces of the atmosphere, of the bright beauty of the rising, or of the glowing glory of the setting sun.3 The body is the same in all ages, but the dress varies with the changing fashions. To borrow an illustration from a slightly older science, this is not a simple case of contorted and overlying strata to be restored to their original order, but rather of strata worn down, [x]reconstructed, and deposited anew, and even modified in their latest stage by the interference of human action. And thus our problem becomes an exceedingly complex and difficult one, and our readers must not be disappointed if our conclusions are not so clear and positive as might be wished. The present is merely a tentative, and not, in any sense, a final essay towards its solution.
Of course, we should expect these legends to be significantly changed and in a state of almost impossible confusion. This happens not only because of forgetfulness and the passage of time since they originated, but also due to a complete shift in religion. They are mixed and intertwined with entirely new ideas; the old and the new exist side by side in striking and sometimes absurd contrast. Just like in Campbell’s “Tales of the West Highlands,” where characters from ancient myths attend church and engage in clearly post-Reformation practices, in these Basque stories, readers shouldn’t be surprised by the inclusion of maize and tobacco, cannons and gunpowder, dances at the town hall, and the use of the guillotine in tales that might have originally been about the movements of the stars, the battles of atmospheric forces, the brilliant beauty of the rising sun, or the glowing glory of the setting sun.3 The essence remains the same across ages, but the presentation changes with the times. To use an analogy from a slightly older science, this is not just a straightforward case of layered and distorted structures that can be restored to their original order, but rather of layers that have been worn down, [__A_TAG_PLACEHOLDER_0__]reconstructed, and newly deposited, even modified in their latest form by human influence. Therefore, our challenge becomes quite complex and difficult, and readers shouldn’t be disappointed if our conclusions aren’t as clear and definitive as they might hope. The present is merely a tentative attempt, not in any sense a final effort, towards solving this.
How are these legends told now, and how have they been preserved? They are told by the Basque peasants, either when neighbours meet—after the fashion made familiar to us by American novelists in the “Husking Bee”—for the purpose of stripping the husks from the ears of maize, an operation generally performed in one or two long sessions; or at the prolonged wedding and other feasts, of which we have evidence in the tales themselves, or else in the long nights round the wintry hearth of their lonely dwellings. For it is one of the charms of the Basque land that the houses are scattered all over the face of the country, instead of being collected into crowded villages; and it is, perhaps, to this fact chiefly that we owe the preservation of so much old-world lore, and of primitive ideas, among this people. The reader must not be surprised at the length of some of our specimens. The details of the incidents of the longest are religiously preserved and, as told at home, they are probably more lengthy (as anyone will understand who has ever taken anything down from recitation) than as here given. Many an unlettered Basque peasant could serve an irritable stranger as Glendower did Hotspur, when he kept him “at least nine hours [xi]in reckoning up the several devils’ names that were his lackeys.”
How are these legends shared now, and how have they been kept alive? They are shared by Basque peasants, either when neighbors gather—like in the “Husking Bee” described by American novelists—to strip the husks off corn, an activity usually done in one or two long sessions; or during extended weddings and other celebrations, as evidenced in the stories themselves, or during the long winter nights around the fire in their secluded homes. One of the delights of the Basque region is that the houses are spread out across the landscape, rather than being clustered into crowded villages; it's likely this is the main reason so much old-world knowledge and primitive ideas have been preserved among this community. The reader shouldn't be surprised by the length of some of our examples. The details of the longest incidents are carefully kept, and as told at home, they're probably even longer (as anyone who's ever taken notes from a recitation will understand) than what is presented here. Many an uneducated Basque peasant could keep an impatient stranger occupied like Glendower did Hotspur, when he kept him “at least nine hours [__A_TAG_PLACEHOLDER_0__] in counting up the different devils' names that were his servants.”
In La Soule the “Pastorales,” or Basque dramas, which last from six to eight hours of uninterrupted action, are learnt in the same way by word of mouth during the long evenings of winter.
In La Soule, the “Pastorales,” or Basque dramas, which last from six to eight hours of continuous action, are learned the same way by word of mouth during the long winter evenings.
These legends are still most thoroughly believed in. They still form part of the faith of these simple people—not at all, we need hardly say, in the use of mythological or atmospheric allegory, but as narratives of veritable fact. They believe them as they do the histories of the Bible or the “Lives of the Saints.” In fact, the problem of reconciling religion and science presents itself to their minds in this strange guise—how to reconcile these narratives with those of the Bible and of the Church. The general solution is that they happened before the time of which the Bible speaks, or before Adam fell. They are “Lege zaharreko istorriguak”—“histories of the ancient law”—by which is apparently meant the time before Christianity. “This happened, sir, in the time when all animals and all things could speak,” was said again and again by our narrators at the commencement of their story; not one doubted the literal truth of what they told. Their naïve good faith occasionally severely tested our own gravity. Appeal was often made to our supposed superior knowledge to confirm the facts. The varying tone of the voice told how truly the speakers sympathised with what they uttered. At times sobs almost interrupted utterance, when the frequent apostrophe came: “Think how this poor so-and-so must have suffered!” More often bursts [xii]of laughter at traditional jokes, too poor to raise a smile on less unsophisticated lips, broke the recital. Very determined, too, is their adherence to what they believe to be the genuine text of these old tales. “I don’t understand it, but the history says so;” “It is so;” “The story says so,” was positively affirmed again and again—e.g., in one of the Peau d’Ane or Cinderella stories, when the lady has dazzled her admirer by her dress of silver (moonlight?), then of gold (sunlight?), then of diamonds (dew-drops?), at last, on the wedding-day, the bride and bridegroom dress each other. “I don’t know why,” interrupted the story-teller, “but the story says so.” Could anything tell more quaintly of the marriage of the sun and dawn? The sun decking the morning clouds with his light and beauty, and they again robing him in their soft and tender colouring.
These legends are still widely believed. They are part of the beliefs of these simple people—not as mythological or atmospheric allegories, but as true stories. They accept them just like they do the histories from the Bible or the “Lives of the Saints.” In fact, reconciling religion and science presents itself to them in this peculiar way—figuring out how these stories fit with those of the Bible and the Church. The common solution is that these events occurred before the time described in the Bible, or before Adam's fall. They are “Lege zaharreko istorioak”—“stories of the ancient law”—which seems to refer to the time before Christianity. “This happened, sir, when all animals and all things could speak,” was said repeatedly by our storytellers at the start of their tales; not one of them doubted the literal truth of what they shared. Their innocent belief sometimes seriously tested our own composure. They often appealed to our supposed greater knowledge to validate the facts. The changing tone of their voices showed how much they felt what they were saying. Occasionally, sobs nearly interrupted their storytelling, especially when they would exclaim: “Think how this poor so-and-so must have suffered!” More often, however, there were bursts [__A_TAG_PLACEHOLDER_0__]of laughter at traditional jokes, which might not elicit a smile from less naive audiences. They are also quite firm in their belief of what they think is the true text of these old tales. “I don’t get it, but the history says so;” “It is so;I didn't receive any text to modernize. Please provide a short piece of text. “The story says so,” they asserted repeatedly—e.g., in one of the Peau d’Ane or Cinderella stories, when the lady dazzles her admirer with her dress of silver (moonlight?), then gold (sunlight?), then diamonds (dew-drops?), and finally, on the wedding day, the bride and groom dress each other. “I don’t know why,” the storyteller interrupted, “but the story says so.” Could anything illustrate more charmingly the marriage of the sun and dawn? The sun adorning the morning clouds with his light and beauty, and in return, they draping him in their soft and tender colors.
But we must pass on to the tales themselves. None of these, we think, will be found to be genuinely or exclusively Basque; the oldest we take to be those most widely known, and which are most distorted. The heads under which we have arranged them are: (1) Legends of the Tartaro, or Cyclops; (2) of the Heren-Suge, the Seven-Headed Serpent; (3) of purely Animal Tales, which are neither fables nor allegories; (4) of Basa-Jauna, Basa-Andre, and of the Lamiñak, or Fairies; (5) Tales of Witchcraft; (6) those which, for want of a better name, we have entitled Contes des Fées, in which the fairy is an Eastern magician—these we have divided into sections, (a) those which resemble the Keltic and other tales, and (b) those which are probably borrowed directly from the French; our last division (7), [xiii]Religious Tales and Legends, are probably from mediæval sources common to Latin Christianity, but they are interesting as specimens of the tales which probably delighted the highest born of our own ancestors in the middle ages, and now linger only among the peasantry in out-of-the-way corners of Europe. Some of these tales seem to us to be more gracefully told, and have more of human interest in them, than any of the others.
But we need to move on to the stories themselves. We believe none of these will be found to be truly or exclusively Basque; the oldest ones are those that are most well-known and most distorted. The categories we've arranged them into are: (1) Legends of the Tartaro, or Cyclops; (2) of the Heren-Suge, the Seven-Headed Serpent; (3) of purely Animal Tales, which are neither fables nor allegories; (4) of Basa-Jauna, Basa-Andre, and the Lamiñak, or Fairies; (5) Tales of Witchcraft; (6) those which, for lack of a better term, we've called Contes des Fées, in which the fairy is an Eastern magician—these we've divided into sections, (a) those that resemble the Keltic and other stories, and (b) those likely borrowed directly from the French; our last category (7), [__A_TAG_PLACEHOLDER_0__] Religious Tales and Legends, probably come from medieval sources common to Latin Christianity, but they are interesting as examples of the stories that likely entertained the noblest of our ancestors in the Middle Ages, and now survive only among the peasantry in remote parts of Europe. Some of these tales seem to us to be told more gracefully and have more human interest than the others.
We fear scientific men will be disappointed in this collection. Notwithstanding that we have been careful to collect from those who know the Basque only, or who certainly knew only Basque when they first learnt these tales, yet they are evidently much mixed with French and Spanish. Our translations are literal to baldness; the only liberty we have taken is in softening down the exceeding directness and grossness of some portions. Not one tale is in the least licentious—but the Basque language calls a spade a spade, and not an implement of husbandry.4 The Carlist war of the last four years has prevented our getting any legends from the Spanish Basque provinces, and has even to some extent hindered our work in the French Pays Basque, by providing an almost exclusive object of interest. In the more remote districts of the Pays Basque itself, which we have not been able to revisit since we commenced this collection, purer forms of some of these legends may be found, and others of which we have no example;5 but these [xiv]which we give are really representative. Though collected mainly in the neighbourhood of St. Jean de Luz, we have tested them by enquiry of natives of all the provinces, and find that they are equally well known in La Soule and in Basse Navarre as in the Labourd. We never met with a Basque peasant who could not tell us what are the Tartaro, the Heren-Suge, Basa-Jaun, and the Lamiñak.
We’re concerned that scientists might be let down by this collection. Although we’ve carefully gathered stories from people who know only the Basque language, or who definitely spoke Basque when they first heard these tales, they are clearly influenced by French and Spanish. Our translations are extremely literal; the only adjustment we've made is to tone down the bluntness and crudeness of some sections. Not one tale is inappropriate, but the Basque language is very straightforward, calling things as they are. The recent Carlist war has stopped us from obtaining any legends from the Spanish Basque regions and has even somewhat hindered our work in the French Pays Basque, as it has become an almost exclusive focus. In the more remote parts of the Pays Basque that we haven't been able to revisit since we began this collection, there might be purer versions of some of these legends, as well as others that we have no example of; but the stories we present here are genuinely representative. Although most were gathered near St. Jean de Luz, we've verified them by asking natives from all the provinces and found that they are just as well-known in La Soule and Basse Navarre as in Labourd. We’ve never encountered a Basque farmer who couldn’t tell us about the Tartaro, the Heren-Suge, Basa-Jaun, and the Lamiñak.
As a curious coincidence, we may notice how closely some of the Basque names of the stars parallel those given in Miss Frere’s delightful “Old Deccan Days.” In the narrator’s narrative, pp. 27, 28, we read, “She (the grandmother) would show us the hen and chickens” (the Pleiades)—the same in Basque, “Oiloa chituekin;” “The three thieves climbing up to rob the Ranee’s silver bedstead”—the three stars in Orion’s belt, in Basque, the three kings, or brothers, or robbers; the milky way, “the great pathway of light on which He went up to heaven,” has also obtained in Basque a Christianized name—”Erromako zubia, or Bidea,” “the bridge or road to Rome.” Again, “All the cobras in my grandmother’s stories were seven-headed,” so the Heren-Suge in the Basque country is always seven-headed. Little or nothing can be gathered from the names of the actors, the heroes or heroines of these tales. They are mostly anonymous, but the name, when given, is almost always borrowed from the French. This is disappointing, and much increases the difficulty of tracing the origin; but it is analogous to the fact that scarcely a single purely [xv]Basque name is to be found among the so-called kings and chieftains of the Basques during the early middle ages.6 Among the classic writers, too, and among the soldiers and followers of our Anglo-Gascon princes, hardly a name indubitably Basque is to be found.
As a curious coincidence, we may notice how closely some of the Basque names of the stars align with those given in Miss Frere’s delightful “Old Deccan Days.” In the narrator’s narrative, pp. 27, 28, we read, “She (the grandmother) would show us the hen and chicks” (the Pleiades)—the same in Basque, “Oiloa chituekin;” “The three thieves climbing up to steal the Ranee’s silver bed” —the three stars in Orion’s belt, in Basque, the three kings, or brothers, or robbers; the Milky Way, “the great pathway of light on which He went up to heaven,” also has a Christianized name in Basque—”Erromako bridge, or Bidea,” “the bridge or road to Rome.” Again, “All the cobras in my grandmother’s stories were seven-headed,” so the Heren-Suge in the Basque country is always seven-headed. Little or nothing can be gathered from the names of the actors, the heroes, or heroines of these tales. They are mostly anonymous, but when names are given, they are almost always borrowed from the French. This is disappointing and greatly increases the difficulty of tracing the origin; but it is similar to the fact that there is hardly a single purely [__A_TAG_PLACEHOLDER_0__]Basque name found among the so-called kings and chieftains of the Basques during the early Middle Ages.6 Among the classic writers and among the soldiers and followers of our Anglo-Gascon princes, hardly a name that is indisputably Basque can be found.
For all more special details and discussions we refer to the Introductions to the separate sections. The few references given to the parallel legends of other countries are not intended to be at all complete, much less exhaustive. The Pays Basque is not a land of libraries, and it is not easy to collect these legends on the spot, and at the same time to get together the books necessary for a comparison of them with those of other countries. The few we offer are only those which have fallen in our way, and though worthless to the specialist, may be of some little aid as suggestions to the ordinary reader.7 For the same purpose we annex a list of the first publication of the chief collections of foreign legends in France.8 It is curious to remark that, while the masterpieces of French literature seem never to have penetrated beyond the surface of society, these legends have pierced to the very bottom of the social mass, and have become real living household words, even to those many millions of Frenchmen who do not understand one word of French.
For all the more detailed discussions, we refer you to the Introductions of the separate sections. The few references to parallel legends from other countries are not meant to be comprehensive or exhaustive. The Pays Basque isn't exactly a place rich in libraries, and gathering these legends locally while also finding the right books for comparison with those from other countries is quite tricky. The few we provide are simply those we've encountered, and while they might not be valuable to experts, they could offer some suggestions for the average reader.7 For the same purpose, we've included a list of the initial publications of the main collections of foreign legends in France.8 It's interesting to note that while France's literary masterpieces haven't really gone beyond the surface of society, these legends have deeply penetrated the social fabric and become real, everyday terms, even for the millions of French people who don’t understand any French.
There remains the pleasant task of thanking some of [xvi]the many friends who have assisted us in this collection. I had hoped to have joined the name of M. J. Vinson, the well-known Basque and Dravidian scholar, to my own as joint-author of this simple work. I should hardly have had the courage to have undertaken it had I not been assured of his invaluable assistance in difficulties about the language of the originals. Unavoidable circumstances have, however, prevented his seeing the Basque of many of the later tales, and he therefore prefers that the “Essay on the Basque Language” should alone bear his name. I cannot but accede to his wishes; but, at the same time, I offer him my most grateful thanks for the unfailing and unwearied help which he so kindly afforded me for many months. The legends contributed by him are noticed in their proper place. Our first acknowledgments are due to M. d’Abbadie, of Abbadia, the well-known “Membre de l’Institut,” for his kind assistance and ready communication of the legends in his possession, and which were the starting point of our work. Next, and even more, to Madame M. Bellevue, of Dajieu-baita, through whose kind intervention the majority of these tales were collected, and who assisted in the translation of almost all. And then to the sisters Estefanella and Gagna-haurra Hirigaray, who contributed more than twenty tales; to Dr. Guilbeau and other friends at St. Jean de Luz who have taken a friendly interest in our work, and to all those whose names are appended to the tales they furnished. It would be presumptuous to hope that our readers will find as much pleasure in perusing these tales as we have had in collecting them. [1]
There’s still the nice task of thanking some of [__A_TAG_PLACEHOLDER_0__]the many friends who helped us with this collection. I had hoped to have the name of M. J. Vinson, the well-known Basque and Dravidian scholar, listed alongside mine as a co-author of this simple work. I probably wouldn’t have had the courage to take it on if I hadn’t been assured of his invaluable help with the complexities of the original language. Unfortunately, circumstances prevented him from reviewing the Basque versions of many of the later tales, so he prefers that the “Essay on the Basque Language” carry his name alone. I can’t help but respect his wishes, but I also want to express my heartfelt thanks for the consistent and tireless help he kindly provided for many months. The legends he contributed are mentioned in their appropriate sections. Our first acknowledgments go to M. d’Abbadie, of Abbadia, the well-known “Member of the Institute,” for his helpful assistance and for sharing the legends in his possession, which were the foundation of our work. Next, and even more so, we thank Madame M. Bellevue, of Dajieu-baita, whose kind intervention led to the majority of these stories being collected, and who helped translate almost all of them. We also thank the sisters Estefanella and Gagna-haurra Hirigaray, who contributed over twenty tales; Dr. Guilbeau and other friends at St. Jean de Luz who have shown a supportive interest in our work, and everyone whose names are listed alongside the tales they provided. It would be unrealistic to expect that our readers will enjoy these tales as much as we did in gathering them. [__A_TAG_PLACEHOLDER_0__]
1 See on this head M. Vinson’s Essay in Appendix.
1 Check out M. Vinson’s essay on this topic in the 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.
2 The second part of M. Cerquand’s “Légendes et Récits Populaires du Pays Basque” (Pau, 1876) was published while this work was being printed. It mainly focuses on the 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.
3 It's not that we think all these stories are just atmospheric myths; we’re only using this as a temporary hypothesis that currently seems to explain the most facts. It definitely appears to be a “true cause” in some cases; however, it’s just one of several possible “true causes” and shouldn’t be applied to everything.
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.”
4 See. Campbell’s “Introduction,” p. xxviii.:—“I have never heard a story with an obscene point shared openly in a Highland cottage; and I think such stories are uncommon. If there was an occasional crude word used, it wasn’t intended to be vulgar.”
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.
5 One type, which we haven't provided an example for, is the Star Legend presented by M. Cerquand in “Legends and Folktales of the Basque Country,” p. 19, and later reprinted, with some changes, by M. Vinson in “Linguistics Review,” Vol. VIII., 241–5, January, 1876.
6 Cf. “Etudes Historiques sur la Ville de Bayonne, par MM. Balasque et Dulaurens,” Vol. I., p. 49.
6 See. “Historical Studies on the City of Bayonne, by Messrs. Balasque and 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.
7 We intentionally left out references to Greek and Latin mythology because they can be found throughout the works of Max Müller and Cox. The preparation for publication took place away from our own library, or we would have included more references to Spanish and patois sources.

I.—Legends of the Tartaro.
Who, or what is the Tartaro? “Oh! you mean the man with one eye in the middle of his forehead,” is the prompt and universal answer. The Tartaro is the Cyclops, the sun’s round eye, κύκλωψ. But the word Tartaro has apparently nothing to do with this. M. Cerquand, in his “Legendes et Récits Populaires du Pays Basque,” derives the word from Tartare, Tartar, in the same way as the French word Ogre is said to be derived from Hongrois, Ugri. The only objection to this highly probable derivation (made still more probable by a Souletin variation, Moiriak) is the comparatively late date (the 13th century) of the first appearance of the Tartars in Europe.1 It is besides perfectly true that in many tales the Tartaro replaces, and is identical with the giant or ogre; but this does not appear to us to be the original conception of this mythological monster, nor have we ever heard from an unlettered Basque such a description of him. To them he is simply a Cyclops—a huge man, with an eye in the centre of his forehead.
Who, or what, is the Tartaro? “Oh! you mean the man with one eye in the middle of his forehead,” is the quick and common reply. The Tartaro is the Cyclops, the sun’s round eye, κύκλωψ. But the word Tartaro doesn’t seem to have anything to do with this. M. Cerquand, in his “Legendes et Récits Populaires du Pays Basque,” traces the word back to Tartare, Tartar, similar to how the French word Ogre is thought to come from Hongrois, Ugri. The only objection to this highly likely origin (made even more likely by a Souletin variation, Moiriak) is the relatively late date (the 13th century) when the Tartars first appeared in Europe.1 It’s also true that in many stories, the Tartaro takes the place of and is identical with the giant or ogre; however, we don’t believe this was the original idea of this mythological monster, nor have we ever heard an uneducated Basque describe him in that way. To them, he is simply a Cyclops—a huge man, with an eye in the center of his forehead.
It is an interesting question—Is there any connection between the Basque Tartaro and the Cyclops of the Odyssey and of the classics? First, we must remark that the Cyclops legend is not peculiar either to the Greek [2]and Latin writers, or even to the Aryan nations; e.g., in his communication of the Tartaro legends to the Société des Sciences de Bayonne, M. d’Abaddie relates how he heard the tale told in June, 1843, in Eastern Africa, in Lat. N. 9.2, E. Lon. 34.48, by a man who had never before quitted the country. It is then only the special form of the legend, and not the primary idea, that the Greeks may have borrowed from the Basques. But there is this to observe—that, with both Greeks and Latins, the Cyclops myth is an occidental and not an oriental one, and is more strictly localised than almost any other. This may be accounted for by saying that the sun’s great fiery eye is rather that of the setting than of the rising sun; that the red-hot stake is the ruddy mountain peak, or the tall fir-trunk, seen against the western horizon, and illumined by his descending rays. But in the stories of Theocritus and Ovid, where the sun-myth is not so apparent, the home of the Cyclops is still Sicily. Our first Tartaro legend reads very like a rough outline of Ovid’s story of “Acis and Galatea.” Now, W. Von Humboldt in his “Prüfung der Untersuchung über die Urbewohner Hispaniens vermittelst der Vaskischen Sprache” (Berlin, 1821), in cap. xlv., p. 167, and, again, con. vii., p. 178, arguing on quite different grounds, places Sicily as the most easterly habitation of the Basques within historic times.2 We leave it then to classical scholars to consider whether the Italic races in Magna Græcia and Sicily may not have come in contact with the Basques there, and from them have adopted their special form of the Cyclops legend.
It's an interesting question—Is there any connection between the Basque Tartaro and the Cyclops from the Odyssey and other classics? First, we should note that the Cyclops legend isn't unique to Greek [__A_TAG_PLACEHOLDER_0__] and Latin writers, or even to Aryan nations. For example, in his report about the Tartaro legends to the Société des Sciences de Bayonne, M. d’Abaddie shares how he heard the story told in June 1843 in Eastern Africa, at Lat. N. 9.2, E. Lon. 34.48, by a man who had never left the region before. It's possible that while the Greeks may have borrowed the specific version of the legend, they did not take the core idea from the Basques. However, it's worth noting that for both the Greeks and Latins, the Cyclops myth is more of a Western than an Eastern story, and it is more closely associated with a particular location than almost any other myth. This may be explained by the notion that the sun's intense fiery eye symbolizes the setting sun rather than the rising one; the red-hot stake represents the glowing mountain peak or the tall fir trunk seen against the western horizon, illuminated by the sun's descending rays. Yet, in the tales of Theocritus and Ovid, where the sun-related theme isn't as obvious, the Cyclops' home is still Sicily. Our first Tartaro legend resembles a rough outline of Ovid’s story of “Acis and Galatea.” Now, W. Von Humboldt in his “Examination of the study on the original inhabitants of Hispania through the Basque language” (Berlin, 1821), in cap. xlv., p. 167, and again in con. vii., p. 178, argues from different perspectives that Sicily might be the farthest east that the Basques lived during historical times.2 We leave it to classical scholars to determine whether the Italic races in Greater Greece and Sicily might have interacted with the Basques and adopted their unique version of the Cyclops legend.
As we said above, the Tartaro sometimes replaces the giant or the ogre; at other times we find him as Basa-Jaun, or even as an animal, substituted for Acheria, the fox. He is, in his proper form, a huge one-eyed giant, occasionally a cannibal, but not without a rough “bonhomie” when satiated with food and drink. Intellectually far below the [3]feebler race of mankind, he is invariably beaten in his contests with them, notwithstanding his enormous strength; he loses all his wagers, and is generally lured on to commit involuntary suicide. In some aspects he reminds one of Milton’s “Lubbar Fiend,” and in his constant defeats and being constantly outwitted, recals one of the types of the Devil in mediæval story. At times he appears in gentler guise, as when he aids the young prince to his rights, and supplies Petit Yorge with the means of victory over the Heren-Suge. What the talking ring is which appears in so many of these stories we confess ourselves unable to interpret; it is found in the Keltic, but, as far as we are aware, not in the classic legends.
As we mentioned earlier, the Tartaro sometimes takes the place of the giant or the ogre; at other times, he appears as Basa-Jaun, or even as an animal, replacing Acheria, the fox. In his true form, he is a massive one-eyed giant, occasionally a cannibal, but he has a rough “good-naturedness” when he's well-fed and drunk. Intellectually far behind the [__A_TAG_PLACEHOLDER_0__] weaker human race, he is always defeated in his competitions with them, despite his immense strength; he loses all his bets and often ends up being tricked into committing unintentional suicide. In some ways, he reminds us of Milton’s “Lubbar Fiend,” and his constant defeats and being outsmarted echo one of the types of the Devil in medieval stories. Sometimes he appears in a gentler form, such as when he helps the young prince claim his rights and gives Petit Yorge the means to defeat the Heren-Suge. We admit we can't interpret what the talking ring is that shows up in so many of these tales; it's present in the Celtic stories, but, as far as we know, not in the classic legends.
One peculiarity of the Basque, and especially of the Tartaro legends, is that the hero of them is so often a madman, an idiot, or a fool. If we can trust our memory, the case is the same in the Slavonic representatives of Odysseus.3 But the Basques seem to dwell upon and to repeat the idea in a peculiar way; they ring the changes on all states, from the wild madman, like the Scandinavian Berserker, through the idiot and fool, to the mere blockhead and ninny. Errua, Enuchenta, Ergela, Sosua, Tontua, are terms employed to designate the heroes who have sometimes, to our modern apprehension, little of the idiot or fool, except the name. Can it be that the power which put out the sun’s fiery eye was looked upon as a beneficent being in a burning tropic land, while, as the legend travelled northward, the act seemed more like that of madness, or of senseless stupidity?
One odd thing about the Basque, especially in the Tartaro legends, is that the hero is often portrayed as a madman, an idiot, or a fool. If we remember correctly, this is also true for the Slavic versions of Odysseus.3 But the Basques seem to emphasize and express this idea in a unique way; they explore all states, from the wild madman, like the Scandinavian Berserker, to the idiot and fool, down to the simpleton and nincompoop. Errua, Enuchenta, Ergela, Sosua, Tontua are terms used to describe the heroes who sometimes, from our modern perspective, have little of the idiot or fool about them, aside from the name. Could it be that the force that extinguished the sun’s fiery eye was seen as a benevolent entity in a scorching tropical land, while, as the legend spread north, the act came to seem more like madness or sheer stupidity?
One type of these Tartaro tales will at once recal Grimm’s “Valiant Little Tailor,” and some of the more modern versions of “Jack the Giant-Killer.” But though the incidents are identical, it is hardly possible that they can be thus borrowed. Several of our narrators were utterly ignorant of French, and learnt the tale as children from old [4]people, who died a few years since at upwards of 80. The first translation of Grimm’s Tales into French was published in the year 1845.
One kind of these Tartaro stories immediately reminds you of Grimm’s “Valiant Little Tailor” and some of the more recent versions of “Jack the Giant-Killer.” But even though the events are the same, it’s unlikely that they’re just copied from each other. Many of our storytellers were completely unaware of French and heard the tale as kids from old [__A_TAG_PLACEHOLDER_0__]people, who passed away a few years ago at over 80. The first French translation of Grimm’s Tales came out in 1845.
The Tartaro.
Once upon a time there was the son of a king who for the punishment of some fault became a monster. He could become a man again only by marrying. One day he met a young girl who refused him, because she was so frightened at him. And the Tartaro wanted to give her a ring, which she would not accept. However, he sent it her by a young man. As soon as the ring was upon her finger it began to say, “Thou there, and I here.”4 It kept always crying out this, and the Tartaro pursued her continually; and, as the young girl had such a horror of him, she cut off her finger and the ring, and threw them into a large pond, and there the Tartaro drowned himself.
Once upon a time, there was a king's son who turned into a monster as punishment for something he did wrong. The only way he could become a man again was by getting married. One day, he met a young girl who rejected him because she was terrified of him. The monster wanted to give her a ring, but she wouldn’t accept it. Instead, he sent the ring with a young man. Once the ring was on her finger, it started to proclaim, “You there, and I here.” It kept saying this repeatedly, and the monster chased her all the time. Since the young girl was so horrified by him, she cut off her finger with the ring on it and threw both into a large pond, and that's where the monster drowned himself.
Estefanella Hirigarray,
of Ahetze.
Estefanella Hirigarray,
from Ahetze.
M. d’Abbadie’s Version.
Our next story was communicated by M. d’Abbadie to the Société des Sciences et des Arts de Bayonne. The narrator is M. l’Abbé Heguiagaray, the Parish Priest of Esquiule in La Soule:—
Our next story was shared by M. d’Abbadie with the Society of Sciences and Arts of Bayonne. The storyteller is M. l’Abbé Heguiagaray, the Parish Priest of Esquiule in La Soule:—
In my infancy I often heard from my mother the story of the Tartaro. He was a Colossus, with only one eye in the middle of his forehead. He was a shepherd and a hunter, but a hunter of men. Every day he ate a sheep; then, after a snooze, every one who had the misfortune to fall into his hands. His dwelling was a huge barn, with thick walls, a high roof, and a very strong door, which he alone knew how [5]to open. His mother, an old witch, lived in one corner of the garden, in a hut constructed of turf.
In my childhood, I often heard my mother tell the story of the Tartaro. He was a giant with one eye right in the middle of his forehead. He was a shepherd and a hunter, but he hunted people. Every day he ate a sheep; then, after a nap, anyone who happened to fall into his grasp. His home was a massive barn, with thick walls, a tall roof, and a strong door that only he knew how [__A_TAG_PLACEHOLDER_0__] to open. His mother, an old witch, lived in one corner of the garden in a hut made of turf.
One day a powerful young man was caught in the snares of the Tartaro, who carried him off to his house. This young man saw the Tartaro eat a whole sheep, and he knew that he was accustomed to take a snooze, and that after that his own turn would come. In his despair he said to himself that he must do something. Directly the Tartaro began to snore he put the spit into the fire, made it red-hot, and plunged it into the giant’s one eye. Immediately he leapt up, and began to run after the man who had injured him; but it was impossible to find him.
One day, a strong young man was trapped by the Tartaro, who took him to his home. The young man watched as the Tartaro devoured an entire sheep, and he realized that the giant often dozed off, and that soon it would be his turn. Feeling desperate, he decided he needed to take action. As soon as the Tartaro started to snore, he heated a spit in the fire until it was glowing red and rammed it into the giant's only eye. The Tartaro immediately jumped up and started chasing after the man who had hurt him, but he couldn't find him anywhere.
“You shall not escape. It is all very well to hide yourself,” said he; “but I alone know the secret how to open this door.”
“You can’t get away. It’s fine to hide,” he said, “but I’m the only one who knows the secret to open this door.”
The Tartaro opened the door half-way, and let the sheep out between his legs. The young man takes the big bell off the ram, and puts it round his neck, and throws over his body the skin of the sheep which the giant had just eaten, and walks on all fours to the door.
The Tartaro opened the door halfway and let the sheep out between his legs. The young man took the big bell off the ram and put it around his neck, then threw the skin of the sheep the giant had just eaten over his body and crawled on all fours to the door.
The Tartaro examines him by feeling him, perceives the trick, and clutches hold of the skin; but the young man slips off the skin, dives between his legs, and runs off.
The Tartaro checks him by touching him, realizes the trick, and grabs hold of the skin; but the young man slips out of the skin, dives between his legs, and takes off.
Immediately the mother of the Tartaro meets him, and says to him:
Immediately, the mother of Tartaro meets him and says to him:
“O, you lucky young fellow! You have escaped the cruel tyrant; take this ring as a remembrance of your escape.”
“O, you lucky young man! You’ve escaped the cruel tyrant; take this ring as a keepsake of your escape.”
He accepts, puts the ring on his finger, and immediately the ring begins to cry out, “Heben nuk! Heben nuk!” (“Thou hast me here! Thou hast me here!”)
He agrees, slips the ring onto his finger, and right away the ring starts shouting, “Heben nuk! Heben nuk!” (“You have me here! You have me here!”)
The Tartaro pursues, and is on the point of catching him, when the young man, maddened with fright, and not being able to pull off the ring, takes out his knife, and cuts off his own finger, and throws it away, and thus escapes the pursuit of the Tartaro.
The Tartaro is chasing him and is almost about to catch him, when the young man, overwhelmed with fear and unable to remove the ring, takes out his knife, cuts off his own finger, and throws it away, thus escaping the Tartaro's pursuit.
In other versions the young man goes into the forest with some pigs, meets the Tartaro there, is carried by him home, [6]blinds him with the red-hot spit, and escapes by letting himself down through a garret window. The Tartaro pursues, guided by his ring, which at last he throws to the young man to put on, when it cries out as above, and the young man cuts off his finger, and throws it down a precipice or into a bog, where the ring still cries out, and the Tartaro following, is dashed to pieces and drowned.
In other versions, the young man goes into the forest with some pigs, encounters the Tartaro there, and is taken home by him. He blinds him with the hot spit and escapes by lowering himself through a garret window. The Tartaro chases him, guided by his ring, which he eventually throws to the young man to put on. When the ring cries out as mentioned earlier, the young man cuts off his finger and tosses it down a cliff or into a swamp, where the ring continues to cry out. The Tartaro, following it, ends up getting crushed and drowned.
Errua, the Madman.
Like many others in the world, there was a man and woman who had a son. He was very wicked, and did nothing but mischief, and was of a thoroughly depraved disposition. The parents decided that they must send him away, and the lad was quite willing to set off.
Like many others in the world, there was a man and a woman who had a son. He was very disobedient and constantly got into trouble, and he had a completely corrupt nature. The parents decided they had to send him away, and the boy was more than happy to leave.
He set out then, and goes far, far, far away. He comes to a city, and asks if they want a servant. They wanted one in a (certain) house. He goes there. They settle their terms at so much a month, and that the one who is not satisfied should strip the skin off the other’s back.5
He set out then and traveled a long, long way. He arrived at a city and asked if they needed a servant. They needed one at a specific house. He went there. They agreed on the terms for a monthly payment, stating that whoever was unhappy should skin the other person's back. 5
The master sends his servant to the forest to get the most crooked pieces of wood that he can find. Near the forest there was a vineyard. What does the servant do but cut it all up, and carries it to the house. The master asks him where the wood is. He shows him the vine-wood cut up. The master said nothing to him, but he was not pleased.
The master sends his servant to the forest to find the most twisted pieces of wood he can. Close to the forest, there was a vineyard. The servant ends up cutting all the vines and brings them to the house. The master asks him where the wood is. The servant shows him the cut-up vines. The master doesn’t say anything, but he is not happy.
Next day the master says to him, “Take the cows to such a field, and don’t break any hole in the fence.”
Next day the boss says to him, “Take the cows to that field, and don’t break any holes in the fence.”
What does the lad do? He cuts all the cows into little pieces, and throws them bit by bit into the field. The master was still more angry; but he could not say anything, for fear of having his skin stripped off. So what does he do? He buys a herd of pigs, and sends his servant to the mountain with the herd. [7]
What does the boy do? He chops all the cows into small pieces and tosses them bit by bit into the field. The master was even angrier, but he didn't say anything for fear of getting in trouble. So what does he do? He buys a herd of pigs and sends his servant to the mountain with them. [__A_TAG_PLACEHOLDER_0__]
The master knew quite well that there was a Tartaro in this mountain, but he sends him there all the same.
The master knew very well that there was a Tartaro in this mountain, but he sends him there anyway.
Our madman goes walking on, on, on. He arrives at a little hut. The Tartaro’s house was quite close to his. The pigs of the Tartaro and those of the madman used to go out together. The Tartaro said one day to him—
Our crazy guy keeps walking and walking. He reaches a small hut. The Tartaro's house was pretty close to his. The pigs belonging to Tartaro and those of the madman often went out together. One day, the Tartaro said to him—
“Will you make a wager as to who will throw a stone farthest?”
"Are you going to bet on who can throw a stone the farthest?"
He accepted the wager. That evening our madman was very sad. While he was at his prayers, an old woman appeared to him, and asks him—
He accepted the bet. That evening, our crazy friend was very upset. While he was praying, an old woman appeared to him and asked him—
“What is the matter with you? Why are you so sad?”
“What’s wrong with you? Why are you so down?”
He tells her the wager that he has made with the Tartaro. The old woman says to him—
He tells her about the bet he made with the Tartaro. The old woman responds—
“If it is only that, it is nothing.”
“If that’s all it is, then it’s nothing.”
And so she gives him a bird, and says to him—
And so she gives him a bird and says to him—
“Instead of a stone, throw this bird.”
“Instead of a stone, throw this bird.”
The madman was very glad at this. The next day he does as the old woman told him. The Tartaro’s stone went enormously far, but at last it fell; but the madman’s bird never came down at all.
The madman was really happy about this. The next day, he followed the old woman's advice. The Tartaro's stone went really far, but eventually, it fell; however, the madman's bird never came down at all.
The Tartaro was astonished that he had lost his wager, and they make another—which of the two should throw a bar of iron the farthest. The madman accepted again. He was in his little house sadly in prayer. The old woman appears again. She asks him—
The Tartaro was shocked that he had lost his bet, and they made another—this time, which of the two could throw a bar of iron the farthest. The madman agreed once more. He was in his small house, sorrowfully praying. The old woman appeared again. She asked him—
“What’s the matter with you?”
"What's wrong with you?"
“I have made a wager again, which of the two will throw the bar of iron the farthest, and I am very sorry.”
“I’ve made a bet again on which of the two will throw the iron bar the farthest, and I really regret it.”
“If it is only that, it is nothing. When you take hold of the bar of iron, say, ‘Rise up, bar of iron, here and Salamanca.’” (Altchaala palenka, hemen eta Salamanka.)6
“If that’s all there is to it, then it’s nothing. When you grab the iron bar, say, ‘Rise up, iron bar, here and Salamanca.’” (Altchaala palenka, hemen eta Salamanca.)6
Next day the Tartaro takes his terrible bar of iron, and [8]throws it fearfully far. The young man could hardly lift up one end, and he says—
Next day, the Tartaro takes his heavy iron bar and [__A_TAG_PLACEHOLDER_0__]throws it a great distance. The young man could barely lift one end, and he says—
“Rise up, bar of iron, here and Salamanca.”
“Rise up, iron bar, here and Salamanca.”
When the Tartaro heard that (he cried out)—
When the Tartaro heard that, he shouted—
“I give up the wager—you have won,” and he takes the bar of iron away from him. “My father and my mother live at Salamanca; don’t throw, I beg of you, I implore you—you will crush them.”
“I give up the bet—you've won,” he says, taking the bar of iron away from him. “My parents live in Salamanca; please don’t throw it, I’m begging you—you're going to crush them.”
Our madman goes away very happy.
Our crazy guy leaves feeling very happy.
The Tartaro says to him again:
The Tartaro says to him again:
“I will pull up the biggest oak in the forest, and you pull up another.”
“I’ll yank the biggest oak tree in the forest, and you can pull up another one.”
He says, “Yes.” And the later it grew in the day, the sadder he became. He was at his prayers. The old woman comes to him again, and says to him—
He says, “Yes.” And as the day went on, he became sadder. He was praying. The old woman came to him again and said to him—
“What’s the matter with you?”
"What's wrong with you?"
He tells her the wager he has made with the Tartaro, and how he will pull up an oak. The old woman gives him three balls of thread, and tells him to begin and tie them to all the oaks in the forest.7
He tells her about the bet he made with the Tartaro and how he will pull up an oak tree. The old woman gives him three balls of thread and tells him to start tying them to all the oak trees in the forest.7
Next day the Tartaro pulls up his oak, an enormously, enormously big one; and the madman begins to tie, and to tie, and to tie.
Next day the Tartaro pulls up his oak, a huge, huge one; and the madman starts to tie, and to tie, and to tie.
The Tartaro asks him:
The Tartaro asks him:
“What are you doing that for?”
“What are you doing that for?”
“You (pulled up) one, but I all these.”
“You picked one, but I got all these.”
The Tartaro replies,
The Tartaro responds,
“No! No! No! What shall I do to fatten my pigs with without acorns? You have won; you have won the wager.”
“No! No! No! What am I supposed to feed my pigs to fatten them without acorns? You’ve won; you’ve won the bet.”
The Tartaro did not know what to think about it, and saw that he had found one cleverer than himself, and so he asks him if he will come and spend the night at his house.
The Tartaro was unsure what to make of it and realized he had encountered someone smarter than himself, so he asked him if he would come and spend the night at his place.
The madman says, “Yes.”
The crazy person says, “Yes.”
He goes to bed then with the Tartaro. But he knew that [9]there was a dead man under the bed. When the Tartaro was asleep what does the madman do? He places the dead man by the Tartaro’s side, and gets under the bed himself. In the middle of the night the Tartaro gets up, and takes his terrible bar of iron and showers blows upon blows, ping pan, ping pan, as long and as hard as he could give them.
He goes to bed then with the Tartaro. But he knew that [__A_TAG_PLACEHOLDER_0__]there was a dead man under the bed. When the Tartaro fell asleep, what does the madman do? He puts the dead man next to the Tartaro and climbs under the bed himself. In the middle of the night, the Tartaro gets up, grabs his heavy iron bar, and starts hitting again and again, bang bang, as long and as hard as he could.
The Tartaro gets up as usual, and goes to see his pigs, and the madman also comes out from under the bed; and he goes to see the pigs too. The Tartaro is quite astounded to see him coming, and does not know what to think of it. He says to himself that he has to do with a cleverer than he; but he asks him if he has slept well.
The Tartaro gets up as usual and goes to check on his pigs, and the madman also crawls out from under the bed; he heads over to see the pigs too. The Tartaro is quite shocked to see him approaching and doesn't know what to make of it. He thinks to himself that he's dealing with someone smarter than he is, but he asks him if he slept well.
He answers, “Yes, very well; only I felt a few flea-bites.”
He replies, “Yeah, pretty good; just felt a few flea bites.”
Their pigs had got mixed, and as they were fat, he had to separate them in order to go away with his. The Tartaro asked the madman what mark his pigs had.
Their pigs had gotten mixed up, and since they were fat, he had to separate them to take his own. The Tartaro asked the madman what mark his pigs had.
The madman says to him, “Mine have some of them one mark, some of them two marks.”
The madman says to him, “Some of mine have one mark, some have two marks.”
They set to work to look at them, and they all had these same marks.
They started examining them, and they all had the same marks.
Our madman goes off then with all the hogs. He goes walking on, on, on, with all his pigs. He comes to a town where it was just market day, and sells them all except two, keeping, however, all the tails, which he put in his pockets. As you may think, he was always in fear of the Tartaro. He sees him coming down from the mountain. He kills one of his hogs, and puts the entrails in his own bosom under his waistcoat. There was a group of men near the road. As he passed them he took out his knife, and stabs it into his chest, and takes out the pig’s bowels, and our madman begins to run very much faster than before, with his pig in front of him.
Our madman then heads off with all the pigs. He keeps walking and walking with them. He arrives at a town just as the market is happening and sells all but two of them, but he keeps all the tails, which he stuffs in his pockets. As you might guess, he’s always worried about the Tartaro. He sees him coming down from the mountain. He kills one of his pigs and hides the entrails in his shirt under his jacket. A group of men is gathered near the road. As he passes by, he pulls out his knife, stabs it into his chest, pulls out the pig’s guts, and our madman starts to run much faster than before, with the pig in front of him.
When the Tartaro comes up to these men, he asks if they have seen such a man.
When Tartaro approaches these men, he asks if they've seen a guy like that.
“Yes, yes, he was running fast, and in order to go faster just here he stabbed himself, and threw away his bowels, and still he went on all the faster.” [10]
“Yes, yes, he was running fast, and to speed up even more right here, he stabbed himself and disposed of his insides, and still he kept going even faster.” [__A_TAG_PLACEHOLDER_0__]
The Tartaro, too, in order to go faster, thrusts his knife into his body, and falls stark dead.8
The Tartaro also, wanting to move quicker, stabs himself with his knife and falls dead. 8
The madman goes to his master’s. Near the house there was a marsh quite full of mud. He puts his live pig into it, and all the tails too. He enters the house, and says to the master that he is there with his pigs. The master is astounded to see him.
The madman goes to his master's place. Close to the house, there was a muddy marsh. He throws his live pig into it, along with all the tails. He goes into the house and tells the master that he’s there with his pigs. The master is shocked to see him.
He asks him, “Where are the pigs, then?”
He asks him, "So, where are the pigs?"
He says to him, “They have gone into the mud, they were so tired.”
He says to him, “They went into the mud; they were so exhausted.”
Both go out, and begin to get the real pig out, and between the two they pull it out very well. They try to do the same thing with the others; but they kept pulling out nothing but tails.
Both of them go out and start to get the actual pig out, and together they pull it out pretty well. They try to do the same with the others, but all they keep pulling out are tails.
The madman says, “You see how fat they are; that is why the tails come out alone.”
The crazy person says, “You see how big they are; that’s why the tails stick out on their own.”
He sends the servant to fetch the spade and the hoe. Instead of bringing them he begins to beat the mistress, whack! whack! and he cries to the master, “One or both?”
He sends the servant to get the spade and the hoe. Instead of bringing them, he starts to hit the mistress, whack! whack! and yells to the master, “One or both?”
The master says to him, “Both, both.”
The master says to him, “Both, both.”
And then he beats the servant maid almost to pieces. He goes then to the master, taking with him the spade and the hoe, and he sets to beating him with the spade and the hoe, until he can no longer defend himself, and then he thrashes the skin off his back, and takes his pig and goes off home to his father and mother; and as he lived well he died well too.
And then he nearly beats the maid to death. He goes to the master, bringing the spade and the hoe with him, and starts hitting him with the spade and the hoe until the master can’t defend himself anymore. Then he beats the skin off his back, takes his pig, and heads home to his parents; and since he lived well, he also died well.
Pierre Bertrand
learnt it from his Grandmother, who died a few years since, aged
82.
Pierre Bertrand
learned it from his grandmother, who passed away a few years ago at the age of 82.
Variations of Errua.
We have several variations of this tale, some like the above, very similar to Grimm’s “Valiant Little Tailor,” others like Campbell’s “Highland Tales.” In one tale there are two [11]brothers, an idiot and a fool (Enuchenta eta Ergela). The idiot goes out to service first, and gets sent back for his stupidity. Then the fool goes, and outwits both his master and the Tartaro, whose eye he burns out with a red-hot spit, as in the first instance. In another the servant frightens the Tartaro at the outset by cracking two walnuts, and saying that they were bones of Christians he was cracking. Another wager is as to which shall carry most water from a fountain. The Tartaro fills two hogsheads to carry, but the lad says to him, “Only that; I will take the whole fountain;” and he begins to stir the water about with a stick. But the Tartaro cries out, “No! No! No! I give up. Where shall I go and drink if you carry away all my water?” Another variation is as follows:—
We have several versions of this story, some like the one above, which is very similar to Grimm’s “Valiant Little Tailor,” and others like Campbell’s “Highland Tales.” In one version, there are two [__A_TAG_PLACEHOLDER_0__]brothers, an idiot and a fool (Enuchenta eta Ergela). The idiot goes out to work first and is sent back because of his foolishness. Then the fool goes and tricks both his master and the Tartaro, burning out the Tartaro's eye with a hot spit, just like in the first story. In another tale, the servant scares the Tartaro right away by cracking two walnuts and claiming they are Christian bones. In another challenge, they bet on who can carry the most water from a fountain. The Tartaro fills two barrels to carry, but the lad says, “Only that? I’ll take the whole fountain,” and starts stirring the water with a stick. The Tartaro then exclaims, “No! No! No! I give up. Where will I go to drink if you take all my water?” Another variation goes like this:—
The Three Brothers, the Cruel Master, and the Tartaro.
Like many others in the world, there lived a mother with her three sons. They were not rich, but lived by their work. The eldest son said one day to his mother—
Like many others in the world, there was a mother with her three sons. They weren't wealthy, but they made a living through their work. One day, the eldest son said to his mother—
“It would be better for us if I should go out to service.”
“It would be better for us if I went to work.”
The mother did not like it, but at last she let him go. He goes off, far, far, far away, and comes to a house, and asks if they want a servant. They say “Yes,” and they make their agreement.
The mother didn't like it, but eventually, she let him go. He travels far, far away and arrives at a house, asking if they need a servant. They say “Yes,” and they come to an agreement.
The master was to give a very high salary—100,000 francs—but the servant was to do everything that the master ordered him, and, if he did not do it, the master was to tear the skin off his back at the end of the year, and to dismiss him without pay.9
The master promised a very high salary—100,000 francs—but the servant had to follow all the master’s orders, and if he didn’t, the master would whip him at the end of the year and fire him without pay.9
The servant said to him,
The servant told him,
“All right; I am strong, and I will work.”
“All right; I’m strong, and I’ll work.”
On the morrow the master gives him a great deal of [12]work, but he does it easily. The last months of the year the master presses him much more, and one day he sends him into a field to sow fourteen bushels of wheat in the day. The lad goes sadly, taking with him a pair of oxen. He returns to the house very late in the evening. The master says to him,
On the next day, the master gives him a lot of [__A_TAG_PLACEHOLDER_0__]work, but he handles it without difficulty. In the last months of the year, the master starts to push him a lot harder, and one day he sends him out to sow fourteen bushels of wheat in a single day. The young man goes out reluctantly, taking a pair of oxen with him. He comes back to the house very late in the evening. The master says to him,
“Have you done your work?”
“Have you finished your work?”
He says, “No.”
He says, "No."
“Do you remember the agreement we made? I must tear the skin off your back: that is your salary.”
“Do you remember the deal we made? I have to peel the skin off your back: that’s your pay.”
He tears the skin off, as he had said, and sends him away home without anything. His mother was in great grief at seeing him come home so thin and weak, and without any money.
He tears the skin off, as he had said, and sends him away home without anything. His mother was heartbroken to see him come home so thin and weak, and without any money.
He tells what has happened, and the second brother wishes to start off at once, saying that he is strong, and that he will do more work. The mother did not like it, but she was obliged to let him go.
He explains what happened, and the second brother wants to set off immediately, claiming that he's strong and will do more work. The mother wasn't happy about it, but she had to let him go.
He goes to the same house as his brother, and makes the same terms with the master. When he had almost finished his year, his master sends him too to sow fourteen bushels of wheat. He starts very early in the morning, with two pair of oxen; but the night came before he had sown it all. The master was very glad at the sight of that. He strips his skin off his back also, and sends him away without any money. Think of the vexation of this mother in seeing both her sons return in this fashion.
He goes to the same house as his brother and makes the same agreement with the owner. When he is almost done with his year, his boss sends him out to sow fourteen bushels of wheat. He starts early in the morning with two pairs of oxen, but night falls before he finishes. The boss is very pleased to see that. He also beats him and sends him away without any money. Imagine the frustration of their mother seeing both of her sons come back like this.
The third wishes to start off at once. He assures his mother that he will bring back both the money and the skin of his back. He goes to this same gentleman. He tells this one, too, that he will give him a high salary, on condition that he will do all that he shall tell him to do, otherwise he shall have the skin torn off his back, and be sent away without anything, at the end of the year.
The third one wants to get going right away. He promises his mom that he will return with both the money and his skin intact. He goes to the same man. He tells him, too, that he will pay him a good salary, as long as he follows all his instructions, or else he'll end up with his skin ripped off and sent away empty-handed by the end of the year.
He had made him work hard and well for ten months, and then wished to try him. He sent him to the field, and told him to sow fourteen bushels of wheat before night. He answers, “Yes.” [13]
He had made him work hard and effectively for ten months, and then wanted to test him. He sent him to the field and told him to sow fourteen bushels of wheat before nightfall. He replied, “Sure.” [__A_TAG_PLACEHOLDER_0__]
He takes two pairs of oxen, and goes off to the field. He ploughs a furrow all round the field, and throws his fourteen bushels of wheat into it. He then makes another furrow, to cover it up, and at night time he goes home to the house. The master is astonished. He asks him if he has sown it.
He takes two ox-drawn plows and heads out to the field. He digs a trench all around the field and pours in his fourteen bushels of wheat. Then he creates another trench to cover it up, and at night, he goes home. The master is amazed and asks him if he has planted it.
“Yes, it is all under ground; you may be sure of it.”
“Yes, it’s all underground; you can be sure of that.”
The master was not pleased; he had his fears.
The master was not happy; he had his worries.
The next day he sends him with sixteen head of cattle to such a field, and says to him,
The next day he sends him with sixteen cattle to a field and says to him,
“You must take all these cattle into the field without unlocking the gate or making a gap.”
“You need to bring all these cattle into the field without opening the gate or creating a gap.”
Our lad takes a hatchet, a hoe, and a fork. Off he goes, and when he gets to the field he kills them all, one by one. He cuts them up with the hatchet, and throws them with the fork into the field.
Our guy grabs a hatchet, a hoe, and a fork. He heads out, and once he reaches the field, he takes them out, one by one. He chops them up with the hatchet and tosses them into the field with the fork.
He comes home at nightfall, and says to his master that all the cattle are in the field as he had told him. The master was not pleased, but he said nothing.
He comes home at sunset and tells his boss that all the cattle are in the field, just like he mentioned before. The boss wasn't happy, but he didn't say anything.
The next day he told him to go to such a forest and to bring a load of wood from there, but all the sticks quite, quite straight. Our lad goes off and cuts down in the chestnut copse all the young chestnut trees which his master had planted, and which were very fine ones; and he comes home. When the master saw that, he was not pleased, and said to him,
The next day he told him to head to a specific forest and bring back a load of wood, but all the sticks had to be perfectly straight. Our guy went off and cut down all the young chestnut trees in the copse that his master had planted, which were really nice ones; then he came home. When the master saw that, he was not happy and said to him,
“To-morrow you shall go again with the oxen; and you must bring a load of wood quite crooked, all quite crooked; if you bring only one straight, so much the worse for you.”
“Tomorrow you will go out again with the oxen; and you have to bring back a load of wood that’s all bent, completely bent; if you bring even one straight piece, then it will be bad for you.”
The lad goes off, and pulls up a fine vineyard. After he had loaded his cart, he comes home. When the master saw that, he could not say anything; but he did not know what to think of it.
The young man leaves and tends to a beautiful vineyard. Once he fills his cart, he heads home. When the master saw this, he couldn’t say anything; he just didn’t know what to make of it.
He sends him into a forest. There was a Tartaro there; and all the persons, and all the animals who went there, he ate them all. The master gives him ten pigs, and also food for ten days, telling him that the hogs would fatten themselves [14]well there, because there were plenty of acorns, and that he must return at the end of ten days.
He sends him into a forest. There was a Tartaro there, and he ate all the people and animals who entered. The master gives him ten pigs, along with food for ten days, explaining that the hogs would fatten up [__A_TAG_PLACEHOLDER_0__]well there because there were plenty of acorns, and he must return at the end of ten days.
Our lad begins, and he goes on, and on, and on. He meets an old woman, who says to him:
Our guy starts, and he keeps going and going. He meets an old woman, who says to him:
“Where are you going to, lad?”
“Where are you going, kid?”
“To such a forest, to fatten these pigs.”
“To that forest, to fatten these pigs.”
The woman says to him:
The woman tells him:
“If you are not a fool, you will not go there. That horrible Tartaro will eat you.”
“If you’re not an idiot, you won’t go there. That terrible Tartaro will devour you.”
This woman was carrying a basket of walnuts on her head, and he said to her:
This woman was carrying a basket of walnuts on her head, and he said to her:
“If you will give me two of these walnuts I will beat the Tartaro.”
“If you give me two of these walnuts, I’ll defeat the Tartar.”
She willingly gives them to him, and he goes on, and on, and on. He meets another old woman, who was winding thread. She says to him:
She willingly gives them to him, and he keeps going on and on. He meets another old woman who is winding thread. She says to him:
“Where are you going, lad?”
“Where are you going, dude?”
“To such a forest.”
“To that forest.”
“Don’t go there. There is a horrible Tartaro there, who will be sure to eat you, and your pigs as well.”
“Don’t go there. There’s a terrible Tartaro there who will definitely eat you and your pigs too.”
“I must go there all the same, and I will conquer him, if you will give me two of your balls of thread.”
"I still have to go there, and I will defeat him if you give me two of your balls of thread."
She gives him them, willingly; and he goes on farther, and finds a blacksmith, and he, too, asks him where he is going? And he answers, “To such a forest, to fatten my pigs.”
She gives them to him willingly; then he goes further and finds a blacksmith, who also asks him where he’s going. He replies, “To a forest down the way, to fatten my pigs.”
“You may just as well go back again. There is a terrible Tartaro there, who will be sure to eat you.”
"You might as well go back. There's a nasty monster there who will definitely eat you."
“If you will give me a spit, I will beat him.”
“If you give me a spit, I’ll take him down.”
“I will give it you, willingly,” and he gives it him with goodwill.
"I'll give it to you, gladly," and he hands it over with good intentions.
Our lad goes on, and comes to this forest. He cuts off the tails of all his pigs, and hides them in a safe place. The Tartaro appears, and says to him:
Our guy keeps going and arrives at this forest. He cuts off the tails of all his pigs and hides them in a safe spot. The Tartaro shows up and says to him:
“How did you come here? I am going to eat you.”
“How did you get here? I'm going to eat you.”
The lad says to him:
The guy says to him:
“Eat a pig if you like, but don’t touch me.” [15]
“Have a pig if you want, but don’t lay a finger on me.” [__A_TAG_PLACEHOLDER_0__]
He takes his two nuts, and rubs them one against the other.
He takes his two nuts and rubs them against each other.
“I have two balls here, and if one of them touches you, you are dead.”
“I have two balls here, and if one of them hits you, you’re dead.”
The Tartaro is frightened, and goes away in silence. After having eaten a pig, he comes back again, and says to him:
The Tartaro is scared and leaves quietly. After eating a pig, he returns and says to him:
“We must make a wager—which of the two will make the greatest heap of wood?”
“We should make a bet—who will pile up the most wood?”
The Tartaro begins to cut and to cut. Our lad leaves him alone, and when he has made a terrible big heap, he begins to go round all the trees with his balls of thread, and says to him.
The Tartaro starts cutting and cutting. Our guy leaves him alone, and when he's made a huge pile, he begins to go around all the trees with his balls of thread and says to him.
“You, that; but I, all this;” and he goes on tying and tying. The Tartaro gives in, saying “that he is more clever than he.” As he had stopped his ten days, he makes in the night a great fire, and makes his spit red-hot in it; and while the Tartaro was sleeping, he plunges this spit into his only eye. After having taken his pigs’ tails, he goes away from the forest without any pigs, because the Tartaro had eaten one every day. Near his master’s house there was “a well of the fairy.”10 Our lad sticks in there the tails of all his hogs, excepting one, as well as he could. He then goes running to his master, telling him that all the pigs were coming home very gaily, and that they had got so hot in coming so fast that they had all gone under the mud. “I wished to drag one out by pulling, but only the tail came away; here it is.”
"You, that; but I, all this;" and he continues tying and tying. The Tartaro gives in, saying he's smarter than him. After he’s been stopped for ten days, he starts a big fire at night and heats a spit in it. While the Tartaro is asleep, he stabs this spit into his only eye. After taking the pigs’ tails, he leaves the forest without any pigs because the Tartaro had eaten one each day. Near his master’s house, there was “a well of the fairy.”10 Our lad puts the tails of all his hogs in there, except for one, as best as he can. He then runs to his master, telling him that all the pigs were coming home happily, and that they got so hot running that they all ended up under the mud. “I tried to pull one out, but only the tail came off; here it is.”
He goes off then with the master to this marsh; but the master did not dare go in there to pull them out. He goes off sadly with his servant home, not knowing what to think about it. There he counts him out his 100,000 francs, and he went home proudly to his mother and his brothers. There they lived happily, and their master was left with 100,000 francs less. That served him right for having so much. [16]
He then leaves with the boss to the marsh, but the boss didn’t dare to go in and pull them out. He sadly heads home with his servant, unsure of what to think about it. Once there, he counts out his 100,000 francs and walks home proudly to his mother and brothers. They lived happily together while their boss was left with 100,000 francs less. That’s what he gets for having so much. [__A_TAG_PLACEHOLDER_0__]
The Tartaro and Petit Perroquet.
Like many others in the world, there was a mother and her son. They were very wretched. One day the son said to his mother that he must go away, to see if he could do anything. He goes far, far, far away. He traverses many countries, and still goes on and on. He arrives in a great city, and asks if they know of a place for a servant. They tell him that there is one in the king’s house. There they tell him that he is to be gardener. But he tells them that he does not know how to use a hoe at all, but that, all the same, he would learn it with the others. He was very nice-looking. He soon learnt it, and was liked by everybody.
Like many others in the world, there was a mother and her son. They were very unhappy. One day, the son told his mother that he needed to leave to see if he could make a difference. He traveled far, far away. He crossed many countries and kept going. Eventually, he reached a big city and asked if there was a job for a servant. They informed him that there was a position at the king’s house. There, they told him he would be the gardener. He admitted that he had never used a hoe before, but he said he was willing to learn alongside the others. He was quite handsome. He quickly learned the job and was liked by everyone.
This king had a daughter, and she often noticed Petit Perroquet, because he was polite to everybody. In this city there was a prince, and he was paying court to this young princess, and he was seized with dislike and jealousy of Petit Perroquet. One day this prince11 went to find the king. He said to him,
This king had a daughter, and she often noticed Petit Perroquet because he was nice to everyone. In this city, there was a prince who was trying to win the young princess's affection, and he became jealous and resentful of Petit Perroquet. One day, this prince11 went to see the king. He said to him,
“You do not know what Petit Perroquet says?—that he could bring the Tartaro’s horse here.”
“You don’t know what Petit Perroquet says?—that he could bring the Tartaro’s horse here.”
The king sends for Petit Perroquet, and says to him,
The king calls for Petit Perroquet and says to him,
“It seems that you have said that you could bring the Tartaro’s horse here?”
“It seems you said you could bring Tartaro's horse here?”
“I certainly did not say it.”
"I really didn't say that."
“Yes, yes,” said the king, “you said it.”
“Yes, yes,” said the king, “you said it.”
“If you will give me all that I ask for, I will try.”
“If you give me everything I ask for, I’ll try.”
He asks for a great deal of money, and sets off. He travels on, and on, and on, and he had to pass a wide river. He speaks to the ferryman, and pays the passage money, and tells him that perhaps he will have a heavy load on his return, but that he will be well paid. [17]
He asks for a lot of money and sets off. He keeps traveling, and traveling, and traveling, and he has to cross a wide river. He talks to the ferryman, pays the fare, and tells him that he might have a heavy load on the way back, but that he will pay well. [__A_TAG_PLACEHOLDER_0__]
He lands on the other side; but he had yet a long way to go in the forest, because the Tartaro lived in a corner of the mountain. At last he arrives, and knocks at the door. An old, old woman comes to him, and says to him,
He lands on the other side, but he still has a long way to go in the forest because the Tartaro lives in a corner of the mountain. Finally, he arrives and knocks at the door. An extremely old woman comes to him and says,
“Be off from here as quickly as possible; my son smells the smell of a Christian a league off.”
“Get out of here as fast as you can; my son can smell a Christian from a mile away.”
“To eat me here, or to eat me elsewhere, it is all the same to me.”
"Whether it's to eat me here or to eat me somewhere else, it's all the same to me."
But he goes outside, and hides himself under a great heap of cut ferns. He had scarcely been there a moment, when he hears a deep breathing and a grinding of teeth, which sounded like thunder. He stops where he is, trembling. The Tartaro goes to his house, and asks his mother if there is not some Christian or other hidden here.
But he steps outside and hides under a big pile of cut ferns. He had barely settled in when he hears a deep breathing and the grinding of teeth that sound like thunder. He freezes, trembling. The Tartaro goes to his house and asks his mother if there’s any Christian or anyone else hidden here.
“No, no,” says she. “But eat away, your dinner is all ready.”
“No, no,” she says. “But go ahead and eat, your dinner is all ready.”
“No, no! I must eat this Christian first.”
“No, no! I have to eat this Christian first.”
He goes hunting, looking, looking into every corner. He goes to the heap of ferns, and pulls off some to put them on one side; but our Petit Perroquet was quite, quite at the bottom. The Tartaro was just on the point of finding him, but he grew tired, and went indoors, and began to eat and to drink enormously. Our Petit Perroquet creeps out of his ferns, and goes off to the stable. The horse had a big bell round his neck, but he fills it with ferns (this bell was as large as the big bell in the church of St. Jean de Luz). He mounts on the horse’s back, and very soon he arrives at the ferry, and the ferryman comes to meet him. Together they get the horse into the ferry-boat as well as they could, and they cross over. He gave him a handsome reward. As soon as he was on the other side, the Tartaro appeared, crying out to him to give him his horse back again, and that he would give him all he could wish for. He replies, “No,” and goes off full gallop. When he came near the king’s palace he took the fern out of the bell, and everybody comes running out of doors or to the windows. All the world was astonished to see Petit Perroquet return.
He goes hunting, searching every corner. He approaches the pile of ferns and pulls some aside, but our Petit Perroquet is hiding deep down. The Tartaro is just about to find him, but he gets tired and heads inside to eat and drink a lot. Our Petit Perroquet sneaks out from the ferns and makes his way to the stable. The horse has a big bell around its neck, which he fills with ferns (this bell is as large as the big bell in the church of St. Jean de Luz). He climbs onto the horse’s back, and soon he arrives at the ferry, where the ferryman comes to greet him. Together, they manage to get the horse onto the ferry, and they cross over. He gives the ferryman a generous tip. As soon as he reaches the other side, the Tartaro appears, shouting for him to return his horse, offering everything he could desire. He replies, “No,” and rides off at full speed. When he gets close to the king’s palace, he removes the ferns from the bell, and everyone rushes out of their houses or leans out of the windows. Everyone is amazed to see Petit Perroquet return.
The king was in ecstasy. He did not know what to say, [18]but he liked him even more than he did formerly, and the princess did also. The other prince was not at all pleased, and he begins to think of some other plot. He goes off to find the king, and he says to him,
The king was in bliss. He didn’t know what to say, [__A_TAG_PLACEHOLDER_0__] but he liked him even more than before, and the princess did too. The other prince was not happy at all, and he started thinking of another scheme. He went off to find the king and said to him,
“Do you not know that Petit Perroquet says that he could bring the Tartaro’s diamond?”
“Don't you know that Petit Perroquet says he could bring the Tartaro's diamond?”
The king sends for Petit Perroquet, and says to him,
The king calls for Petit Perroquet and says to him,
“It seems that you say you can get the Tartaro’s diamond?”
“It seems you say you can get the Tartaro diamond?”
“I certainly did not say any such thing.”
“I definitely didn’t say anything like that.”
“Yes, yes—you said it.”
“Yeah, you said it.”
“No, no! I did not say it; but I will try, if you give me all I shall ask for.”
“No, no! I didn’t say that; but I’ll try if you give me everything I ask for.”
And he asks for a great deal of money.
And he asks for a lot of money.
He goes off, and reaches the ferry, and pays the ferryman well, and goes far, far, far away into the forest, till he gets to the house of the Tartaro. The old woman tells him to be off from there; and he goes and hides himself again in the ferns. And he stops there until the Tartaro comes to the house, just as he did the first time. He turns over nearly all the ferns, and leaves him scarcely covered. He stops quietly there all the time that the Tartaro was having his huge supper, and when he thinks he has finished, and is taking his nap, he creeps out very, very gently. The Tartaro always put his diamond under his pillow, and he takes it away without waking him, and escapes, running off as fast as if to break his feet. The ferryman is there, and he crosses him over, and he pays him well. The Tartaro appears on the other side again, and calls out to him telling him to give him back his diamond, and that he would give him all that he could wish for. He answers, “No, no!” and runs on to the king’s house.
He leaves and gets to the ferry, pays the ferryman well, and travels far into the forest until he reaches the Tartaro's house. The old woman tells him to get lost, so he hides in the ferns again. He stays there until the Tartaro arrives at the house, just like the first time. The Tartaro flips over almost all the ferns, leaving him barely covered. He sits quietly while the Tartaro enjoys his huge meal, and when he thinks the meal is over and is about to take a nap, he carefully sneaks out. The Tartaro always puts his diamond under his pillow, and he manages to take it without waking him, then he runs off as fast as he can. The ferryman is waiting for him, and he ferries him across, and he pays him well. The Tartaro shows up on the other side and shouts at him to return his diamond, offering him anything he wants in return. He replies, “No, no!” and runs straight to the king’s house.
When he arrived there, the king did not know what to do. One feasted him, and another feasted him, and all the world was busied about him, and everyone loved him more and more, and the princess as well as the rest. The wicked prince did not know what to think of it. He was eaten up with jealousy, and he thought of something else, and said to the king: [19]
When he got there, the king was unsure of what to do. One person treated him to a feast, then another, and everyone was all about him, loving him more and more, including the princess. The wicked prince was confused by it all. He was consumed by jealousy, thought of something else, and said to the king: [__A_TAG_PLACEHOLDER_0__]
“Petit Perroquet says that he can bring the Tartaro himself.”
“Petit Perroquet says he can bring the Tartaro himself.”
The king sends for Petit Perroquet, and says to him:
The king calls for Petit Perroquet and says to him:
“It appears that you have said that you will bring the Tartaro himself here.”
"It seems you've said that you'll bring Tartarus himself here."
“No, no, no, I did not say anything at all like that; but if you will give me all I ask for, I will try. You must have a carriage made of iron, half-a-yard thick, and three horses to draw it, and lots of money. When all that is ready, I will set out.”
“No, no, no, I didn't say anything like that; but if you give me everything I'm asking for, I'll give it a shot. You need to have a carriage made of iron, half a yard thick, three horses to pull it, and a lot of money. Once all that is set up, I'll be on my way.”
He asks, also, for a barrel of honey, another of feathers, and two horns, and starts off.
He also asks for a barrel of honey, another barrel of feathers, and two horns, and then heads off.
When he comes to the ferry, it was no easy thing to get this carriage into the boat. When he has got to the other side, he first puts himself into the barrel of honey, and then into the barrel of feathers, and ties the horns on to his head, and then mounts as postilion. He then comes to the Tartaro’s house, and just then he happened to be at home. Petit Perroquet knocks at the door. The Tartaro himself comes to open, and asks:
When he arrives at the ferry, getting his carriage onto the boat isn’t easy. Once he makes it to the other side, he first climbs into the barrel of honey, then into the barrel of feathers, ties the horns to his head, and then climbs on as the postilion. He then arrives at the Tartaro’s house, and luckily, he’s home. Petit Perroquet knocks at the door. The Tartaro himself answers, asking:
“Who are you? You!”
“Who are you? You!”
“I!!—I am the oldest of all the devils in hell.”
“I!!—I’m the oldest of all the devils in hell.”
He opens the carriage door for him, and says:
He opens the carriage door for him and says:
“Get in there.”
"Get in there."
The Tartaro gets in, and Petit Perroquet, very glad, starts off, and arrives at the ferry. He crosses, as he best can, with his carriage and horses. He pays the ferryman generously, and comes to the king’s palace. They were all terrified when they saw that he had the Tartaro there. They tried to shoot him with cannon, but he caught the bullets, and sent them back as if they had been balls to play with. They could not kill him in that way, so they finished him with other arms.
The Tartaro gets in, and Petit Perroquet, feeling very happy, sets off and arrives at the ferry. He crosses over, managing the best he can with his carriage and horses. He pays the ferryman well and reaches the king’s palace. Everyone was scared when they saw that he had the Tartaro with him. They attempted to shoot him with cannons, but he caught the bullets and sent them back as if they were just play balls. They couldn't kill him that way, so they ended up using different weapons.
As Petit Perroquet had well gained her, they gave him the princess in marriage. He sent for his mother to the court, and as they lived well, so they died happily.
As Petit Perroquet had truly won her heart, they gave him the princess to marry. He called for his mother to join them at the court, and since they lived well, they also passed away happily.
Pierre Bertrand. [20]
Pierre Bertrand. [__A_TAG_PLACEHOLDER_0__]
1 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.
1 There seems to be a Basque root “Tar,” which appears in the words, “Tarro, Tarrotu, v., to grow a little bigger. Tarrapataka, adv., walking with urgency and making noise.” —Salaberry’s “Bas-Navarre Vocabulary,” sub voce. Cf. Campbell’s “Tales of the Western Highlands,” Vol. II., 94:—“He heard a loud Tartar noise,” with Tartar printed as if it were a Gaelic word.
2 Cf. also Müller’s “Fragmenta Historicorum Græcorum” (Didot, Paris, 1841), Vol. I., p. 246. “Ephori Fragmenta,” 51, with the references there given.
2 See also Müller’s “Fragments of Greek Historians” (Didot, Paris, 1841), Vol. I., p. 246. “Ephori Fragmenta,” 51, along with the references provided there.
3 Cf. also the Gaelic, “The Story and the Lay of the Great Fool,” Campbell, Vol. III., pp. 146–154.
3 See also the Gaelic, “The Story and the Lay of the Great Fool,” Campbell, Vol. III., pp. 146–154.
4 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.”
4 This talking giant’s ring is mentioned in Campbell’s “Popular Tales of the West Highlands,” Vol. I., p. 111, in the story called “Conall the Yellow One.” He also references (p. 153) Grimm’s story of the “Robber and his Sons,” where the same ring shows up:—“He wears the gold ring that the giant gave him, which makes him shout, ‘Here I am!’ He bites off his own finger to escape.”
5 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.”
5 See Campbell’s “Mac-a-Rusgaich,” Vol. II., 305:—“I’m putting it in the agreement that if either of us takes the rue, a strip will be removed from his skin, from the back of his head to his heel.”
6 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.
6 Salamanca was famously known as a center of witchcraft and evil during De Lancre’s time (1610). He frequently makes puns on this term. This is connected to “Sel y manque,” etc. Also, check out the story of Gerbert, Pope Sylvester II., from the 10th century.
7 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).
7 This incident is taken from Cenac-Moncaut’s Gascon story, "Le Coffret de la Princesse." "Popular Literature of Gascony," p. 193 (Dentu, Paris, 1868).
8 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.
8 For this incident, look at the death of the giant in one of the versions of “Jack the Giant-Killer,” especially “the Irish version of Jack the Giant-Killer.” Campbell, Vol. II., p. 327.
9 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.
9 This agreement is also found in Norse traditions and in Brittany. See “Popular Tales of Great Britain,” by Loys Brueyre, pp. 25, 26. This is an excellent work. The situation with Shylock in the “Merchant of Venice” will come to mind for everyone.
10 Literally, “Marsh of the Basa-Andre.” The “Puits des Fées” are common in France, especially in the Landes and in the Gironde.
10 Literally, “Marsh of the Basa-Andre.” The “Fairy Well” are common in France, especially in the Landes and in the Gironde.
11 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.
11 Only in this story, and one other, is the term “prince” used instead of “king’s son.” Check Campbell’s Gaelic in this regard. This story likely originates from the French, and the Tartaro is simply a giant.

II—The Heren-Suge.—The Seven-Headed Serpent.
It would only be spoiling good work by bad to attempt to re-write the exhaustive essay which appears, under the heading of “St. George,” in Baring Gould’s “Curious Myths of the Middle Ages.” He there traces the atmospheric myth in which the Dragon is the storm-cloud, the Maiden the earth, and the Hero the sun, through all the forms of the great Aryan legend, in Indian, Egyptian, Phœnician, Italic, Keltic, Teutonic, and Scandinavian mythology. He shows that it was merely by a mistaken metaphor1 that St. George came to assume the place, and wear the glories of the solar hero; and that England only followed in the wake of other countries, in making him her national Saint and Patron.
It would just ruin good work to try to rewrite the comprehensive essay titled “St. George” in Baring Gould’s “Curious Myths of the Middle Ages.” He explores the atmospheric myth where the Dragon represents the storm-cloud, the Maiden symbolizes the earth, and the Hero stands for the sun, tracing it through the various forms of the renowned Aryan legend found in Indian, Egyptian, Phoenician, Italic, Celtic, Teutonic, and Scandinavian mythology. He demonstrates that St. George ended up taking the role and glory of the solar hero purely by a misunderstanding of metaphor, and that England merely followed suit after other nations in declaring him her national saint and patron.
We will, therefore, now only glance at some of the Basque and Pyrenean forms of this wide-spread myth. M. Cerquand boldly places one form of the story, which is attached to the house of Belzunce, among historical legends. But the history of Belzunce and the Dragon stands in the same relation [21]to the original myth as does that of Guy, Earl of Warwick, Moor of Moor Hall, and of scores of other heroes. In a Basque version, collected by ourselves, the concluding words show that in this form it is simply an Eponymous legend, to account for the name, “and that is whence comes the name of Belzunce.” The oldest Pyrenean version with which we are acquainted is that of the “Serpent d’Isabit.” We give the outlines of it from memory, as we heard, and read it, at Bagnères de Bigorre.
We will now briefly look at some of the Basque and Pyrenean versions of this widespread myth. M. Cerquand confidently categorizes one version related to the house of Belzunce as a historical legend. However, the story of Belzunce and the Dragon is tied to the original myth in the same way as stories about Guy, Earl of Warwick, Moor of Moor Hall, and many other heroes. In a Basque version that we collected, the final words indicate that this version is mainly an Eponymous legend, meant to explain the name: “and that is where the name of Belzunce comes from.” The oldest Pyrenean version we know is the one about the “Serpent d’Isabit.” We recall its main points from what we heard and read in Bagnères de Bigorre.
The serpent lay with his head resting on the summit of the Pic du Midi de Bigorre, his neck stretched down towards Barèges, while his body filled the whole valley of Luz, St. Sauveur, and Gédres, and his tail was coiled in the hollow below the cirque of Gavarnie. He fed but once in three months, or the whole country would have been desolate. With a strong inspiration of his breath, he drew into his capacious maw, across the valleys, whole flocks of sheep and goats, herds of oxen, men, women, children, the population of whole villages at once. He was now asleep, and inert, after such a repast. The whole male population of several valleys assembled to consult on what should be done. After long and fruitless debate an old man arose and spoke:—“We have nearly three months yet before he will wake; let us cut down all the forests on the opposite hills; then let us bring all our forges and all the iron we possess, and with the wood thus cut down let us melt it all into one red-hot fiery mass; then we will hide ourselves behind the rocks, and make all the noise we can to try and awaken the monster.” So said, so done. The serpent awoke in a rage at having his slumbers broken, he saw something bright on the opposite side of the valley, and drew in a long breath, and the fiery mass, with a roar like a thunderbolt, flew across the valley, right down the monster’s throat. Then, what convulsions ensued; rocks were uptorn or split open, the mountains were shattered, the glaciers beaten into dust as the serpent twisted and lashed about in his agony. To quench his agony of thirst [22]he descended to the valley, and drank up all the streams from Gavarnie to Pierrefitte. Then, in his last convulsion, he threw himself back upon the mountain side and expired; his head rested in a deep hollow; as the fire within him slowly cooled, the water he had swallowed poured out of his mouth, and formed the present Lac d’Isabit. In M. Cerquand’s legend of the Dragon d’Alçay, the red-hot iron is replaced by “a cow’s skin full of gunpowder.” In all the Basque legends of this class the hero dies.
The serpent lay with his head on the peak of Pic du Midi de Bigorre, his neck stretching down toward Barèges, while his body filled the entire valleys of Luz, St. Sauveur, and Gédres, with his tail coiled in the hollow beneath the cirque of Gavarnie. He fed only once every three months, or the entire area would have been devastated. With a deep breath, he drew in flocks of sheep and goats, herds of oxen, men, women, children, and the populations of whole villages at once. Now, he was asleep and motionless after such a feast. The entire male population of several valleys gathered to discuss what should be done. After a long and unproductive debate, an elder stood up and said: “We have nearly three months before he wakes; let’s cut down all the forests on the opposite hills. Then, let’s bring all our forges and all the iron we have, and with the wood we've chopped down, let’s melt it into one red-hot mass. Then we’ll hide behind the rocks and make as much noise as we can to try to wake the monster.” So they did. The serpent woke up in a rage at having his sleep disturbed, noticed something bright across the valley, took a deep breath, and the fiery mass, with a roar like thunder, shot across the valley right down the monster’s throat. What convulsions followed! Rocks were torn apart or shattered, the mountains crumbled, and the glaciers turned to dust as the serpent thrashed in agony. To quench his terrible thirst, he descended to the valley and drank up all the streams from Gavarnie to Pierrefitte. Then, in his final convulsion, he threw himself back against the mountainside and died; his head resting in a deep hollow. As the fire inside him slowly cooled, the water he had swallowed poured out of his mouth, forming the current Lac d’Isabit. In M. Cerquand’s legend of the Dragon d’Alçay, the red-hot iron is replaced by “a cow’s skin full of gunpowder.” In all the Basque legends of this kind, the hero dies.
But these legends differ widely from the following tales; there is in them no princess to be rescued, no charcoal-burner, no marriage, or any other wonders. Were it not for their still closer resemblance to the Gaelic tales, we should suspect the following legends to be simply translations of some French legend of St. George. As we remarked before, like the Deccan cobras, the Heren-Suge is always seven-headed. It is strange, too, to notice that the princess always behaves in the same chivalrous way. “One is enough to die.” The union, too, of Tartaro and Heren-Suge in the same tale is curious.
But these legends are very different from the ones that follow; there's no princess to save, no charcoal-burner, no marriage, or any other wonders. If they didn’t resemble the Gaelic tales so closely, we might think the upcoming legends were just translations of some French story about St. George. As we mentioned before, like the Deccan cobras, the Heren-Suge is always seven-headed. It’s also odd to see that the princess consistently acts in the same heroic way. “One is enough to die.” The combination of Tartaro and Heren-Suge in the same story is interesting, too.
The Grateful Tartaro and the Heren-Suge.
Like many of us who are, have been, and shall be in the world, there was a king, and his wife, and three sons. The king went out hunting one day, and caught a Tartaro. He brings him home, and shuts him up in prison in a stable, and proclaims, by sound of trumpet, that all his court should meet the next day at his house, that he would give them a grand dinner, and afterwards would show them an animal such as they had never seen before.
Like many of us who are, have been, and will be in the world, there was a king, his wife, and three sons. One day, the king went out hunting and caught a Tartaro. He brought it home and locked it up in a stable, then announced with a trumpet that all his court should gather at his house the next day for a grand dinner, where he would show them an animal like none they had ever seen before.
The next day the two sons of the king were playing at ball against (the wall of) the stable where the Tartaro was confined, and the ball went into the stable. One of the boys goes and asks the Tartaro—
The next day, the king's two sons were playing ball near the stable where the Tartaro was kept, and the ball ended up inside the stable. One of the boys went to ask the Tartaro—
“Throw me back my ball, I beg you.” [23]
“Please throw my ball back, I’m begging you.” [__A_TAG_PLACEHOLDER_0__]
He says to him, “Yes, if you will deliver me.”
He says to him, “Yes, if you’ll help me out.”
He replies, “Yes, yes,” and he threw him the ball.
He responds, “Yeah, yeah,” and tossed him the ball.
A moment after, the ball goes again to the Tartaro. He asks for it again; and the Tartaro says:
A moment later, the ball goes back to the Tartaro. He asks for it again, and the Tartaro says:
“If you will deliver me, I will give it you.”
“If you help me out, I’ll give it to you.”
The boy says, “Yes, yes,” takes his ball, and goes off.
The boy says, “Yeah, yeah,” grabs his ball, and walks away.
The ball goes there for the third time, but the Tartaro will not give it before he is let out. The boy says that he has not the key. The Tartaro says to him:
The ball goes there for the third time, but the Tartaro won’t give it up until he’s let out. The boy says he doesn’t have the key. The Tartaro says to him:
“Go to your mother, and tell her to look in your right ear, because something hurts you there. Your mother will have the key in her left pocket, and take it out.”
“Go to your mom and tell her to check your right ear because it hurts there. Your mom will have the key in her left pocket, and she'll take it out.”
The boy goes, and does as the Tartaro had told him. He takes the key from his mother, and delivers the Tartaro. When he was letting him go, he said to him:
The boy leaves and does what the Tartaro instructed. He takes the key from his mother and releases the Tartaro. As he was letting him go, he said to him:
“What shall I do with the key now? I am undone.”
“What should I do with the key now? I'm at a loss.”
The Tartaro says to him:
The Tartaro tells him:
“Go again to your mother, and tell her that your left ear hurts you, and ask her to look, and you will slip the key into her pocket.”
“Go back to your mom and tell her that your left ear is hurting, and ask her to check it, and you can sneak the key into her pocket.”
The Tartaro tells him, too, that he will soon have need of him, and that he will only have to call him, and he will be his servant for ever.
The Tartaro tells him that he will soon need him, and that he will just have to call, and he will be his servant forever.
He puts the key back; and everyone came to the dinner. When they had eaten well, the king said to them that they must go and see this curious thing. He takes them all with him. When they are come to the stable, he finds it empty. Judge of the anger of this king, and of his shame. He said:
He puts the key back, and everyone arrives for dinner. After they’ve had a great meal, the king tells them they need to go see this interesting thing. He takes them all with him. When they get to the stable, he finds it empty. Just imagine how angry and embarrassed this king was. He said:
“I should like to eat the heart, half cooked, and without salt, of him who has let my beast go.”
“I want to eat the heart, half cooked and without salt, of the person who let my beast go.”
Some time afterwards the two brothers quarreled in presence of their mother, and one said to the other:
Some time later, the two brothers argued in front of their mother, and one said to the other:
“I will tell our father about the affair of the Tartaro.”
“I’ll tell Dad about the deal with the Tartaro.”
When the mother heard that, she was afraid for her son, and said to him:
When the mother heard that, she got worried about her son and said to him:
“Take as much money as you wish.” [24]
“Take as much money as you want.” [__A_TAG_PLACEHOLDER_0__]
And she gave him the Fleur-de-lis.2 “By this you will be known everywhere as the son of a king.”
And she gave him the Fleur-de-lis.2 “With this, you will be recognized everywhere as the son of a king.”
Petit Yorge3 goes off, then, far, far, far away. He spends and squanders all his money, and does not know what to do more. He remembers the Tartaro, and calls him directly. He comes, and Petit Yorge tells him all his misfortunes; that he has not a penny left, and that he does not know what will become of him. The Tartaro says to him:
Petit Yorge3 leaves for a distant place. He spends and wastes all his money and has no idea what to do next. He remembers the Tartaro and calls for him directly. He arrives, and Petit Yorge shares all his troubles; that he has not a penny left and doesn’t know what will happen to him. The Tartaro says to him:
“When you have gone a short way from here you will come to a city. A king lives there. You will go to his house, and they will take you as gardener. You will pull up everything that there is in the garden, and the next day everything will come up more beautiful than before. Also, three beautiful flowers will spring up, and you will carry them to the three daughters of the king, and you will give the most beautiful to the youngest daughter.”4
“When you walk a little ways from here, you’ll reach a city. A king lives there. You’ll go to his home, and they will hire you as a gardener. You’ll pull up everything in the garden, and the next day, everything will bloom more beautifully than ever. Also, three beautiful flowers will grow, and you’ll take them to the king’s three daughters, giving the most beautiful one to the youngest daughter.”4
He goes off, then, as he had told him, and he asks them if they want a gardener. They say, “Yes, indeed, very much.” He goes to the garden, and pulls up the fine cabbages, and the beautiful leeks as well. The youngest of the king’s daughters sees him, and she tells it to her father, and her father says to her:
He leaves as he promised and asks them if they need a gardener. They reply, “Yes, we definitely do.” He heads to the garden, pulls up the nice cabbages, and the lovely leeks too. The youngest of the king's daughters sees him and tells her father, who responds:
“Let him alone, we will see what he will do afterwards.” And, indeed, the next day he sees cabbages and leeks such as he had never seen before. Petit Yorge takes a flower to each of the young ladies. The eldest said:
“Leave him be, we’ll see what he does next.” And, indeed, the next day he sees cabbages and leeks like he’s never seen before. Petit Yorge brings a flower to each of the young ladies. The eldest said:
“I have a flower that the gardener has brought me, which has not its equal in the world.”
“I have a flower that the gardener brought me, which has no equal in the world.”
And the second says that she has one, too, and that no one has ever seen one so beautiful. And the youngest said that hers was still more beautiful than theirs, and the others [25]confess it, too. The youngest of the young ladies found the gardener very much to her taste. Every day she used to bring him his dinner. After a certain time she said to him,
And the second one says she has one too, and that no one has ever seen one so beautiful. And the youngest said that hers was even more beautiful than theirs, and the others [__A_TAG_PLACEHOLDER_0__] admit it too. The youngest lady really liked the gardener. Every day she would bring him his lunch. After a while, she said to him,
“You must marry me.”
“You have to marry me.”
The lad says to her,
The guy says to her,
“That is impossible. The king would not like such a marriage.”
"That's impossible. The king wouldn't approve of such a marriage."
The young girl says, too,
The girl says, too,
“Well, indeed, it is hardly worth while. In eight days I shall be eaten by the serpent.”
“Well, it's really not worth it. In eight days, I'll be eaten by the snake.”
For eight days she brought him his dinner again. In the evening she tells him that it is for the last time that she brought it. The young man tells her, “No,” that she will bring it again; that somebody will help her.
For eight days, she brought him his dinner again. In the evening, she tells him that this is the last time she’ll bring it. The young man tells her, “No,” that she will bring it again; that someone will help her.
The next day Petit Yorge goes off at eight o’clock to call the Tartaro. He tells him what has happened. The Tartaro gives him a fine horse, a handsome dress, and a sword, and tells him to go to such a spot, and to open the carriage door with his sword, and that he will cut off two of the serpent’s heads. Petit Yorge goes off to the said spot. He finds the young lady in the carriage. He bids her open the door. The young lady says that she cannot open it—that there are seven doors, and that he had better go away; that it is enough for one person to be eaten.
The next day, Petit Yorge sets off at eight o'clock to visit the Tartaro. He explains what happened. The Tartaro gives him a beautiful horse, a stylish outfit, and a sword, instructing him to go to a specific location, open the carriage door with his sword, and he will take care of two of the serpent's heads. Petit Yorge heads to the designated spot. He finds the young lady in the carriage and asks her to open the door. The young lady replies that she can't—it has seven doors, and he should leave; it's enough for one person to be eaten.
Petit Yorge opens the doors with his sword, and sat down by the young lady’s side. He tells her that he has hurt his ear, and asks her to look at it;5 and at the same time he cuts off seven pieces of the seven robes which she wore, without the young lady seeing him. At the same instant comes the serpent, and says to him,
Petit Yorge opens the doors with his sword and sits down next to the young lady. He tells her that he has hurt his ear and asks her to check it out; 5 and at the same time, he cuts off seven pieces from the seven robes she was wearing, without her noticing. Just then, the serpent arrives and says to him,
“Instead of one, I shall have three to eat.”
“Instead of one, I’ll have three to eat.”
Petit Yorge leaps on his horse, and says to him, [26]
Petit Yorge jumps on his horse and says to him, [__A_TAG_PLACEHOLDER_0__]
“You will not touch one; you shall not have one of us.”
"You won't touch one; you can't have any of us."
And they begin to fight. With his sword he cuts off one head, and the horse with his feet another;6 and the serpent asks quarter till the next day. Petit Yorge leaves the young lady there. The young lady is full of joy; she wishes to take the young man home with her. He will not go by any means (he says); that he cannot; that he has made a vow to go to Rome; but he tells her that “to-morrow my brother will come, and he will be able to do something, too.” The young lady goes home, and Petit Yorge to his garden. At noon she comes to him with the dinner, and Petit Yorge says to her,
And they start to fight. With his sword, he chops off one head, and the horse kicks off another;6 and the serpent begs for mercy until the next day. Petit Yorge leaves the young lady there. The young lady is very happy; she wants to take the young man home with her. He refuses to go, saying he can’t because he has promised to go to Rome; but he tells her, “Tomorrow my brother will come, and he’ll be able to help too.” The young lady goes home, and Petit Yorge heads to his garden. At noon, she brings him lunch, and Petit Yorge says to her,
“You see that it has really happened as I told you—he has not eaten you.”
"You see that it actually happened like I said—he hasn't eaten you."
“No, but to-morrow he will eat me. How can it be otherwise?”
“No, but tomorrow he will eat me. How can it be any different?”
“No, no! To-morrow you will bring me my dinner again. Some help will come to you.”
“No, no! Tomorrow you’ll bring me my dinner again. Some help will come to you.”
The next day Petit Yorge goes off at eight o’clock to the Tartaro, who gives him a new horse, a different dress, and a fine sword. At ten o’clock he arrives where the young lady is. He bids her open the door. But she says to him that she cannot in any way open fourteen doors; she is there, and that she cannot open them, and he should go away; that it is enough for one to be eaten; that she is grieved to see him there. As soon as he has touched them with his sword, the fourteen doors fly open. He sits down by the side of the young lady, and tells her to look behind his ear, for it hurts him. At the same time he cuts off fourteen bits of the fourteen dresses she was wearing. As [27]soon as he had done that, the serpent comes, saying joyfully,
The next day, Petit Yorge leaves at eight o’clock to see the Tartaro, who gives him a new horse, a different outfit, and a great sword. By ten o’clock, he arrives where the young lady is. He asks her to open the door. But she tells him that she can’t possibly open fourteen doors; she’s there, can’t do it, and he should go away; that one person being eaten is enough; she feels sorry to see him there. As soon as he touches the doors with his sword, the fourteen doors swing open. He sits down next to the young lady and tells her to check behind his ear because it hurts. At the same time, he cuts off fourteen pieces from the fourteen dresses she is wearing. As [__A_TAG_PLACEHOLDER_0__] soon as he finishes that, the serpent comes in, saying joyfully,
“I shall eat not one, but three.”
“I will eat not one, but three.”
Petit Yorge says to him, “Not even one of us.”
Petit Yorge says to him, “Not a single one of us.”
He leaps on his horse, and begins to fight with the serpent. The serpent makes some terrible bounds. After having fought a long time, at last Petit Yorge is the conqueror. He cuts off one head, and the horse another with his foot. The serpent begs quarter till the next day. Petit Yorge grants it, and the serpent goes away.
He jumps on his horse and starts to fight the serpent. The serpent makes some wild leaps. After fighting for a long time, Petit Yorge finally wins. He chops off one head, and the horse kicks off another with its hoof. The serpent begs for mercy until the next day. Petit Yorge agrees, and the serpent slithers away.
The young lady wishes to take the young man home, to show him to her father; but he will not go by any means. He tells her that he must go to Rome, and set off that very day; that he has made a vow, but that to-morrow he will send his cousin, who is very bold, and is afraid of nothing.
The young woman wants to take the young man home to introduce him to her father, but he refuses. He tells her he has to go to Rome and is leaving that very day; he made a vow, but tomorrow he will send his cousin, who is very bold and fears nothing.
The young lady goes to her father’s, Petit Yorge to his garden. Her father is delighted, and cannot comprehend it at all. The young lady goes again with the dinner. The gardener says to her,
The young woman goes to her father’s, Petit Yorge, to his garden. Her father is thrilled and can’t understand it at all. The young woman goes again with dinner. The gardener says to her,
“You see you have come again to-day, as I told you. To-morrow you will come again, just the same.”
“You see you’ve come back today, just like I said you would. Tomorrow, you’ll come back again, just the same.”
“I should be very glad of it.”
"I'd really appreciate that."
On the morrow Petit Yorge went off at eight o’clock to the Tartaro. He said to him that the serpent had still three heads to be cut off, and that he had still need of all his help. The Tartaro said to him,
On the next day, Petit Yorge left for the Tartaro at eight o’clock. He told him that the serpent still had three heads that needed to be chopped off, and that he still needed all of his help. The Tartaro replied to him,
“Keep quiet, keep quiet; you will conquer him.”
“Stay quiet, stay quiet; you'll defeat him.”
“The serpent will say to you, ‘Ah! if I had a spark between my head and my tail, how I would burn you and your lady, and your horse and your dog.’ And you, you will say to him then, ‘I, if I had the good-scented water to [28]smell, I would cut off a head from thee, the horse another, and the dog another.’ You will give this bottle to the young lady, who will place it in her bosom, and, at the very moment you shall say that, she must throw some in your face, and on the horse and on the dog as well.”
"The snake will say to you, ‘Oh! if I had a spark between my head and my tail, how I'd burn you, your lady, your horse, and your dog.’ And you will reply, ‘If I had some fragrant water to [__A_TAG_PLACEHOLDER_0__] smell, I would cut off your head, the horse’s head, and the dog’s head too.’ You will give this bottle to the young lady, who will tuck it in her bosom, and at that very moment you say it, she has to splash some in your face and on the horse and the dog as well."
He goes off then without fear, because the Tartaro had given him this assurance. He comes then to the carriage. The young lady says to him,
He then goes off without fear, because the Tartaro had given him this assurance. He arrives at the carriage. The young lady says to him,
“Where are you going? The serpent will be here directly. It is enough if he eats me.”
“Where are you going? The snake will be here soon. It’s enough if he eats me.”
He says to her, “Open the door.”
He says to her, “Open the door.”
She tells him that it is impossible; that there are twenty-one doors. This young man touches them with his sword, and they open of themselves. This young man says to her, giving her the bottle,
She tells him it's impossible because there are twenty-one doors. This young man touches them with his sword, and they open by themselves. He says to her, handing her the bottle,
“When the serpent shall say, ‘If I had a spark between my head and my tail, I would burn you,’ I shall say to him, ‘If I had a drop of the good-scented water under my nose;’ you will take the bottle, and throw some over me in a moment.”
“When the serpent says, ‘If I had a spark between my head and my tail, I would burn you,’ I will say to him, ‘If I had a drop of the good-scented water under my nose;’ you will grab the bottle and splash some on me in an instant.”
He then makes her look into his ear, and, while she is looking, he cuts off twenty-one pieces from her twenty-one dresses that she was wearing. At the same moment comes the serpent, saying, with joy,
He then makes her look into his ear, and while she’s looking, he cuts off twenty-one pieces from the twenty-one dresses she was wearing. At the same moment, the serpent arrives, saying with joy,
“Instead of one, I shall have four to eat.”
"Instead of one, I'll have four to eat."
The young man said to him,
The young man said to him,
“And you shall not touch one of us, at any rate.”
“And you’re not going to touch any of us, either way.”
He leaps on his spirited horse, and they fight more fiercely than ever. The horse leaped as high as a house, and the serpent, in a rage, says to him,
He jumps on his energetic horse, and they fight harder than ever. The horse jumped as high as a house, and the serpent, in a fury, says to him,
“If I had a spark of fire between my tail and my head, I would burn you and your lady, and this horse and this terrible dog.”
“If I had a spark of fire between my tail and my head, I would burn you, your lady, this horse, and this awful dog.”
The young man says,
The guy says,
“I, if I had the good-scented water under my nose, I would cut off one of your heads, and the horse another, and the dog another.” [29]
“I, if I had the fragrant water right under my nose, I would chop off one of your heads, the horse's another, and the dog's another.” [__A_TAG_PLACEHOLDER_0__]
As he said that, the young lady jumps up, opens the bottle, and very cleverly throws the water just where it was wanted. The young man cuts off a head with his sword, his horse another, and the dog another; and thus they make an end of the serpent. This young man takes the seven tongues with him, and throws away the heads. Judge of the joy of this young lady. She wanted to go straight to her father with her preserver (she says), that her father must thank him too; that he owes his daughter to him. But the young man says to her that it is altogether impossible for him; that he must go and meet his cousin at Rome; that they have made a vow, and that, on their return, all three will come to her father’s house.
As he said that, the young lady jumped up, opened the bottle, and cleverly threw the water right where it was needed. The young man chopped off one head with his sword, his horse took another, and the dog got another; and that’s how they finished off the serpent. This young man took the seven tongues with him and discarded the heads. You can imagine the joy of this young lady. She wanted to go straight to her father with her savior (as she called him), so her father could thank him too; that he owed his daughter to him. But the young man told her it was completely impossible for him; he had to go meet his cousin in Rome; they had made a vow, and when they returned, all three would come to her father’s house.
The young lady is vexed, but she goes off without losing time to tell her father what has happened. The father is very glad that the serpent was utterly destroyed; and he proclaims in all the country that he who has killed the serpent should come forward with the proofs of it.
The young woman is annoyed, but she quickly goes to tell her father what happened. The father is very happy that the serpent has been completely defeated; and he announces throughout the land that anyone who has killed the serpent should come forward with proof.
The young lady goes again with the dinner to the gardener. He says to her,
The young woman goes back to the gardener with dinner. He says to her,
“I told you true, then, that you would not be eaten? Something has, then, killed the serpent?”
“I told you the truth, then, that you wouldn’t be eaten? So, something has killed the snake?”
She relates to him what had taken place.
She tells him what went down.
But, lo! some days afterwards there appeared a black charcoal-burner, who said that he had killed the serpent, and was come to claim the reward. When the young lady saw the charcoal-burner, she said immediately, that most certainly it was not he; that it was a fine gentleman, on horseback, and not a pest of a man like him. The charcoal-burner shows the heads of the serpent; and the king says that, in truth, this must be the man. The king had only one word to say, she must marry him. The young lady says, she will not at all; and the father began to compel her, (saying) that no other man came forward. But, as the daughter would not consent, to make a delay, the king proclaims in all the country, that he who killed the serpent would be capable of doing something else, too, and that, on [30]such a day, all the young men should assemble, that he would hang a diamond ring from a bell, and that whosoever riding under it should pierce the ring with his sword, should certainly have his daughter.9
But, look! A few days later, a black charcoal-burner showed up, claiming he had killed the serpent and was here to collect the reward. When the young lady saw the charcoal-burner, she immediately said it definitely wasn't him; it was a fine gentleman on horseback, not a guy like him. The charcoal-burner presented the serpent's heads, and the king stated that, indeed, this must be the guy. The king had only one thing to say: she must marry him. The young lady said she absolutely wouldn't, and her father started to pressure her, arguing that no other man had stepped up. But since the daughter refused to agree, to buy some time, the king announced throughout the land that anyone who killed the serpent could achieve even more, and that, on [__A_TAG_PLACEHOLDER_0__]that day, all the young men should gather, as he would hang a diamond ring from a bell, and whoever rode beneath it and pierced the ring with his sword would definitely get his daughter.9
From all sides arrive the young men. Our Petit Yorge goes off to the Tartaro, and tells him what has happened, and that he has again need of him. The Tartaro gives him a handsome horse, a superb dress, and a splendid sword. Equipped thus, Petit Yorge goes with the others. He gets ready. The young lady recognizes him immediately, and says so to her father. He has the good luck to carry off the ring on his sword; but he does not stop at all, but goes off galloping as hard as his horse can go. The king and his daughter were in a balcony, looking on at all these gentlemen. They saw that he still went on. The young lady says to her father:
From all directions, the young men are arriving. Our Petit Yorge heads off to the Tartaro and informs him of what’s happened and that he needs his help again. The Tartaro gives him a beautiful horse, an amazing outfit, and a magnificent sword. With this gear, Petit Yorge joins the others. He gets ready. The young lady instantly recognizes him and tells her father. He’s lucky enough to grab the ring from his sword, but he doesn’t stop at all; he takes off galloping as fast as his horse will go. The king and his daughter are on a balcony, watching all these gentlemen. They see that he keeps going. The young lady turns to her father and says:
“Papa, call him!”
“Dad, call him!”
The father says to her, in an angry tone,
The father says to her, in an angry tone,
“He is going off, because apparently he has no desire to have you.” And he hurls his lance at him. It strikes him on the leg. He still rides on. You can well imagine what chagrin for the young lady.
“He’s leaving because he clearly doesn’t want you.” And he throws his spear at him. It hits him on the leg. He keeps riding on. You can imagine how upset the young lady must be.
The next day she goes with the gardener’s dinner. She sees him with his leg bandaged. She asks him what it is.
The next day, she brings dinner to the gardener. She sees him with his leg wrapped up in a bandage. She asks him what happened.
The young lady begins to suspect something, and goes to tell to her father how the gardener had his leg tied up, and that he must go and ask him what is the matter. That he had told her that it was nothing. [31]
The young woman starts to feel suspicious and goes to tell her father that the gardener has his leg bandaged and that he should go ask him what’s going on. He had told her it was nothing. [__A_TAG_PLACEHOLDER_0__]
The king did not want to go, (and said) that she must get it out of the gardener; but to please his daughter, he says he will go there. He goes then, and asks him, “What is the matter?” He tells him that a blackthorn has run into him. The king gets angry, and says “that there is not a blackthorn in all his garden, and that he is telling him a lie.”
The king didn't want to go and said she needed to ask the gardener about it, but to make his daughter happy, he agreed to go. He went and asked him, “What’s going on?” The gardener told him that a blackthorn had pricked him. The king got angry and said, “There’s no blackthorn in my entire garden, and you’re lying to me.”
The daughter says to him,
The daughter tells him,
“Tell him to show it us.”
“Tell him to show it to us.”
He shows it to them, and they are astonished to see that the lance is still there. The king did not know what to think of it all. This gardener has deceived him, and he must give him his daughter. But Petit Yorge, uncovering his bosom, shows the “fleur-de-lis” there. The king did not know what to say; but the daughter said to him,
He shows it to them, and they are amazed to see that the lance is still there. The king was unsure of what to make of it all. This gardener has fooled him, and now he has to give him his daughter. But Petit Yorge, revealing his chest, shows the “fleur-de-lis” there. The king didn’t know what to say; but the daughter said to him,
“This is my preserver, and I will marry no one else than him.”
“This is my protector, and I won’t marry anyone else but him.”
Petit Yorge asks the king to send for five dressmakers, the best in the town, and five butchers. The king sends for them.
Petit Yorge asks the king to call for five dressmakers, the best in town, and five butchers. The king calls for them.
Petit Yorge asks the dressmakers if they have ever made any new dresses which had a piece out; and on the dressmakers saying “No,” he counts out the pieces and gives them to the dressmakers, asking if it was like that that they had given the dresses to the princess. They say, “Certainly not.”
Petit Yorge asks the dressmakers if they’ve ever made any new dresses that were missing a piece; when the dressmakers say “No,” he counts out the pieces and hands them over, asking if that’s how they had given the dresses to the princess. They reply, “Certainly not.”
He goes, then, to the butchers, and asks them, if they have ever killed animals without tongues? They say, “No!” He tells them, then, to look in the heads of the serpent. They see that the tongues are not there, and then he takes out the tongues he has.
He goes to the butchers and asks them if they've ever killed animals without tongues. They say, "No!" He then tells them to check the heads of the snake. They see that the tongues are missing, and then he takes out the tongues he has.
The king, having seen all that, has nothing more to say. He gives him his daughter. Petit Yorge says to him, that he must invite his father to the wedding, but on the part of the young lady’s father; and that they must serve him up at dinner a sheep’s heart, half cooked, and without salt. They make a great feast, and place this heart before this [32]father. They make him carve it himself, and he is very indignant at that. The son then says to him:
The king, after seeing all that, has nothing left to say. He gives his daughter to him. Petit Yorge tells him that he must invite his father to the wedding, but on behalf of the young lady’s father; and that they need to serve him a half-cooked sheep’s heart, without salt, for dinner. They throw a big feast and put this heart in front of this [__A_TAG_PLACEHOLDER_0__]father. They make him carve it himself, and he is very upset about that. The son then says to him:
“I expected that;” and he adds, “Ah! my poor father, have you forgotten how you said that you wished to eat the heart, half cooked, and without salt, of him who let the Tartaro go? That is not my heart, but a sheep’s heart. I have done this to recall to your memory what you said, and to make you recognize me.”
“I expected that,” he says. “Ah! my poor father, have you forgotten how you said you wanted to eat the heart, half cooked and without salt, of the one who let the Tartaro go? That’s not my heart, but a sheep’s heart. I did this to remind you of what you said and to help you recognize me.”
They embrace each other, and tell each other all their news, and what services the Tartaro had done him. The father returned happy to his house, and Petit Yorge lived very happily with his young lady at the king’s house; and they wanted nothing, because they had always the Tartaro at their service.
They hug each other and share all their news and what the Tartaro had done for him. The fatherreturned home happy, and Petit Yorge lived very happily with his young lady at the king's residence; they lacked for nothing because they always had the Tartaro at their service.
Laurentine.
Laurentine.
In a variation of the above tale, from the narration of Mariño Amyot, of St. Jean Pied de Port, the young prince, as a herdsman, kills with a hammer successively three Tartaros who play at cards with him; he then finds in their house all their riches and horses, barrels full of gold and silver, etc., and also three “olano,” which is described as an animal who serves the Tartaro, like a dog, but much larger and more terrible, but also more intelligent and able to do any message. He kills the serpent with the aid of the “olanos,” and the princess helps by striking the serpent’s tail with a sword,10 instead of sprinkling the “sweet-scented water.” The “olano” then steals dishes off the king’s table for the prince. The charcoal-burner comes; but at last the prince shows the tongues and pieces of dress, and all ends happily, except for the charcoal-burner, who is placed on the top of seven barrels of powder, and fire is applied beneath, and then nobody sees him any more. [33]
In a variation of the earlier story, told by Mariño Amyot from St. Jean Pied de Port, the young prince, while disguised as a herdsman, kills three Tartars who are playing cards with him using a hammer. He then discovers their riches, horses, and barrels filled with gold and silver in their home, along with three “olano,” described as large, fearsome animals that serve the Tartars like dogs but are smarter and capable of delivering messages. With the help of the “olanos,” he defeats a serpent, and the princess supports him by striking the serpent’s tail with a sword, instead of sprinkling “sweet-scented water.” The “olano” later steals dishes off the king’s table for the prince. The charcoal-burner arrives, but eventually, the prince reveals the tongues and pieces of clothing, leading to a happy ending, except for the charcoal-burner, who is placed atop seven barrels of gunpowder with fire lit below, and then he is never seen again. [__A_TAG_PLACEHOLDER_0__]
The commencement of the next is so different that we give it at length.
The start of the next one is so different that we present it in full.
The Seven-Headed Serpent.
Like many others in the world, there was a mother with her three sons. The eldest said to her that he wished to go from country to country, until he should find a situation as servant, and that she should give him a cake.
Like many others in the world, there was a mother with her three sons. The eldest told her that he wanted to travel from country to country until he found a job as a servant and asked her to give him a cake.
He sets out. While he is going through a forest he meets an old woman, who asks him for a morsel of his cake.11 He says to her, “No!” that he would prefer to throw it into the muddy clay. And the lad asks her if she knows of a servant’s place. She says, “No.” He goes on from forest to forest, until the night overtakes him. There comes to him a bear. He says to him,
He sets out. While he's walking through a forest, he meets an old woman who asks him for a piece of his cake. 11 He tells her, “No!” and that he would rather throw it into the muddy ground. Then the kid asks her if she knows of a job for a servant. She replies, “No.” He keeps moving from forest to forest until night falls. Then a bear approaches him. He says to the bear,
“Ant of the earth! who has given you permission to come here?”
“Ant of the earth! who allowed you to come here?”
“Who should give it me? I have taken it myself.”
“Who should give it to me? I’ve taken it myself.”
And the bear devours him.
And the bear eats him.
The second son asks his mother to give him a cake, for he wishes to go as a servant, like his brother. She gives him one, and he goes away like his brother. He meets an old woman, who says to him,
The second son asks his mother for a cake because he wants to go off and be a servant, just like his brother. She gives him one, and he sets off like his brother did. He encounters an old woman, who says to him,
“Give me a little of your cake.”
“Give me some of your cake.”
“I prefer to throw it into this muddy clay rather than to give you any of it.”
“I’d rather toss it into this muddy clay than give you any of it.”
He asks her if she knows of a servant’s place. She replies, “No.” And on he goes, on, on, on, deeper into the forest. He meets a huge bear. He says to him,
He asks her if she knows of a servant's place. She replies, "No." And he continues on, deeper into the forest. He encounters a massive bear. He says to the bear,
“Ant of the earth! Who has given you permission to come here?” [34]
“Ant of the earth! Who gave you the right to be here?” [__A_TAG_PLACEHOLDER_0__]
“Who should give it me? I have taken it myself.”
“Who should give it to me? I got it myself.”
And the bear devours him.
And the bear eats him.
The third son asks his mother to give him a cake, for he wishes to go off, like his brothers. He sets off, and walks on, and on, and on. And he finds an old woman. She asks him,
The third son asks his mom for a cake because he wants to leave, just like his brothers. He sets off and keeps walking and walking. Then he comes across an old woman. She asks him,
“Where are you going?”
“Where are you headed?”
“I want a situation as servant.”
“I want to be in a position as a servant.”
“Give me a little bit of your cake.”
“Give me a small piece of your cake.”
“Here! Take the whole as well, if you like.”
“Here! You can take the whole thing too, if you want.”
“No, no! A little bit is enough for me.”
“No, no! Just a little bit is enough for me.”
And he asks her if she knows of a servant’s place. She says to him,
And he asks her if she knows of a servant's place. She replies to him,
“Yes; you will find it far beyond the forest. But you will meet an enemy here; but I will give you a stick, with the touch of which you may kill him.”12
“Yes; you will find it well beyond the forest. But you'll encounter an enemy here; however, I will give you a stick that you can use to defeat him.”12
He goes on, and on, and on. There comes to him a bear, and says to him,
He keeps going, and going, and going. A bear comes up to him and says,
“Ant of the ground! Who has given you permission to come here?”
“Ground ant! Who gave you the okay to be here?”
“Who has given it me? I have taken it myself.”
“Who gave this to me? I took it myself.”
The lad gives him a little blow with his stick, and the bear gives a howl—
The kid gives him a light tap with his stick, and the bear lets out a howl—
“Oy, oy, oy!—spare my life! Oy, oy, oy!—spare my life!”
“Oy, oy, oy!—please spare my life! Oy, oy, oy!—please spare my life!”
But he said to him,
But he said to him,
“Tell me, then, how many you are in the place where you live?”
“Tell me, then, how many people live where you are?”
“Seven.”
"Seven."
He gives him another blow, and he falls stark dead.
He strikes him again, and he collapses lifeless.
He goes on, on, on, until he finds a palace. He goes in, and asks,
He keeps going until he finds a palace. He walks inside and asks,
“Do you want a servant?” [35]
"Do you want a servant?" [__A_TAG_PLACEHOLDER_0__]
They say to him,
They tell him,
“Yes, yes; our shepherd has gone away, and we want one.”
“Yes, yes; our shepherd has left, and we need one.”
They send him to bed; and the next day they give him a fine flock of sheep, and tell him not to go on the mountain, because it is full of large and savage animals, and to pay great attention, because the sheep always want to go there. The next day he goes off with his sheep, and all of them run away to this mountain, because the herbage was very good there. Our shepherd had, fortunately, not forgotten his stick, for at that moment there appeared before him a terrible bear.
They send him to bed, and the next day they give him a nice flock of sheep, telling him not to go up the mountain because it's filled with big, dangerous animals, and to be careful since the sheep always want to go there. The next day he takes his sheep, and they all run off to that mountain because the grass there is really good. Luckily, our shepherd didn't forget his stick, because at that moment, a huge bear appeared in front of him.
“Who has given you permission to come here?”
“Who gave you the okay to be here?”
“I have taken it myself.”
“I did it myself.”
“I must eat you.”
"I have to eat you."
He approaches, but our shepherd gives him a little blow with his stick, and he begins to cry out,
He comes closer, but our shepherd gives him a light tap with his stick, and he starts to shout,
“Oy, oy, oy!—spare my life!”
“Oy, oy, oy!—please spare me!”
“Tell me, then, how many you are where you live?”
“Tell me, then, how many of you are where you live?”
“We were seven yesterday, but to-day we are only six, with me.”
“We were seven yesterday, but today we are only six, including me.”
He gives him another blow, and he falls stark dead. And the shepherd hides him as well as he can in a hedge, and then he returns home with his sheep, well filled. That evening the sheep gave him a great deal of milk, and he made fine cheeses with it.13 The master and mistress were delighted to have such a servant. The next day he goes off again. As soon as he opened the stable-door the sheep start off running to the good pasture and fine herbage, and the same things (happen again). At the end of a moment there appears a bear, who asks him why he comes there into those parts. Our shepherd, with his stick, gives him a little blow on the neck, and the bear begins to cry,
He hits him again, and he drops dead. The shepherd hides him as best he can in a hedge, then heads home with his sheep, fully loaded. That evening, the sheep give him a lot of milk, and he makes some great cheeses with it. 13 The master and mistress are thrilled to have such a servant. The next day, he sets off again. As soon as he opens the stable door, the sheep dash off to the lush pasture and tasty grass, and the same things happen again. After a moment, a bear shows up and asks him why he's in that area. Our shepherd, using his stick, gives the bear a little whack on the neck, and the bear starts to cry.
“Ay, ay, ay!—spare my life!” [36]
"Ay, ay, ay!—save my life!" [__A_TAG_PLACEHOLDER_0__]
He asks him,
He asks him,
“How many are you there where you live?”
“How many of you are there where you live?”
“We were seven, but at present we are five with me.”
“We were seven, but right now we are five, including me.”
And he gives him a little blow, and he falls stiff and dead. And in five days he kills all the bears in the same way; and when he saw the last one come, he was frightened to see a beast so immense and so fearful, and which came dragging himself along, he was so old. He says to him,
And he gives him a little punch, and he collapses, stiff and lifeless. In just five days, he takes down all the bears the same way; and when he sees the last one approaching, he feels scared by such a huge and terrifying creature, which drags itself along, old as it is. He says to him,
“Why have you come into these parts?”
“Why have you come to this area?”
And at the same time the shepherd gives him a little blow. He begins to cry out to him to spare his life, and that he would give him great riches and beautiful apartments, and that they should live together. He spares his life, and sends the flock back to the house. They go through hedges and hedges, and “through the fairies’ holes,”14 and arrive at last at a fine palace. There they find the table set out with every kind of food and drink. There were also servants to attend on them, and there were also horses all ready saddled, and with harness of gold and silver. There was nothing but riches there. After having passed some days there like that, our shepherd said to himself that it would be better to be master and owner of all that fortune. So he gives a blow to the bear, and kills him stark dead.
And at the same time, the shepherd gives him a little hit. He starts shouting for him to spare his life, promising that he would give him great wealth and beautiful places to live, and that they would be together. He spares his life and sends the flock back to the house. They go through hedges and hedges, and “through the fairies’ holes,”14 and finally arrive at a stunning palace. There, they find a table set with all kinds of food and drink. There were also servants to attend to them, and horses that were already saddled, with harnesses made of gold and silver. Everything around them was pure luxury. After spending some days there like that, our shepherd decided it would be better to be the master and owner of all that wealth. So he strikes the bear and kills him instantly.
After having dressed himself splendidly, he gets on horseback, and goes from country to country, and comes to a city, and hears the bells sounding, dilin-don, dilin-don, and all the people are in excitement. He asks, “What is the matter?” They tell him how that there is in the mountain a serpent with seven heads, and that one person must be given to him every day. This serpent has seven heads. They draw lots to know who must be given to the serpent. The lot had fallen on the king’s daughter, and every one was in grief and distress, and all were going, with the king at their [37]head, to accompany her to the mountain. They left her at the foot of the mountain, and she went on mounting alone to the top. This young man goes after her, and says to her,
After dressing himself elegantly, he mounts his horse and travels from place to place until he arrives at a city. He hears the bells ringing, ding-dong, ding-dong, and notices that everyone is in a frenzy. He asks, “What’s going on?” They explain that in the mountain there’s a serpent with seven heads, and that one person must be offered to him each day. This serpent has seven heads. They draw lots to determine who will be given to the serpent. The lot has fallen on the king’s daughter, and everyone is filled with sorrow and distress, heading to the mountain with the king leading the way. They leave her at the base of the mountain, and she starts climbing alone to the summit. This young man follows her and says to her,
“I will accompany you.”
"I'll go with you."
The king’s daughter says to him,
The king’s daughter says to him,
“Turn back, I beg you. I do not wish you to risk your life because of me.”
“Please turn back. I don’t want you to risk your life for me.”
He says to her,
He tells her,
“Have no fear for me. I have a charm of might.”
"Don't worry about me. I have a charm for strength."
At the same time they hear an extraordinary noise and hissing, and he sees the serpent coming like the lightning. As our man has his stick with him, he gives him a little blow on one of his heads, and one by one the seven heads fall off, and our princess is saved.
At the same time, they hear a strange noise and hissing, and he sees the serpent coming like lightning. Since our guy has his stick with him, he gives it a light hit on one of its heads, and one by one the seven heads fall off, saving our princess.
In order to go to the mountain, she was dressed in her most beautiful robes. She had seven of them on. He took a little piece from each of the seven robes, and he likewise takes the tongue from each of the heads, and puts them in these little pieces of silk. He then takes the king’s daughter on his horse, and descends the mountain. The daughter goes home to her father, and our gentleman to the bear’s house. The news that the seven-headed serpent is killed spreads quickly. The king had promised his daughter, and the half of his kingdom, to the man who should have killed him. The serpent was killed, as we have said. Three charcoal-burners, passing by on the mountain, see the serpent, and take the seven heads, and go to the king, asking to have a reward. But, as they were three, they were in a difficulty; and they were sent away until the council was assembled, and to see if any other person would come. As nobody appeared, they were going to draw lots who should be the husband of the king’s daughter. There was great excitement that day, and there was also a great stir when this young man arrived in the city. He asks what it is. They tell him what it is. He was splendidly dressed, and had a magnificent horse. He asks to see the king, and, as he was handsomely dressed, he is received immediately. [38]He asks if the seven heads of the serpent had seven tongues in them; and they cannot find them. Then he shows the seven tongues. He sends, too, for the princess’ seven robes, and he shows the seven pieces that are wanting, as well as the seven tongues. When they see that, all exclaim—
To go to the mountain, she wore her most beautiful dresses. She had seven of them on. He took a little piece from each of the seven dresses and also took the tongues from each of the seven heads, putting them in these small pieces of silk. He then placed the king’s daughter on his horse and rode down the mountain. The daughter returned home to her father, while our hero went to the bear’s house. News of the seven-headed serpent's death spread quickly. The king had promised his daughter and half of his kingdom to the man who killed it. The serpent was indeed killed, as we mentioned. Three charcoal-burners passing by on the mountain saw the serpent, took the seven heads, and went to the king asking for a reward. However, since there were three of them, they faced a problem and were sent away until the council could meet to see if anyone else showed up. As nobody else appeared, they were about to draw lots to decide who would marry the king’s daughter. There was a lot of excitement that day, and there was also a great commotion when this young man arrived in the city. He asked what was going on. They explained everything to him. He was dressed elegantly and rode a magnificent horse. He requested to see the king, and because he looked impressive, he was welcomed right away. [__A_TAG_PLACEHOLDER_0__] He asked if the seven heads of the serpent had seven tongues, but they couldn't find them. Then he revealed the seven tongues. He also requested the princess’s seven dresses and showed the seven pieces that were missing, along with the seven tongues. Upon seeing this, everyone exclaimed—
“This is the true saviour of the king’s daughter!”
“This is the true savior of the king’s daughter!”
And they are married.
And they got married.
The three charcoal-burners, after having been dressed in a coat of sulphur, were burnt alive in the midst of the market-place.
The three charcoal-burners, after being covered in a layer of sulfur, were burned alive in the middle of the marketplace.
Our gentleman and lady lived very happily, sometimes at her father’s house and at other times at their own bear’s-house; and, as they had lived well, they died happily. Then I was there, and now I am here.
Our guy and girl lived very happily, sometimes at her dad's house and other times at their own place; and since they lived well, they died happily. I was there, and now I’m here.
Our next tale will show the serpent in a new character, and might have been included under the variations of “Beauty and the Beast.”
Our next story will introduce the serpent in a new role and could have been included in the variations of "Beauty and the Beast."
The Serpent in the Wood.
Like many others in the world, there was a widower who had three daughters. One day the eldest said to her father, that she must go and see the country. She walked on for two hours, and saw some men cutting furze, and others mowing hay.
Like many others in the world, there was a widower who had three daughters. One day, the oldest said to her father that she needed to go see the country. She walked for two hours and saw some men cutting brush and others mowing grass.
She returned to the house, astonished at having seen such wonderful things. She told her father what wonderful things she had seen, and her father replied:
She went back home, amazed at having seen such amazing things. She told her dad about the incredible things she had seen, and her dad responded:
“Men cutting furze! Men mowing hay!!”
“Guys cutting gorse! Guys mowing hay!!”
The second daughter asks, too, to go like her sister, and she returned after having seen the same things. And the third daughter said that she ought to go, too.
The second daughter also asked to go like her sister, and she came back after seeing the same things. Then, the third daughter said that she should go too.
“Child, what will you see?”
“Kid, what will you see?”
“I, like my sisters, something or other.” [39]
"I, like my sisters, whatever." [__A_TAG_PLACEHOLDER_0__]
She set off on the same road as the others; and she, like the others, saw men cutting furze, and men mowing hay. She went on further, and she saw some washerwomen; and she went still a little further on till she had walked for three hours, and she saw some wood-cutters cutting firewood. She asked them if she should see anything more if she went a little further. They told her that she would see some more wood-cutters cutting firewood.
She started down the same road as everyone else, and like them, she saw men gathering gorse and mowing hay. She walked on a bit further, spotted some women doing laundry, and continued even further until she had walked for three hours. There, she saw some woodcutters chopping firewood. She asked them if there would be anything else to see if she went a bit further. They told her she would just see more woodcutters chopping firewood.
She went very much farther into the wood, and she was caught, and kept prisoner by a serpent. She remained there crying, and not able to eat anything; and she remained like that eight days, very sad; then she began to grow resigned, and she remained there three years. At the end of three years she began to wish to return home. The serpent told her to come back again at the end of two days; that his time was nearly finished, and that he was a king’s son condemned for four years15 (to be a serpent). He gave her a distaff and spindle, of silver-gilt, and a silk handkerchief. He said to her:
She ventured much deeper into the woods, where she was captured and held prisoner by a serpent. She spent her days crying and unable to eat anything; this went on for eight days, and she felt very sad. Eventually, she began to accept her situation and stayed there for three years. After three years, she started to wish to go home. The serpent told her to return in two days, explaining that his time was almost up and that he was a king’s son cursed to be a serpent for four years.15 He gifted her a silver-gilt distaff and spindle, along with a silk handkerchief. He said to her:
“If you do not find me here on your return, you will have to wear out seven pairs of shoes, six of leather and one pair of iron ones (before you will be able to find me).”
“If you don’t find me here when you get back, you’ll have to wear out seven pairs of shoes—six made of leather and one pair of iron—before you can find me.”
When she came home, her father would not let her go back to the house where she had passed such a long time with a son of a king, condemned to be a serpent. She said that his time was almost finished, and that in gratitude she ought to return; that he had said that he would marry her. The father had her put in prison, confined in a room very high up. The fourth day she escaped, and went to the place, but she did not find the king’s son. She had already shoes on her feet. She had almost worn them out. After that she bought another pair. She kept journeying on and on, and asking if it were far, and they told her that it was very far. She bought still another pair of shoes, and these, too, got worn out on the road. She bought a fifth pair, and [40]after them the sixth also. She then asked if she were near yet, and they told her that she was still very far. Then she bought the seventh pair of shoes, of iron. And when she had gone a short way in these shoes, she asked if it were far from there to the son of the king. The seventh pair of shoes were almost worn out when she came to a city, and heard sounds of music. She inquired what was happening in the city.
When she got home, her dad wouldn’t let her go back to the place where she'd spent so much time with the king’s son who was cursed to be a serpent. She insisted that his time was almost up and that she should return out of gratitude, as he had promised to marry her. Her father had her locked up in a high room. On the fourth day, she managed to escape and went to that place, but she didn’t find the king’s son. She already had shoes on her feet, but they were almost worn out. After that, she bought another pair. She kept traveling and asking how far it was, and they told her it was very far. She bought yet another pair of shoes, which also got worn out on the journey. She bought a fifth pair, and [__A_TAG_PLACEHOLDER_0__]then the sixth as well. She asked if she was close yet, and they said she was still very far away. Then she bought a seventh pair of shoes made of iron. After walking a short distance in those shoes, she asked how far it was to the king’s son. The seventh pair was nearly worn out when she reached a city and heard music. She asked what was going on in the city.
“Such a king’s son is being married to-day.”
“Today, a king’s son is getting married.”
She went to the house, and knocked at the door. A servant came.
She went to the house and knocked on the door. A servant answered.
“What do you want?”
"What do you need?"
She asked if there were any work to spin, and she would spin it.
She asked if there was any work to spin, and she'd spin it.
And the servant went to tell it to the mistress. The lady ordered the servant to bring her in. She brought her in. And when she was in the kitchen, she showed the silk handkerchief which the king’s son had given her; and she began to blow her nose with that. The lady was quite astonished to see the girl blow her nose with such a beautiful handkerchief, as if it were nothing,16 when her son had one just like it for his marriage-day. So she told her son, when he came back from the church, that she had a spinster who came from a great distance, and said to him:
And the servant went to tell the lady. The lady asked the servant to bring her in. She brought her in. When they were in the kitchen, she showed the silk handkerchief that the king’s son had given her and started blowing her nose with it. The lady was completely shocked to see the girl use such a beautiful handkerchief like it was nothing, especially since her son had one just like it for his wedding day. So, when her son returned from the church, she told him that she had a single woman who had come from far away and said to him:
“She has a silk handkerchief just like yours!”
“She has a silk handkerchief just like yours!”
And the king’s son said to his mother:
And the king's son said to his mother:
“I, too, must see this spinster that you have there.” And he began to go there.
“I also need to see this single woman you have there.” And he started to walk over.
And his mother said to him,
And his mom said to him,
“But why must you see her?”
“But why do you need to see her?”
“I wish to see her.”
"I want to see her."
He went to the kitchen, and in his presence she used her silk handkerchief. [41]
He went to the kitchen, and when he was there, she used her silk handkerchief. [__A_TAG_PLACEHOLDER_0__]
He said to her,
He told her,
“Show me that.”
“Show me that.”
She said to him,
She told him,
“It is too dirty to put into your hands, sir.”
“It’s too dirty to handle, sir.”
The gentleman says to her,
The guy says to her,
“I wish to see it, and show it to me.”
“I want to see it, and show it to me.”
(Then) he recognised the young girl. She showed him (too) the distaff and spindle.
He recognized the young girl. She also showed him the distaff and spindle.
At table, when everybody was engaged telling stories, this king said:
At the table, when everyone was busy sharing stories, this king said:
“I also have a story to tell.”
“I also have a story to share.”
Everybody was silent, and turned to look at him, and he said:
Everybody was quiet and turned to look at him, and he said:
“Formerly, I had a key to a chest of drawers, and I lost it, and had a new one made. (After that, I found the old one.)”
“Before, I had a key to a drawer chest, but I lost it and had a new one made. (After that, I found the old one.)”
And he turned to his wife:
And he turned to his wife:
“Should I use the old one or the new one?”
“Should I use the old one or the new one?”
And she replied:
And she texted back:
“If the first was a good one, why should you make use of the new one?”
“If the first one was good, why should you bother with the new one?”
Then he gave her this answer:
Then he responded to her:
“Formerly, I had a wife, and now I have taken you. I leave you, and take the former one. Do you go off, then, to your own house.”
“Before, I had a wife, and now I’ve chosen you. I’m leaving you to go back to her. So, you can head off to your own place now.”
Gagna-haurra Hirigaray.
(Learnt at Guethary.)
Gagna-haurra Hirigaray.
(Learned at Guethary.)
For the version of the Heren-Suge tales which most closely approaches the Gaelic, see below, “Keltic Legends,” “The Fisherman and his Sons,” p. 87.
For the version of the Heren-Suge tales that most closely matches the Gaelic, see below, “Keltic Legends,” “The Fisherman and his Sons,” p. 87.

[42]
[__A_TAG_PLACEHOLDER_0__]
1 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.
1 One of the most peculiar cases of mistaken metaphors that we know of occurs in “The Life of St. Savin, by J. Abbadie, Parish Priest” (Tarbes, 1861). We translate from the Latin, which is noted below:—“Fueled by divine love, he was keeping vigil as was his custom, and when he couldn’t find light anywhere else, he drew light to his eyes from the light that was within him. The small piece of wax candle he lit lasted the entire night until morning without going out.”—Off. S. Savin.
2 This Fleur-de-lis was supposed by our narrator to be some mark tattooed or impressed upon the breast of all kings’ sons.
2 This Fleur-de-lis was believed by our narrator to be a symbol tattooed or stamped on the chest of all royalty's sons.
3 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.
3 This, of course, is “Little George,” which leads one to think that the entire story is taken from the French; although it might be the case that only the names and a few of the events are.
5 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.
5 In Campbell’s “Tale of the Sea-Maiden,” instead of checking his ear, the princess placed one of her earrings in his ear for the last two days to wake him up; and it’s through these earrings and her ring that she identifies him later, rather than by his clothing or the serpent's tongues.
6 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.
6 Campbell, Vol. I., lxxxvii., 8, provides some highly insightful observations on the Keltic Legends, depicting the Kelts as a horse-loving people rather than a seafaring one—a community of hunters and herders, not sailors. The opposite is true with these Basque stories. The reader will notice that the ships do nothing remarkable, while the horses act in ways no horse ever would. It is vice versâ in the Gaelic Tales, even when the legends share many similarities.
7 The three days’ fight, and the dog, appear in Campbell’s “Tale of the Sea-Maiden,” Vol. I., pp. 77–79.
7 The three-day battle and the dog are found in Campbell’s “Tale of the Sea-Maiden,” Vol. I., pp. 77–79.
9 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.
9 This is a way better game than the usual one of trying to hit a ring with a lance, and it’s a much tougher test of riding skills. The ring, a regular lady’s ring, hangs from a thread on a cross-bar, at a height that a person can just reach by standing in their stirrups. Whoever can start from a designated point and thread a porcupine’s quill or a small reed through the ring, then ride away with it at a hand-gallop, gets to keep the ring. We’ve seen this game played in Monte Video, South America; even the Cowboys regarded it as a measure of good horsemanship. It seems that in the past, the ring was hung from the tongue of a bell, which would ring when the ring was taken. The sword, naturally, was the finest rapier.
10 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?”
10 One of the people here interrupted the storyteller—“Why did she hit the snake on the tail?” “To kill it, of course,” was the answer; “ask Mr. Webster if snakes aren’t killed when you hit them on the tail?”
11 I have a dim recollection of having read something very similar to this either in a Slavonic or a Dalmatian tale.
11 I have a vague memory of reading something pretty similar to this in either a Slavic or a Dalmatian story.
12 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.
12 This incident is from a story by Chambers titled “Rouge Etin,” featured in Brueyre’s “Contes de la Grande Bretagne,” page 64. See notes ad loc.
13 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.
13 In the Pyrénées, ewes are typically milked, and from the milk, they make either "caillé"—a type of clotted cream—or cheese. The sheep designated for milking are often kept in a stable or pen overnight.
14 For the “fairies’ holes,” see Introduction to the “Tales of the Lamiñak,” p. 48.
14 For the “fairies’ holes,” check out the Introduction to the “Tales of the Lamiñak,” p. 48.

III.—Animal Tales.
We give two stories as specimens of animal tales, which are neither allegories, nor fables, and still less satires. The reader must remember the phrase, “This happened when animals and all things could talk.” So thoroughly is this believed, that the first tale of this class recited to us completely puzzled us. The animals are in them placed so fully on a footing with human beings—not in the least as our “poor relations,” but rather as sharper-witted, and quite as happy and well off as ourselves—that it is difficult at times to determine whether it is the beast or the man who is the speaker.
We present two stories as examples of animal tales, which are neither allegories, nor fables, and definitely not satires. The reader should remember the phrase, “This happened when animals and everything could talk.” This idea is so widely accepted that the first story of this kind completely confused us. The animals in these tales are portrayed on equal footing with humans—not at all as our "poor relations," but more as clever and just as happy and well-off as we are—making it sometimes hard to tell whether it’s the animal or the human who is speaking.
Of the latter part of our first story we have heard many variations. In one given by M. Cerquand, p. 29, note,1 the fox is represented by Basa-Jauna; in a version from Baigorry, by the Tartaro; but in three others, from separate localities, he is a fox. The first two truths are the same in all the versions. In that here given, the fun is heightened by the fox talking and lisping throughout like a little child. All these versions we take to be merely fragments of a much longer story.
Of the latter part of our first story, we’ve heard many variations. In one told by M. Cerquand, p. 29, note,1, the fox is represented by Basa-Jauna; in a version from Baigorry, by the Tartaro; but in three others, from different locations, he is a fox. The first two truths are the same in all the versions. In the version presented here, the humor is enhanced by the fox speaking and lisping throughout like a little child. We believe all these versions are just fragments of a much longer story.
In M. Cerquand’s “The Chandelier of St. Sauveur,” p. 22, the hero’s name is Acherihargaix—“the fox difficult to be caught;” and we suspect that he, too, was originally merely an animal. [43]
In M. Cerquand’s “The Chandelier of St. Sauveur,” p. 22, the hero’s name is Acherihargaix—“the fox hard to catch;” and we believe that he was originally just an animal. [__A_TAG_PLACEHOLDER_0__]
Acheria, the Fox.
One day a fox was hungry. He did not know what to think. He saw a shepherd pass every day with his flock, and he said to himself that he ought to steal his milk and his cheese, and to have a good feast; but he needed some one to help him in order to effect anything. So he goes off to find a wolf, and he says to him,
One day, a fox felt really hungry. He didn’t know what to do. He noticed a shepherd walking by every day with his flock and thought he should steal some of his milk and cheese for a nice feast. But he needed someone to help him pull it off. So, he went off to find a wolf and said to him,
“Wolf, wolf! we ought to have a feast with such a shepherd’s milk and cheese. You, you shall go to where the flocks are feeding, and from a distance you must howl, ‘Uhur, uhur, uhur.’ The man, after having milked his sheep, drives them into the field, with his dog, very early in the morning, and he stops at home to do his work, and then he makes his cheese; and, when you have begun to howl ‘Uhur, uhur,’ and the dog to bark, the shepherd will leave everything else, and will go off full speed. During this time I will steal the milk, and we will share it when you come to me.”
“Wolf, wolf! We should throw a feast with some of that shepherd's milk and cheese. You need to go to where the flocks are grazing, and from a distance, you should howl, ‘Uhur, uhur, uhur.’ The shepherd, after milking his sheep, takes them into the field with his dog very early in the morning. He stays at home to get his work done and then makes his cheese. When you start howling ‘Uhur, uhur,’ and the dog starts barking, the shepherd will leave everything and rush off. During that time, I’ll steal the milk, and we’ll share it when you come to me.”
The wolf agreed to have a feast, and set out. He did just what the fox had told him. The dog began to bark when the wolf approached. And when the man heard that he went off, leaving everything, and our fox goes and steals the vessel in which the curdled milk was. What does he do then, before the arrival of the wolf? He gently, gently takes off the cream, thinly, thinly, and he eats all the contents of the jug. After he has eaten all, he fills it up with dirt, and puts back the cream on the top, and he awaits the wolf at the place where he had told him. The fox says to him, since it is he who is to make the division, that as the top is much better than the underneath part, the one who should choose that should have only that, and the other all the rest. “Choose now which you would like.”
The wolf agreed to have a feast and set off. He did exactly what the fox instructed him. The dog started barking as the wolf approached. When the man heard this, he ran off, leaving everything behind, and our fox went and stole the container with the curdled milk. So what did he do before the wolf arrived? He carefully, carefully skimmed off the cream and ate all the contents of the jug. After finishing, he filled it with dirt and put the cream back on top, waiting for the wolf where he had instructed. The fox told him, since he was the one to divide it, that since the top was much better than the bottom, whoever chose should have only that, while the other would get everything else. “Now choose which one you want.”
The wolf says to him,
The wolf tells him,
“I will not have the top; I prefer what is at the bottom.” [44]
“I don’t want the top; I’d rather have what’s at the bottom.” [__A_TAG_PLACEHOLDER_0__]
The fox then takes the top, and gives the poor wolf the vessel full of dirt.2 When he saw that, the wolf got angry; but the fox said to him,
The fox then takes the lead and hands the poor wolf the container full of dirt.2 When the wolf saw that, he got angry; but the fox said to him,
“It is not my fault. Apparently the shepherd makes it like that.”
“It’s not my fault. Apparently, the shepherd does it that way.”
And the fox goes off well filled.
And the fox leaves feeling quite satisfied.
Another day he was again very hungry, and did not know what to contrive. Every day he saw a boy pass by on the road with his father’s dinner. He says to a blackbird,
Another day he was really hungry again and didn’t know what to do. Every day he saw a boy walking down the road with his father’s dinner. He says to a blackbird,
“Blackbird, you don’t know what we ought to do? We ought to have a good dinner. A boy will pass by here directly. You will go in front of him, and when the boy goes to catch you, you will go on a little farther, limping, and when you shall have done that a little while the boy will get impatient, and he will put down his basket in order to catch you quicker. I will take the basket, and will go to such a spot, and we will share it, and will make a good dinner.”
“Blackbird, don’t you know what we should do? We should have a nice dinner. A boy will walk by here soon. You’ll go in front of him, and when he tries to catch you, you’ll limp a little farther away. After doing that for a bit, the boy will get frustrated and put down his basket to catch you faster. I’ll grab the basket and go to a certain spot, and then we can share it and have a great dinner.”
The blackbird says to him, “Yes.”
The blackbird says to him, “Yeah.”
When the boy passes, the blackbird goes in front of the boy, limping, limping. When the boy stoops (to catch him), the blackbird escapes a little further on. At last the boy, getting impatient, puts his basket on the ground, in order to go quicker after the blackbird. The fox, who kept watching to get hold of the basket, goes off with it, not to the place agreed upon, but to his hole, and there he stuffs himself, eating the blackbird’s share as well as his own.
When the boy walks by, the blackbird moves in front of him, limping along. When the boy bends down to catch it, the blackbird hops a little further away. Finally, the boy, growing impatient, sets his basket down to chase the blackbird faster. The fox, who has been waiting to snatch the basket, takes off with it, not to the agreed spot, but to his den, where he greedily eats both the blackbird's share and his own.
Then he says to himself,
Then he tells himself,
“I shall do no good stopping here. The wolf is my enemy, and the blackbird, too. Something will happen to me if I stay here. I must go off to the other side of the water.”
“I won’t do any good by staying here. The wolf is my enemy, and so is the blackbird. Something bad will happen to me if I stick around. I need to go to the other side of the water.”
He goes and stands at the water’s edge. A boatman happened to pass, and he said to him: [45]
He goes and stands at the water's edge. A boatman happened to pass by, and he said to him: [__A_TAG_PLACEHOLDER_0__]
“Ho! man, ho! Will you, then, cross me over this water? I will tell you three truths.”
“Hey! Man, hey! Will you take me across this water? I’ll tell you three truths.”
The man said to him, “Yes.”
The man said to him, “Yeah.”
The fox jumps (into the boat), and he begins to say:
The fox jumps into the boat and starts to say:
“People say that maize bread is as good as wheaten bread. That is a falsehood. Wheaten bread is better. That is one truth.”
“People say that corn bread is just as good as wheat bread. That's a lie. Wheat bread is better. That's a fact.”
When he was in the middle of the river, he said:
When he was in the middle of the river, he said:
“People say, too, ‘What a fine night; it is just as clear as the day!’ That’s a lie. The day is always clearer. That is the second truth.”
“People also say, ‘What a great night; it’s as clear as day!’ That’s not true. Daytime is always clearer. That’s the second truth.”
And he told him the third as they were getting near the bank.
And he told him the third one as they were getting close to the bank.
“Oh! man, man, you have a bad pair of trousers on, and they will get much worse, if you do not pass over people who pay you more than I.”
“Oh! man, man, you’re wearing a terrible pair of pants, and they will only get worse if you don’t move on to people who pay you more than I do.”
“That’s very true,” said the man; and the fox leapt ashore.
"That's really true," said the man, and the fox jumped onto the shore.
Then I was by the side of the river, and I learnt these three truths, and I have never forgotten them since.
Then I was by the river, and I learned these three truths, and I have never forgotten them since.
The Ass and the Wolf.
Astoa Eta Otsoa.
Moose and Wolf.
Like many others in the world, there was an ass. He was going along a ravine, laden with Malaga wine. (You know that asses are very much afraid of wolves, because the wolves are very fond of the flesh of asses.) While he was journeying along in that fashion, he sees a wolf coming at some distance; he could not hide himself anywhere. The wolf comes up, and the ass says to him:
Like many others in the world, there was a donkey. He was walking along a ravine, carrying Malaga wine. (You know that donkeys are very afraid of wolves because wolves really like eating donkeys.) While he was traveling like that, he spotted a wolf coming from a distance; he couldn’t hide anywhere. The wolf approached, and the donkey said to him:
“Good morning, good morning, Mr. Wolf; in case you should be thirsty, I have some excellent Malaga to drink.”
“Good morning, good morning, Mr. Wolf; if you’re feeling thirsty, I’ve got some great Malaga to drink.”
“I am not thirsty; no!—but astoundingly hungry; yes! My dinner to-day shall be your head and ears.” [46]
“I’m not thirsty; no!—but surprisingly hungry; yes! My dinner today will be your head and ears.” [__A_TAG_PLACEHOLDER_0__]
“Mr. Wolf, if you were good enough to let me go and hear one mass——?”
“Mr. Wolf, if you could be kind enough to let me go and attend one mass——?”
He says to him, “Well! yes.”
He says to him, “Well! Yeah.”
Our ass goes off then. When he gets into the church he shuts the door inside with his foot, and stops quietly there.
Our donkey takes off then. When he gets inside the church, he shuts the door behind him with his foot and stands quietly there.
When the wolf began to get impatient at waiting, he said:
When the wolf started to get impatient waiting, he said:
“Ay, ay, what a long mass! one would say it was Palm Sunday.”
“Ay, ay, what a long service! One would think it was Palm Sunday.”
The ass said to him:
The donkey said to him:
“Dirty old wolf, have patience. I am staying here with the angels, and I have my life (safe) for to-night.”
“Dirty old wolf, be patient. I'm staying here with the angels, and I have my life safe for tonight.”
“Ay, ay, you bad ass, you are too, too, filthy, you know. If ever you meet with me again, mass you shall not hear.”
“Ay, ay, you badass, you are way too filthy, you know. If you ever run into me again, you won't like what you hear.”
The ass said to him:
The donkey said to him:
“There are no dogs round the fold of Alagaia; if you go there you would get lots of sheep.”
“There are no dogs around the Alagaia fold; if you go there, you’ll find plenty of sheep.”
The wolf gives it up, and sets off for the flock where the ass had told him to go. When the ass saw that he had gone away he came out of the church, and went home, and took good care not to come near the wolf’s place any more.
The wolf gives up and heads to the flock like the donkey told him to. Once the donkey saw he was gone, he left the church and went home, making sure to stay away from the wolf's territory from then on.

[47]
[__A_TAG_PLACEHOLDER_0__]
1 “Légendes et Récits Populaires du Pays Basque,” par M. Cerquand. Part I., Pau, 1875, and Part II., p.28, Pau, 1876.
1 "Legends and Folk Tales of the Basque Country," by Mr. Cerquand. Part I., Pau, 1875, and Part II., p.28, Pau, 1876.
2 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.
2 See. Campbell’s story, “The Keg of Butter,” Vol. III., 98, where the fox tricks the wolf by giving him the leftovers of the oats and the tops of the potatoes. Also, check the references listed there.

IV.—Basa-Jaun, Basa-Andre, and Lamiñak.
It is somewhat difficult to get a clear view of what Basa-Jaun and Basa-Andre, the wild man and the wild woman, really are in Basque mythology. In the first tale here given Basa-Jaun appears as a kind of vampire, and his wife, the Basa-Andre, as a sorceress, but we know of no other such representation of the former. Basa-Jaun is usually described by Basque writers as a kind of satyr, or faun, a wood-sprite; and Basques; in speaking of him to us, have frequently used the French term, “Homme de Bouc,” “He-goat-man,” to describe him. In some tales he appears rather as a species of brownie, and has received the familiar sobriquet of Ancho,1 from the Spanish Sancho. In this character he haunts the shepherds’ huts in the mountains, warms himself at their fires, tastes their clotted milk and cheese, converses with them, and is treated with a familiarity which, however, is never quite free from a hidden terror. His wife, the Basa-Andre, appears sometimes as a sorceress, sometimes as a kind of land-mermaid, as a beautiful lady sitting in a cave and “combing her locks with a comb of gold,” in remote mountain parts.2
It’s a bit challenging to really understand what Basa-Jaun and Basa-Andre, the wild man and wild woman, are in Basque mythology. In the first story presented here, Basa-Jaun acts like a sort of vampire, while his wife, Basa-Andre, is depicted as a sorceress. However, we don't have any other similar examples for him. Basque writers typically describe Basa-Jaun as a kind of satyr or faun, a creature of the woods; and in conversations with us, Basques have often used the French term “Homme de Bouc,” meaning “He-goat-man,” to refer to him. In some stories, he is portrayed more like a brownie and has the familiar nickname Ancho, derived from the Spanish Sancho. In this role, he frequents shepherds' huts in the mountains, warms himself by their fires, tries their clotted milk and cheese, chats with them, and is treated with a familiarity that still carries an undercurrent of hidden fear. His wife, Basa-Andre, sometimes appears as a sorceress and at other times as a type of land-mermaid, depicted as a beautiful lady sitting in a cave and “combing her hair with a comb of gold” in remote mountain areas.
The Lamiñak are true fairies, and do not differ more from the general run of Keltic fairies than the Scotch, Irish, [48]Welsh, and Cornish fairies do from each other. In fact, the legends are often identical. The Lamiñak were described to us by one who evidently believed in, and dreaded them, as little people who lived underground. Another informant stated that they were little people who came down the chimney. They long to get possession of human beings, and change and carry off infants unbaptized, but they do not seem to injure them otherwise. They bring good luck to the houses which they frequent; they are fond of cleanliness, but always speak and give their orders in words exactly the opposite of their meaning. In common with Basa-Jaun and Basa-Andre they hate church bells,3 and though not actively hostile to Christianity, are driven away as it advances. They were formerly great builders of bridges, and even of churches,4 but were usually defrauded of their wage, which was to have been power over some human soul at the completion of the contract. Fairies’ wells and fountains are common in the Landes and neighbouring Gascon provinces, but we know of none in the Pays Basque.5 We failed distinctly to make out what are the “fairies’ holes (Lamiña-ziloak),” spoken of in the Heren-Suge tale (p. 36); as far as we could gather from the narrator they are simply bare places in hedges, when covered by the web of the gossamer spider. We know of no dances by moonlight on fairy rings of green herbage; but if the reader will carefully eliminate from his memory the rare fancies of Shakespeare and Ben Jonson about Puck, Oberon, and Titania, he will find little otherwise to differentiate between the Basque Lamiñak and the fairies of Sir Walter Scott, of Campbell, and of Croker’s “Irish Legends.” One peculiarity certainly is that all the Basque Lamiñak are sometimes said to be all called “Guïllen,”6 which [49]appears to be the same as the French Guillaume, and our William.
The Lamiñak are real fairies, and they are not more different from the typical Keltic fairies than the Scottish, Irish, [__A_TAG_PLACEHOLDER_0__]Welsh, and Cornish fairies are from one another. In fact, the stories often match perfectly. The Lamiñak were described to us by someone who clearly believed in them and was afraid of them, as little beings who lived underground. Another informant said they were tiny people who came down the chimney. They long to take possession of humans and switch or steal away unbaptized infants, but they don’t seem to harm them otherwise. They bring good luck to homes they visit; they like cleanliness, but they always speak and give orders in words that mean the opposite of what they say. Similar to Basa-Jaun and Basa-Andre, they dislike church bells,3 and although they are not openly hostile to Christianity, they are driven away as it spreads. They were once excellent builders of bridges, and even churches,4 but were often cheated out of their payment, which was supposed to be power over a human soul after the work was done. Fairy wells and fountains are common in the Landes and nearby Gascon regions, but we don’t know of any in the Pays Basque.5 We couldn’t clearly understand what the “fairies’ holes (Lamiña-ziloak)” mentioned in the Heren-Suge tale (p. 36) are; from what we gathered from the storyteller, they are just bare spots in hedges, covered by the gossamer spider's web. We know of no moonlit dances in fairy rings of green grass; however, if the reader carefully removes the rare imaginations of Shakespeare and Ben Jonson about Puck, Oberon, and Titania from their memory, they will find little else to set the Basque Lamiñak apart from the fairies in the works of Sir Walter Scott, Campbell, and Croker’s “Irish Legends.” One distinct feature is that all the Basque Lamiñak are sometimes referred to as “Guïllen,”6 which [__A_TAG_PLACEHOLDER_0__]seems to be the same as the French Guillaume and our William.
It must be a sign of a failing belief and interest that witches and fairies are so often confounded. In these few stories it is evident that the witch is often a fairy, and the fairy a witch.
It has to be a sign of waning belief and interest when witches and fairies are so frequently mixed up. In these few stories, it’s clear that the witch is often a fairy, and the fairy is sometimes a witch.
Basa-Jauna, the Wild Man.
Once upon a time there lived in one house the landlady and the farmer’s wife.7 The farmer’s wife had three sons; one day they said to their mother to give each of them a ball and a penny roll, that they wished to go from country to country. The mother was sorry to part with her three much-loved sons; but all three started off.
Once upon a time, there lived in a house the landlady and the farmer's wife. 7 The farmer's wife had three sons; one day they asked their mother for a ball and a penny roll each because they wanted to travel from country to country. The mother was sad to send off her three beloved sons, but all three set off.
When they were in the midst of a forest they saw that night was coming on, and the eldest brother said that he would climb up the first tree. He finds a tall tree, and climbs up to the top, to the very tip-top, and the second says to him:
When they were in the middle of a forest, they noticed that night was approaching, and the eldest brother said he would climb the first tree. He finds a tall tree and climbs up to the top, all the way to the very tip, and the second brother says to him:
“Do you see nothing?”
"Do you see anything?"
He says, “No, no; there’s nothing to be seen, nothing; not a feather! nothing!”
He says, “No, no; there’s nothing to see, nothing; not a feather! nothing!”
“Come down then; you are an old donkey.”
“Come down then; you're an old donkey.”
And the second climbs, and he sees nothing. The third says to him:
And the second one climbs, but he sees nothing. The third one says to him:
“You are no good at all, you others. I will climb up.”
“You're all useless. I'm going to climb up.”
And he climbs to the top, to the very tip-top. The others say to him:
And he climbs to the top, to the very peak. The others say to him:
“And do you not see anything?”
“And don't you see anything?”
He says to them:
He tells them:
“Yes; I see a long column of smoke, but very, very thin, and far, very far away. Let us go towards that.” [50]
“Yes; I see a long column of smoke, but it's very, very thin and far, really far away. Let's head in that direction.” [__A_TAG_PLACEHOLDER_0__]
And the three brothers set out together. At eight o’clock in the evening they come to a grand castle, and they knock at the door, and the Basa-Andre (wild woman) comes to answer. She asks:
And the three brothers headed out together. At eight o'clock in the evening, they arrived at a grand castle and knocked on the door. A wild woman named Basa-Andre came to answer. She asked:
“Who is there?”
"Who's there?"
And they reply, “It is we who are here.”
And they respond, “We're the ones here.”
“What do you want, young children? Where are you going to at this time of night?”
“What do you want, kids? Where are you heading at this time of night?”
“We ask and beg of you to give us shelter for to-night; we will be satisfied with a corner of the floor, poor wretches as we are.”
“We ask and plead with you to give us shelter for tonight; we’ll be happy with a corner of the floor, as unfortunate as we are.”
“I have my husband, the Basa-Jaun, and if he catches you he will eat you; that’s certain.”
“I have my husband, the Basa-Jaun, and if he finds you, he will eat you; that’s for sure.”
“And if he catches us outside he will eat us all the same.”
“And if he catches us outside, he'll eat us all the same.”
Then she let these three brothers come in, and she hides the three in three different corners. Afterwards, at nine o’clock, the Basa-Jaun comes. He made a great noise and blustering, and then the Basa-Andre goes out, and says to him:
Then she let these three brothers in, and she hid the three of them in three different corners. Later, at nine o’clock, the Basa-Jaun arrives. He makes a lot of noise and fuss, and then the Basa-Andre goes out and says to him:
“There is nobody here.”
“No one's here.”
“Yes, you have somebody; bring them out, or else I will eat you myself.”
“Yes, you have someone; bring them out, or I’ll eat you myself.”
And she goes and brings out the eldest brother, trembling with fright. The Basa-Jaun says to him,
And she goes and brings out the oldest brother, shaking with fear. The Basa-Jaun says to him,
“Will you be my servant?”
“Will you be my assistant?”
He says to him, “Yes.”
He says, “Yes.”
And Basa-Jaun begins again to sniff about.
And Basa-Jaun starts sniffing around again.
“You have still somebody else here?”
“You still have someone else here?”
And she brings out the second, and he says to him:
And she pulls out the second one, and he says to him:
“Will you be servant to me?”
“Will you be my assistant?”
And he said, “Yes.”
And he said, “Yeah.”
Again, he smelled the smell of some one, and at the third time she brings out the third, and he says to him:
Again, he caught a whiff of someone, and for the third time, she brought out the third, and he said to him:
“All three of you shall sup with me to-night, and afterwards we shall go to bed. But to-morrow we will all go hunting.” [51]
"All three of you will have dinner with me tonight, and afterwards we'll go to bed. But tomorrow, we'll all go hunting." [__A_TAG_PLACEHOLDER_0__]
And they go hunting the next day until eight o’clock in the evening.
And they go hunting the next day until 8 PM.
Now, they had at home a little sister. She was little then, but in time she grew up. One day the landlady and the farmer’s wife had put out the new maize in the garden to dry; and when no one saw her, the little girl took some from her mistress’ heap, and put it to her own. When the mistress saw that, she began to cry out, saying to her,
Now, they had a little sister at home. She was small back then, but eventually, she grew up. One day, the landlady and the farmer's wife had laid out the new corn in the garden to dry; and when no one was watching, the little girl took some from her mistress's pile and added it to her own. When the mistress noticed, she began to yell, saying to her,
“Bold hussey that you are, there is no one like you! You will come to a bad end like your brothers.”
“Bold girl that you are, there’s no one like you! You’re going to come to a bad ending just like your brothers.”
And the young girl began to cry, and goes to find her mother, and says to her,
And the young girl started crying, went to find her mom, and said to her,
“Mother, had I any brothers?”8
“Mom, did I have any brothers?” __A_TAG_PLACEHOLDER_0__
She says to her, “Yes, my child.”
She says to her, "Yes, sweetie."
“What were they?”
“What were they?”
“Child, they went away a long time ago,” she said to her.
“Kid, they left a long time ago,” she said to her.
This little girl says,
This girl says,
“I, too, must be off to-day. Give me a distaff to spin with, and a penny cake.”
“I also need to leave today. Hand me a distaff to spin with and a penny cake.”
She sets off, and comes to the house of the Basa-Jaun, and she knocks at the door, and she lets her in. While his wife was telling her that it is the house of the Basa-Jaun, the elder brother comes in; but they did not recognise one another at all. And afterwards Basa-Jaun comes, and says, as he enters the house:
She sets off and arrives at the Basa-Jaun's house. She knocks on the door, and he lets her in. While his wife is telling her that this is the Basa-Jaun's house, the elder brother walks in, but they don’t recognize each other at all. Then Basa-Jaun arrives and says, as he enters the house:
“You have something here for me,” says he.
“You have something here for me,” he says.
“No,” says she.
“No,” she says.
“Show it.”
"Show me."
And immediately she shows her. Basa-Jaun says to her:
And right away, she shows her. Basa-Jaun says to her:
“Will you engage yourself as my servant?”
“Will you be my assistant?”
She says to him, “Yes, sir.”
She says to him, “Sure thing.”
Some days afterwards the brothers recognised their sister, and they embraced each other very much. And this young girl who was so well before began to grow thin. And one day one of her brothers asked her: [52]
Some days later, the brothers recognized their sister, and they hugged each other tightly. But this young girl, who had been so healthy before, started to lose weight. One day, one of her brothers asked her: [__A_TAG_PLACEHOLDER_0__]
“What is the matter with you that you are getting thin like this?”
“What’s wrong with you that you're getting this skinny?”
And she answered:
And she replied:
“The master every evening asks me to put my little finger through the door, and he sucks the finger through the door, and I become every day more sad and more languid.”9
“The master asks me every evening to put my little finger through the door, and he sucks the finger through the door, and I get more and more sad and drained every day.”9
One day, when the Basa-Andre was not at home, these brothers and the sister plotted together to kill Basa-Jaun, if they could catch him in a ravine in a certain place. And they kill him.
One day, when Basa-Andre wasn't home, these brothers and their sister teamed up to try to kill Basa-Jaun if they could catch him in a ravine at a specific spot. And they killed him.
One day the wife asks,
One day the wife asks,
“Where is Basa-Jaun?”
"Where's Basa-Jaun?"
And Basa-Andre takes out three large teeth, and brings them to the house, and tells this young girl herself, when she heats the water for her brothers’ feet in the evening, to put one tooth in the water of each.10 And as soon as the third had finished washing the three brothers became oxen; and this young girl used to drive all three into the fields. And this young girl lived there on the birds they (the oxen) found, and nothing else.
And Basa-Andre takes out three big teeth and brings them home, telling the young girl to drop one tooth into the water for each of her brothers when she heats it for their feet in the evening. As soon as the third brother finishes washing, all three brothers turn into oxen, and the young girl drives them into the fields. She survives on the birds they catch, and nothing else.
One day, as she was passing over a bridge,11 she sees Basa-Andre under, and says to her:
One day, as she was crossing a bridge,11 she spots Basa-Andre below and says to her:
“If you do not make these three oxen men as they were before, I will put you into a red-hot oven.”
“If you don’t turn these three oxen back into men like they were before, I will throw you into a red-hot oven.”
She answers her:
She responds to her:
“No! go to such a dell, and take thence three hazel sticks,12 and strike each of them three blows on the back.”
“No! Go to that dell, and take three hazel sticks from there, and give each of them three strikes on the back.”
And she did what she told her, and they were changed [53]into men the same as they were before; and all the brothers and the sister lived happily together in Basa-Jaun’s castle, and as they lived well they made a good end also.
And she did what she told her, and they were changed [__A_TAG_PLACEHOLDER_0__]into men just like they were before; and all the brothers and the sister lived happily together in Basa-Jaun’s castle, and since they lived well, they also had a happy ending.
Estefanella Hirigaray.
Estefanella Hirigaray.
The Servant at the Fairy’s.
Once upon a time there was a woman who had three daughters. One day the youngest said to her that she must go out to service. And going from town to town, she met at last a fairy who asked her:
Once upon a time, there was a woman who had three daughters. One day, the youngest told her that she needed to go find work. While traveling from town to town, she eventually met a fairy who asked her:
“Where are you going to, my child?”
“Where are you headed, my child?”
And she answered, “Do you know a place for a servant?”
And she replied, "Do you know of a place for a servant?"
“Yes; if you will come to my house I will take you.”
“Yes; if you come to my house, I’ll take you.”
She said, “Yes.”
She replied, “Yes.”
She gave her her morning’s work to do, and said to her:
She gave her the work for the morning to do and said to her:
“We are fairies. I must go from home, but your work is in the kitchen; smash the pitcher, break all the plates, pound the children, give them breakfast (by themselves), dirty their faces, and rumple their hair.”13
“We're fairies. I have to leave home, but your job is in the kitchen; smash the pitcher, break all the plates, thump the kids, let them have breakfast (on their own), make their faces messy, and mess up their hair.”13
While she was at breakfast with the children, a little dog comes to her and says:
While she was having breakfast with the kids, a little dog came up to her and said:
“Tchau, tchau, tchow; I too, I want something.”
“Tchau, tchau, chow; I want something too.”
“Be off from here, silly little dog; I will give you a kick.”
“Get away from here, you silly little dog; I'll give you a kick.”
But the dog did not go away; and at last she gave him something to eat—a little, not much.
But the dog didn’t leave; and finally, she gave him something to eat—a little, not much.
“And now,” says he, “I will tell you what the mistress has told you to do. She told you to sweep the kitchen, to fill the pitcher, and to wash all the plates, and that if it is all well done she will give you the choice of a sack of charcoal [54]or of a bag of gold; of a beautiful star on your forehead, or of a donkey’s tail hanging from it. You must answer, ‘A sack of charcoal and a donkey’s tail.’”
“And now,” he says, “I’m going to tell you what the mistress instructed you to do. She asked you to sweep the kitchen, fill the pitcher, and wash all the plates. If you do everything well, she’ll give you the choice of a sack of charcoal [__A_TAG_PLACEHOLDER_0__]or a bag of gold; a beautiful star on your forehead, or a donkey’s tail hanging from it. You must reply, ‘A sack of charcoal and a donkey’s tail.’”
The mistress comes. The new servant had done all the work, and she was very well satisfied with her. So she said to her:
The boss arrives. The new employee had completed all the tasks, and she was quite pleased with her. So she said to her:
“Choose which you would like, a sack of charcoal or a bag of gold?”
“Which would you prefer, a sack of charcoal or a bag of gold?”
“A sack of charcoal is the same to me.”
“A bag of charcoal is the same to me.”
“A star for your forehead, or a donkey’s tail?”
“A star on your forehead or a donkey's tail?”
“A donkey’s tail would be the same to me.”
“A donkey’s tail would mean just as much to me.”
Then she gives her a bag of gold, and a beautiful star on her forehead.14 Then the servant goes home. She was so pretty with this star, and this bag of gold on her shoulders, the whole family was astonished at her. The eldest daughter says to her mother:
Then she gives her a bag of gold and a beautiful star on her forehead.14 Then the servant goes home. She looked so pretty with the star and the bag of gold on her shoulders that the whole family was amazed by her. The eldest daughter says to her mother:
“Mother, I will go and be a servant too.”
“Mom, I’m going to be a servant too.”
And she says to her, “No, my child, you shall not do so.”
And she says to her, “No, my child, you can't do that.”
But as she would not leave her in peace (she assented), and she goes off like her sister. She comes into the city of the fairies, and meets the same fairy as her sister did. She says to her:
But since she wouldn’t let her be (she agreed), she leaves like her sister did. She arrives in the city of the fairies and meets the same fairy her sister had encountered. She says to her:
“Where are you going, my girl?”
“Where are you headed, my girl?”
“To be a servant.”
"To be a servant."
“Come to us.”
"Join us."
And she takes her as servant. She tells her like the first one:
And she takes her as a servant. She tells her just like the first one:
“You will dig up the kitchen, break the plates, smash the pitcher, give the children their breakfasts by themselves, and dirty their faces.”
“You will tear up the kitchen, break the plates, smash the pitcher, let the kids make their own breakfast, and get their faces dirty.”
There was some of the breakfast left over, and the little dog comes in, and he went:
There was some breakfast leftover, and the little dog came in, and he went:
“Tchow! tchow! tchow! I too, I should like something.”
“Tchow! tchow! tchow! I also want something.”
And he follows her everywhere, and she gives him [55]nothing; and at last she drove him off with kicks. The mistress comes home, and she finds the kitchen all dug up, the pitcher and all the plates broken. And she asks the servant:
And he follows her everywhere, but she gives him [__A_TAG_PLACEHOLDER_0__]nothing; eventually, she kicks him out. The mistress comes home and sees the kitchen all dug up, with the pitcher and all the plates broken. So she asks the servant:
“What do you ask for wages? A bag of gold or a sack of charcoal? a star on your forehead, or a donkey’s tail there?”
“What do you want for payment? A bag of gold or a sack of charcoal? A star on your forehead, or a donkey’s tail instead?”
She chose the bag of gold and a star on her forehead; but she gave her a sack of charcoal, and a donkey’s tail for her forehead. She goes away crying, and tells her mother that she comes back very sorry. And the second daughter also asks permission to go.
She picked the bag of gold and a star on her forehead; but she was given a sack of charcoal and a donkey’s tail for her forehead. She leaves crying and tells her mother that she comes back feeling very sorry. Then, the second daughter also asks for permission to go.
“No! no!” (says the mother), and she stops at home.
“No! No!” (says the mother), and she stays at home.
Estefanella Hirigaray.
Estefanella Hirigaray.
The Fairy in the House.
There was once upon a time a gentleman and lady. And the lady was spinning one evening. There came to her a fairy, and they could not get rid of her; and they gave her every evening some ham to eat, and at last they got very tired of their fairy.
Once upon a time, there was a gentleman and a lady. One evening, while the lady was spinning, a fairy appeared to her, and they couldn't get rid of her. They ended up giving her some ham to eat every evening, and eventually, they grew very tired of their fairy.
One day the lady said to her husband:
One day, the woman said to her husband:
“I cannot bear this fairy; I wish I could drive her away.”
“I can’t stand this fairy; I wish I could get rid of her.”
And the husband plots to dress himself up in his wife’s clothes just as if it was she, and he does so. The wife goes to bed, and the husband remains in the kitchen alone, and the fairy comes as usual. And the husband was spinning. The fairy says to him:
And the husband plans to wear his wife's clothes as if he were her, and he does just that. The wife goes to bed, and the husband stays in the kitchen by himself, and the fairy comes as usual. The husband is spinning. The fairy says to him:
“Good-day, madam.”
“Good day, ma'am.”
“The same to you too; sit down.”
“The same to you; have a seat.”
“Before you used to make chirin, chirin, but now you make firgilun, fargalun.”15 [__A_TAG_PLACEHOLDER_0__]
The man replies, “Yes, now I am tired.”
The man replies, “Yeah, I’m tired now.”
As his wife used to give her ham to eat, the man offers her some also.
As his wife used to give him ham to eat, the man offers her some too.
“Will you take your supper now?”
“Are you going to have your dinner now?”
“Yes, if you please,” replies the fairy.
“Sure, if you’d like,” replies the fairy.
He puts the frying-pan on the fire with a bit of ham. While that was cooking, and when it was red, red-hot, he throws it right into the fairy’s face. The poor fairy begins to cry out, and then come thirty of her friends.
He puts the frying pan on the stove with a piece of ham. While that’s cooking, and when it’s blazing hot, he throws it right into the fairy’s face. The poor fairy starts to cry out, and then thirty of her friends show up.
“Who has done any harm to you?”
"Who hurt you?"
“If you have done it yourself, cure it yourself.”
“If you’ve done it yourself, fix it yourself.”
And all the fairies go off, and since then there came no more fairies to that house. This gentleman and lady were formerly so well off, but since the fairy comes no longer the house little by little goes to ruin, and their life was spent in wretchedness. If they had lived well they would have died well too.
And all the fairies left, and after that, no more fairies came to that house. This couple used to be quite well-off, but since the fairies stopped visiting, the house gradually fell into disrepair, and their lives were filled with misery. If they had lived better, they would have died better too.
Estefanella Hirigaray.
Estefanella Hirigaray.
The Pretty but Idle Girl.17
Once upon a time there was a mother who had a very beautiful daughter. The mother was always bustling about, but the daughter would not do anything. So she gave her such a good beating that she sat down on a flat stone to cry. One day the young owner of the castle went by. He asks:
Once upon a time, there was a mother with a very beautiful daughter. The mother was always busy, but the daughter did nothing. So, she gave her a good spanking, which made her sit on a flat stone to cry. One day, the young owner of the castle walked by. He asks:
“What makes such a pretty girl cry like that?”
“What makes such a beautiful girl cry like that?”
The woman answers him:
The woman responds to him:
“As she is too pretty she will not work.”
“As she's too pretty, she won't have to work.”
The young man asks if she knows how to sew. [57]
The young man asks if she knows how to sew. [__A_TAG_PLACEHOLDER_0__]
She answers, “Yes; if she liked she could make seven shirts a day.”
She replies, "Yeah; if she wanted to, she could make seven shirts a day."
This young gentleman is much smitten with her. He goes home, and brings a piece of linen, and says to her:
This young man is really into her. He goes home, grabs a piece of linen, and says to her:
“Here are seven shirts, and if you finish them by such a time we will marry together.”
“Here are seven shirts, and if you finish them by a certain time, we’ll get married.”
She sat thinking without doing anything, and with tears in her eyes. Then comes to her an old woman, who was a witch, and says to her:
She sat there lost in thought, tears in her eyes. Then an old woman, who was a witch, approached her and said:
“What is it makes you so sad?”
“What is it that makes you so sad?”
She answers, “Such a gentleman has brought me seven shirts to sew, but I cannot do them. I am sitting here thinking.”
She replies, “A gentleman has given me seven shirts to sew, but I can’t do them. I’m sitting here thinking.”
This old woman says to her:
This elderly woman says to her:
“You know how to sew?”
"Do you know how to sew?"
“I know how to thread the needle; (that is all).”
“I know how to thread the needle; (that’s all).”
This woman says to her:
This woman tells her:
“I will make your shirts for you when you want them, if you remember my name in a year and a day.” And she adds, “If you do not remember I shall do with you whatever I like. Marie Kirikitoun—nobody can remember my name.”
“I’ll make your shirts whenever you want, as long as you remember my name in a year and a day.” She adds, “If you forget, I can do whatever I want with you. Marie Kirikitoun—no one can remember my name.”
And she agreed. She makes her the seven shirts for the appointed time. When the young man came the shirts were made, and he takes the young girl with joy and they are both married.
And she agreed. She made him the seven shirts on time. When the young man arrived, the shirts were ready, and he joyfully took the young girl, and they got married.
But this young girl grew continually sadder and sadder; though her husband made great feasts for her she never laughed. One day they had a frightfully grand festival. There came to the door an old woman, and she asks the servant:
But this young girl became more and more sad; even though her husband threw big parties for her, she never smiled. One day, they had an incredibly lavish festival. An old woman came to the door and asked the servant:
“What is the reason that you have such grand feastings?”
“What’s the reason for such lavish feasts?”
She answers, “Our lady never laughs at all, and her husband has these grand feasts to make her gay.”
She replies, “Our lady never laughs, and her husband throws these big parties to cheer her up.”
The old woman replied: [58]
The elderly woman replied: [__A_TAG_PLACEHOLDER_0__]
“If she saw what I have heard this day she would laugh most certainly.”
“If she saw what I heard today, she would definitely laugh.”
The servant said to her, “Stay here; I will tell her so at once.”
The servant said to her, “Stay here; I’ll let her know right away.”
They call the old woman in, and she told them that she had seen an old woman leaping and bounding from one ditch to another, and saying all the time:
They call the old woman in, and she tells them that she saw an old woman jumping from one ditch to another, saying the whole time:
“Houpa, houpa, Marie Kirikitoun; nobody will remember my name.”
“Hop, hop, Marie Kirikitoun; nobody will remember my name.”
When this young lady heard that, she was merry at once, and writes down this name at once. She recompensed highly the old woman, and she was very happy; and when the other old woman came she knew her name.18
When this young woman heard that, she felt happy right away and quickly wrote down the name. She rewarded the old woman generously, and she was very pleased; and when the other old woman arrived, she recognized her name.18
Estefanella Hirigaray.
Estefanella Hirigaray.
The Devil’s Age.
There was a gentleman and lady who were very poor. This man used to sit sadly at a cross-roads. There came to him a gentleman, who asked: “Why are you so sad?”
There was a man and a woman who were very poor. This man would often sit sadly at a crossroads. One day, a gentleman came up to him and asked, “Why are you so sad?”
“Because I have not wherewith to live.”
“Because I don’t have what I need to live.”
He said to him, “I will give you as much money as you like, if at such a time you tell the age of the devil.”
He said to him, “I’ll give you as much money as you want if you tell me the devil’s age at that time.”
Our man goes off happy. He leads a merry life with his wife, for they wanted for nothing. They lived at a great rate. But time went on, and the time was approaching. This man recollected that he had not busied himself at all about the devil’s age. He became pensive. His wife asked him what was the matter with him then? why is he not happy? that they wanted for nothing; why is he so sad? He tells her how it is that he got rich, and what compact he had made with a gentleman. His wife said to him:
Our guy goes off feeling great. He shares a happy life with his wife because they had everything they needed. They lived it up. But time passed, and the time was coming. He started to think about how he hadn’t given any thought to the devil’s age. He became thoughtful. His wife asked him what was wrong, why he wasn’t happy since they had everything they wanted; why was he so down? He explains to her how he became rich and the deal he made with a gentleman. His wife said to him:
“If you have nothing but that, it is nothing at all. [59]Get into a barrel of honey, and when you come out of it get into another barrel of feathers, and dressed like that go to the cross-roads and wait for the devil there. You will put yourself on all fours, and walk backwards and forwards, and go between his legs, and walk all round him.”
“If all you have is that, then it's basically nothing. [__A_TAG_PLACEHOLDER_0__]Jump into a barrel of honey, and when you get out, jump into another barrel of feathers, and dressed like that, go to the crossroads and wait for the devil. You'll get down on all fours, walk back and forth, go between his legs, and walk all around him.”
The man does as his wife had told him. The devil comes, and draws back (when he sees him); and our man goes up quite close to the devil. The devil being frightened said to him:
The man does what his wife instructed him. The devil arrives, and pulls back (when he spots him); and our man approaches the devil closely. The devil, frightened, said to him:
“I am so many years old, and I have never seen any animal like that, and such a frightful one.”19
“I’m so many years old, and I’ve never seen an animal like that, especially such a scary one.”19
Our man had heard enough. He went off home at full speed, and told his wife that they would want for nothing, that he had done as she had told him, just as if she had been a witch, and that he was no longer afraid of the devil. They lived rich and happily, and if they lived well, they died well too.
Our guy had heard enough. He rushed home and told his wife that they wouldn't be lacking for anything, that he had done exactly what she had told him, almost as if she were a witch, and that he wasn't afraid of the devil anymore. They lived wealthily and happily, and if they lived well, they also died well.
Franchun Beltzarri.
Franchun Beltzarri.
The Fairy-Queen Godmother.20
There were, like many others in the world, a man and a woman over-burthened with children, and very poor. The woman no more knew what to do. She said that she would go and beg. She goes off, far, far, far away, and she arrives at the city of the fairies. After she had told them how many children she had, all give her a great many alms—she was laden with them.
There was, like many others in the world, a man and a woman overwhelmed with children and very poor. The woman didn’t know what else to do. She said she would go and beg. She set off, far, far away, and arrived at the city of the fairies. After telling them how many children she had, they all gave her a lot of alms—she was loaded with them.
The queen of the fairies gives her besides twenty pounds in gold, and says to her:
The fairy queen gives her twenty gold pounds and says to her:
“If you will give me your child when you are confined—you shall bring it up in your law—I will give you a great deal of money, if you will do that.”
“If you’ll give me your child while you’re in labor—you can raise it according to your beliefs—I’ll give you a lot of money if you agree to that.”
She told her that the godmother was already decided [60]upon, but that she would speak about it to her husband. The queen told her to go home, and to return with the answer in a week.
She told her that the godmother had already been decided [__A_TAG_PLACEHOLDER_0__]upon, but that she would talk to her husband about it. The queen instructed her to go home and come back with the answer in a week.
She gets home as she best can, very much fatigued by her burthen. Her husband was astonished that she could have carried so much. She tells him what had happened with the queen of the fairies. He says to her:
She gets home as best as she can, very tired from her load. Her husband is amazed that she could have carried so much. She tells him what happened with the queen of the fairies. He says to her:
“Certainly, we will make her godmother.”
“Absolutely, we’ll make her the godmother.”
And she returns at the end of a week to tell the queen that she accepts her. She tells her not to send and tell her when she is confined, that she will know it herself, and that she will come all right. At the end of a week she is confined of a daughter. The queen arrives, as she had said, with a mule laden with gold. When they came back from the christening, the godmother and the child fly away; and the parents console themselves with their other children, thinking that she will be happier in the house of the queen of the fairies.
And she comes back after a week to let the queen know that she's on board. She tells her not to send a message when she's about to give birth because she'll know when it happens, and she'll be fine. A week later, she has a baby girl. The queen shows up, just like she said, riding a mule loaded with gold. After the christening, the godmother and the baby take off, leaving the parents to comfort themselves with their other kids, believing that the little girl will be happier in the fairy queen's home.
The queen takes her to a corner of a mountain. It is there where her house was. She had already another god-daughter; this was a little dog, whose name was Rose,21 and she named this last god-daughter Pretty-Rose. She gave her, too, a glint of diamonds in the middle of her forehead.22 She was very pretty. She grew up in the corner of the mountain, amusing herself with this dog. She said to her one day:
The queen takes her to a spot on a mountain. That’s where her house was. She already had another goddaughter, a little dog named Rose, and she named this new goddaughter Pretty-Rose. She also gave her a sparkle of diamonds in the center of her forehead. She was very cute. She grew up in that mountain corner, having fun with this dog. One day, she said to her:
“Has the queen no other houses? I am tired of being always here.”
“Does the queen have no other houses? I’m tired of always being here.”
The dog said to her: “Yes, she has a very fine one by the side of the king’s highway, and I will speak to my godmamma about it.”
The dog said to her, “Yeah, she has a really nice one next to the king’s highway, and I’ll talk to my godmamma about it.”
And the dog then told her how Pretty-Rose was bored, and (asked her) if she would not change her house. She [61]said to her, “Yes,” and off they go. While they were there one day Pretty-Rose was on the balcony, and a king’s son passes, and he was astonished at the beauty of Pretty-Rose; and the king begged and prayed her to look at him again, and (asked her) if she would not go with him. She told him, “No, that she must tell it to her godmamma.” Then the dog said, aside:
And the dog then told her how Pretty-Rose was feeling bored and asked if she would consider moving her house. She [__A_TAG_PLACEHOLDER_0__]said, “Yes,” and off they went. One day while they were there, Pretty-Rose was on the balcony when a prince passed by. He was amazed by Pretty-Rose’s beauty and begged her to look at him again, asking if she would come with him. She replied, “No, I need to talk to my godmother first.” Then the dog said quietly:
“No, without me she shall not go anywhere.”
“No, she won’t go anywhere without me.”
This king says to her: “But I will take you, too, willingly; but how shall I get you?”
This king says to her, “But I will willingly take you too; but how will I get you?”
Rose says to him: “As I give every evening to my godmother always a glass of good liqueur to make her sleep well, as if by mistake, instead of half a glass, I will give her the glass full, and as she will not be able to rise any more to shut the door as usual, I, I will go and take the key to shut it. I will pretend to, and will give her back the key, leaving the door open, and you will open it when you come. She will not hear anything; she will be in a deep sleep.”
Rose says to him: “Every evening, I always give my godmother a glass of good liqueur to help her sleep. But this time, by mistake, instead of half a glass, I'll fill it up completely. Since she won't be able to get up to close the door like usual, I'll go and take the key to lock it. I'll act like I'm locking it and then give her back the key, leaving the door open. You can come in when you get here. She won't hear anything; she'll be in a deep sleep.”
The king’s son said that he would come at midnight, in his flying chariot.
The king's son said he would arrive at midnight in his flying chariot.
When night came, Rose gave her godmother the good drink in a glass, brim, brim-full. The godmother said:
When night fell, Rose handed her godmother a glass filled to the brim with a good drink. The godmother said:
“What! what! child!”
“What! What! Kid!”
“You will sleep all the better, godmamma.”
“You’ll sleep all the better, godmom.”
“You are right,” and she drinks it all.
“You're right,” and she drinks it all.
But she could not any more get up to shut the door, she had become so sleepy.
But she couldn't get up to shut the door anymore; she was too sleepy.
Rose said to her: “Godmamma! I will shut the door to-day; stop where you are.”
Rose said to her, “Godmamma! I’ll close the door today; stay where you are.”
She gave her the key, and Rose turns and turns it back again and again in the keyhole as if she had locked it; and leaving it unlocked she gave the key to her godmother, and she puts it in her pocket. She goes to bed; but Rose and Pretty-Rose did not go to bed at all. At midnight the son of the king arrives with his flying chariot. Rose and Pretty-Rose get into it, and go to this young man’s house. The next day Rose says to Pretty-Rose: [62]
She handed her the key, and Rose kept turning it back and forth in the keyhole as if she had locked it; then, leaving it unlocked, she gave the key to her godmother, who put it in her pocket. She went to bed; but Rose and Pretty-Rose stayed awake. At midnight, the king’s son arrived in his flying chariot. Rose and Pretty-Rose hopped in and went to the young man's house. The next day, Rose said to Pretty-Rose: [__A_TAG_PLACEHOLDER_0__]
“You are not so pretty as you were yesterday;” and looking at her closely, “I find you very ugly to-day.”
“You’re not as pretty as you were yesterday;” and looking at her closely, “I find you really ugly today.”
Pretty-Rose said to her: “My godmamma must have taken away my diamond glint.”
Pretty-Rose said to her, "My godmother must have taken my diamond sparkle."
And she said to Rose, “You must go to my godmamma, and ask her to give me back the glint that I had before.”
And she said to Rose, “You need to go to my godmother and ask her to give me back the shine I had before.”
Rose did not want to go there—she was afraid; but Pretty-Rose prayed her so much, that she took off the silver dress and set out.23 When she came to the mountain, she began to call out:
Rose didn’t want to go there—she was scared; but Pretty-Rose begged her so much that she took off the silver dress and headed out.23 When she reached the mountain, she started to call out:
“Godmamma! godmamma! Give Pretty-Rose her beautiful glint as before. I shall be angry with you for always (if you do not), and you will see what will happen to you.”
“Godmamma! Godmamma! Give Pretty-Rose her beautiful sparkle like before. I’ll be angry with you forever if you don’t, and you’ll see what will happen to you.”
The godmother said to her:
The godmother said to her:
“Come here, come in, I will give you breakfast.”
“Come here, come inside, I’ll make you breakfast.”
She said, “I am afraid you will beat me.”
She said, “I’m afraid you’re going to hit me.”
“No! no! come quickly, then.”
“No! no! come fast, then.”
“You will give Pretty-Rose her glint?”
“You're going to give Pretty-Rose her sparkle?”
“Yes, yes, she has it already.”
“Yes, yes, she has it already.”
She then goes in. The queen washes her feet and wipes them, and puts her upon the velvet cushion, and gives her some chocolate; and says to her, that she knows where Pretty-Rose is, and that she will be married, and to tell her from her not to trouble herself about her toilet, nor about anything that is necessary for the wedding and feast, that she would come on the morning of the day.
She then goes in. The queen washes her feet and dries them, then places her on the velvet cushion and offers her some chocolate. She tells her that she knows where Pretty-Rose is and that she will be getting married. She says to let Pretty-Rose know not to worry about her appearance or anything needed for the wedding and celebration, as she will arrive on the morning of the day.
Rose goes off then. While she is going through the city where Pretty-Rose is, she hears two ladies, who were saying to two gentlemen, “What kind of wife is it that our brother is going to take? Not like us, because he keeps her shut up so close. Let us go and see her.”
Rose heads out. As she walks through the city where Pretty-Rose is, she overhears two ladies speaking to two gentlemen, saying, "What kind of wife is our brother planning to take? Not like us, since he keeps her so secluded. Let's go see her."
The little dog said to them, “Not a bit like you, you horrible blubber-lips, as you are. You shall see her—yes.” [63]
The little dog said to them, “Not at all like you, you disgusting blubber-lips, as you are. You'll see her—yes.” [__A_TAG_PLACEHOLDER_0__]
When the young kings heard that, they were ready to run their swords through the poor little dog. When she gets to Pretty-Rose’s house she hides herself, and tells her all that has happened. Pretty-Rose gives her some good liqueur to drink, and she comes to herself. The king makes a proclamation that whoever shall (merely) spit where the little dog shall have placed her feet shall be killed, and to mind and pay attention to it.
When the young kings heard that, they were ready to stab the poor little dog. When she reaches Pretty-Rose’s house, she hides and tells her everything that happened. Pretty-Rose gives her some good liqueur to drink, and she starts to feel better. The king announces that anyone who spits where the little dog has walked will be put to death, and everyone should be careful about it.
When the marriage day had arrived, came the queen. She brought for the wedding-day a robe of diamonds; for the next day, of gold; and for the third day, of silver. Judge how beautiful she was with her glint of diamonds, and her dress of diamonds, too. They could not look at her. Her godmother told her to have her sisters-in-law there, and not to be afraid of them; that they could not come near her in beauty. When she went out (of her room) on the wedding-day, her sisters-in-law could not look at her, she dazzled them so much. They said to each other:
When the wedding day arrived, the queen showed up. She wore a diamond robe for the wedding day, a gold one for the next day, and a silver one for the third day. Just imagine how stunning she was with her sparkling diamonds and her diamond dress. They couldn't even bear to look at her. Her godmother advised her to invite her sisters-in-law and not to worry about them since they couldn't compete with her beauty. When she stepped out of her room on the wedding day, her sisters-in-law were so dazzled by her that they couldn't look at her. They said to each other:
“The little dog was right when she said she was beautiful, this lady.”
“The little dog was right when she said this lady was beautiful.”
And for three days Pretty-Rose walked about,24 and every one was astounded at her beauty. When the feast was over, the godmother went home. Rose would not leave Pretty-Rose. The godmother told Pretty-Rose that she was born of poor parents, and that she had once helped them, but that what she had given them must be already exhausted. Pretty-Rose gave them enough for all to live grandly. She herself had four children, two boys and two girls; and if they had lived well, they had died well.
And for three days, Pretty-Rose walked around, 24 and everyone was amazed by her beauty. When the feast was over, the godmother went home. Rose wouldn’t leave Pretty-Rose. The godmother told Pretty-Rose that she was born to poor parents and that she had once helped them, but what she had given them must already be used up. Pretty-Rose gave them enough to live extravagantly. She herself had four children, two boys and two girls; and if they lived well, they died well.
Laurentine
Learnt it from her mother. [64]
Laurentine
Learned it from her mom. [__A_TAG_PLACEHOLDER_0__]
1 Cf. Cerquand, Part I., p. 27, “Ancho et les Vaches,” and notes. Also Part II., 34, et seq.
1 See Cerquand, Part I, p. 27, “Ancho and the Cows,” and notes. Also Part II, 34, and following
2 Cf. Cerquand, Part I., pp. 33, 34, “La Dame au Peigne d’Or.”
2 See. Cerquand, Part I., pp. 33, 34, “The Lady with the Golden Comb.”
3 Cerquand, Part I., p. 30, “Basa-Jauna et le Salve Regina.”
3 Cerquand, Part I., p. 30, “Basa-Jauna and the Salve Regina.”
4 Cerquand, “L’Eglise d’Espés.” “Le Pont de Licq,” Part I., pp. 31, 32, and Part II., pp. 50–52.
4 Cerquand, “L'Eglise d'Espés.” “Le Pont de Licq,” Part I., pp. 31, 32, and Part II., pp. 50–52.
5 But compare the well or marsh of the Basa-Andre in the Tartaro tale, p. 15.
5 But compare the well or marsh of the Basa-Andre in the Tartaro story, p. 15.
7 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.
7 The owner of the farm and the tenant's wife, known as the “métayère.” In the "métayer" system, the landlord and tenant share the farm's produce. This arrangement is common throughout South-Western France, as well as in other parts of the South. The “métayer’s” home is often next to the landlord’s house.
9 This is the only representation that we know of Basa-Jaun as a vampire.
9 This is the only depiction we have of Basa-Jaun as a vampire.
10 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.”
10 Since the Basques usually go barefoot or wear only hemp sandals, they need to wash their feet every evening. This is typically done in front of the kitchen fire, in strict order of age and status. See also “The Sister and her Seven Brothers.”
11 The running water, we suspect, gives the girl power over the witch.
11 The flowing water, we think, gives the girl control over the witch.
12 “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.
12 “Hazel sticks.” In the sixteenth century, the dogwood, “cornus sanguinea,” appears to have been the favored wood for witches. In the “Pastorales,” all the enchantments and such are performed with the ribboned wands of the Satans. This story wraps up rather suddenly. The storyteller got really tired at the end.
13 Basque Lamiñak always say exactly the contrary to what they mean.
13 Basque Lamiñak always say the opposite of what they really mean.
14 Cf. Bladé’s “Contes Agenais,” “Les Deux Filles,” and Köhler’s “Notes Comparatives” on the tale, p. 149.
14 See Bladé’s “Contes Agenais,” “The Two Daughters,” and Köhler’s “Notes Comparison” on the tale, p. 149.
15 That is, the wife span evenly with a clear steady sound of the wheel, but the man did it unevenly.
15 That is, the wife worked steadily with a clear, even sound from the wheel, while the man did it in a more erratic way.
16 Cf. Campbell’s “The Brollachan,” Vol. II., p. 189, with the notes and variations. “Me myself,” as here, seems the equivalent of the Homeric “οὔτις.”
16 See Campbell’s “The Brollachan,” Vol. II., p. 189, along with the notes and variations. “Me myself,” as used here, seems to be similar to the Homeric “ο᷄υτις.”
18 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.
18 This is a very popular legend. See 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 closely resembles the Spanish story; and check the references included in the translation of the Irish legend in Brueyre’s “Popular Tales of Great Britain,” p. 159.
19 Cf. “The Brewery of Egg-shells,” in Croker’s “Fairy Legends of the South of Ireland,” pp. 32–36.
19 See. “The Brewery of Egg-shells,” in Croker’s “Fairy Legends of the South of Ireland,” pp. 32–36.
20 This tale, or at least this version of it, with the names Rose and Bellarose, must come from the French.
20 This story, or at least this version of it, featuring the names Rose and Bellarose, must originate from the French.
21 “A little dog” is mentioned in Campbell’s “The Daughter of the Skies,” Vol. I., 202, and notes.
21 “A little dog” is mentioned in Campbell’s “The Daughter of the Skies,” Vol. I., 202, and notes.
22 ”Kopetaen erdian diamanteko bista batez”—“a view of diamonds in the middle of the forehead.”
22 ”Kopetaen erdian diamond view batez”—“a view of diamonds on the forehead.”
23 Nothing has been said about this dress before. Something must have dropped out of the story.
23 Nobody mentioned this dress before. There must be a part of the story that's missing.
24 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.
24 At a wedding in the Pyrenees, the bride and groom, along with their wedding party, spend most of the day strolling through the town or village. The celebration can last for several days, and the poor bride often appears completely exhausted.

V.—Witchcraft and Sorcery.
Our legends of witchcraft and sorcery are very poor, and in some of these, as said above, the witch is evidently a fairy. The reason of this is not that the belief in witchcraft is extinct among the Basques, but because it is so rife. Of stories of witchcraft (as matters of fact), and some of them very sad ones, we have heard plenty; but of legends, very few. In fact, witchcraft among the Basques has not yet arrived at the legendary stage. The difference is felt at once in taking down their recitations. In the legends they are reciting a text learnt by heart. It is “the story says so.” “It is so,” whether they understand it or not. But they tell their stories of witchcraft in their own words, just as they would narrate any other facts which they supposed had happened to themselves or to their neighbours. One woman told us, as a fact within her own knowledge, and persisted in it, a tale which appears both in M. Cerquand’s pages and in Fr. Michel’s “Pays Basque.”1 It was only after cross-examination that we could discover that it had not really happened to her own daughter, but that she had only seen the cottage and the chapel which are the scene of the alleged occurrence. We have, too, been informed on undoubted authority that, only a year or two back, a country [65]priest was sorely puzzled by one of his parishioners, in his full senses, seriously and with contrition confessing to him that he frequented the “Sabbat.”
Our legends of witchcraft and sorcery are lacking, and in some of these cases, as mentioned earlier, the witch clearly resembles a fairy. This isn’t because belief in witchcraft has disappeared among the Basques, but rather because it’s so prevalent. We’ve heard plenty of actual stories about witchcraft, some of which are quite sad, but there are very few legends. In fact, witchcraft among the Basques hasn’t reached the legendary level yet. You can notice the difference immediately when they share their tales. In legends, they recite a text they've memorized. It’s “the story says so” or “it is so,” whether they fully understand it or not. However, they tell their witchcraft stories in their own words, just like they would recount any other facts they believe have happened to them or their neighbors. One woman shared with us a story she claimed was true, insisting it happened to her, which also appears in M. Cerquand’s writings and in Fr. Michel’s “Basque Country.” It was only after we probed further that we discovered it hadn’t actually happened to her daughter; she had just seen the cottage and chapel where the alleged event took place. We were also informed by reliable sources that just a year or two ago, a rural [__A_TAG_PLACEHOLDER_0__] priest was quite confused when one of his parishioners, fully aware and genuinely remorseful, confessed to him that he attended the “Sabbat.”
But what is strange and unexpected is, that with this prevalence of belief in witchcraft and sorcery, and which can be traced back to our earliest notices of the Basques, there is nothing to differentiate their belief on this subject from the current European belief of three centuries back. All the Basque words for witchcraft and sorcery are evidently borrowed. The only purely Basque term is Asti, which seems to be rather a diviner than a sorcerer. The term for the “Sabbat” is “Akhelarre”—“goat pasture”—and seems to be taken from the apparition of the devil there in form of a goat, which is not uncommon elsewhere. Pierre de Lancre, by the terrors of his hideous inquisition in 1609, produced a moral epidemic, and burnt numerous victims at St. Jean de Luz; but there is not a single Basque term in all his pages. Contrary to general opinion, both the Spanish Inquisition and the French ecclesiastical tribunals were more merciful and rational, and showed far less bigotry and barbarity than the two doctrinaire lawyers and judges of Bordeaux. The last person burnt for witchcraft at St. Jean de Luz was a Portuguese lady, who was accused of having secreted the Host for purposes of magic, in 1619. While her case was being investigated before the Bishop of Bayonne, in the crypt of the church, a mob of terrified fishermen, on the eve of starting for Newfoundland, burst in, tore her out of the church, and burnt her off-hand, in the midst of the “Place.” “They dared not,” they said, “sail while such a crime was unpunished.” The Bishop’s procés-verbal of the occurrence is still extant in the archives of the Mairie.
But what's strange and unexpected is that despite the widespread belief in witchcraft and sorcery, which can be traced back to our earliest records of the Basques, their beliefs on this topic are no different from the common European beliefs three centuries ago. All the Basque words related to witchcraft and sorcery are clearly borrowed. The only purely Basque term is Asti, which seems to refer to a diviner rather than a sorcerer. The term for the “Sabbat” is “Akhelarre”—“goat pasture”—and appears to come from the devil appearing there in the form of a goat, which is a common theme elsewhere. Pierre de Lancre, through his horrifying inquisition in 1609, created a moral panic and burned numerous victims in St. Jean de Luz; however, there isn't a single Basque term in any of his writings. Contrary to popular belief, both the Spanish Inquisition and the French ecclesiastical courts were more merciful and rational, showing far less bigotry and brutality than the two rigid lawyers and judges from Bordeaux. The last person executed for witchcraft in St. Jean de Luz was a Portuguese woman, accused of hiding the Host for magical purposes, in 1619. While her case was being examined by the Bishop of Bayonne, a mob of frightened fishermen, just before departing for Newfoundland, stormed in, dragged her out of the church, and burned her on the spot in the “Place.” “They dared not,” they said, “set sail while such a crime was unpunished.” The bishop’s record of the incident is still preserved in the archives of the Mairie.
The magic wand in all our tales is now said to be made from the hazel. In De Lancre’s time it was from the “Souhandourra”—“the cornus sanguinea”—or dog-wood. This was then the witches’ tree. [66]
The magic wand in all our stories is now believed to be made from hazel. Back in De Lancre’s time, it was made from the "Souhandourra"—"the cornus sanguinea"—or dogwood. That was the tree of the witches. [__A_TAG_PLACEHOLDER_0__]
The Witches at the Sabbat.2
Once upon a time, like many others in the world, there was a young lad. He was one day in a lime-kiln, and the witches came at night. They used to dance there, and one pretended to be the mistress of a house, who was very ill; and one day, as she was going out of the church, she let the holy wafer fall on the ground, and a toad had picked it up; and this toad is still near the door, under a stone, with the bread in his mouth.3 And again, this same witch said that, until they took away this bread out of the toad’s mouth, this lady will not be cured. This young lad had heard it all. When they had danced their rounds, the witches go away home, and our lad comes out of the lime-kiln, and goes to the house of this lady who is ill, and says to her,
Once upon a time, like many people in the world, there was a young guy. One day he found himself in a lime kiln, and at night, the witches showed up. They would dance there, and one pretended to be the lady of a house who was very sick. One day, as she was leaving church, she dropped the holy wafer on the ground, and a toad picked it up. That toad is still by the door, under a stone, with the bread in its mouth.3 And this same witch said that until they removed the bread from the toad’s mouth, the lady wouldn’t get better. This young guy had heard everything. After they finished their dancing, the witches went home, and he came out of the lime kiln and went to visit the sick lady, saying to her,
“I know what must be done to cure you,” and he told her all that he had heard from the witch.
“I know what needs to be done to heal you,” he said, sharing everything he had learned from the witch.
The sick lady did what they told her, and the same day she was cured, and the young man was well paid.
The sick lady did what they told her, and the same day she got better, and the young man was well compensated.
And that very evening there came to him a hunch-backed girl, and said to him,
And that very evening, a hunchbacked girl came to him and said,
“I have heard that you know where the witches hold their Sabbat.”
“I’ve heard that you know where the witches have their Sabbat.”
He says, “Yes.”
He says, "Yeah."
“To-morrow I think I should like to hear what the witches say.”
"Tomorrow, I think I'd like to hear what the witches have to say."
And he points out to her the hole of the lime-kiln. And at midnight all the witches came, some from one quarter, some from another—some laughing, and others cutting capers. The witches said one to another,
And he points out the hole of the lime-kiln to her. And at midnight all the witches gathered, some from one direction, some from another—some laughing, and others dancing around. The witches said to each other,
“We must look in the lime-kiln, to see what may be there.”
“We need to check the lime-kiln to see what might be inside.”
They go to look, and they find the hunchback girl, and they send her off— [67]
They go to check it out and find the hunchback girl, and they send her away— [__A_TAG_PLACEHOLDER_0__]
“Go, go—through hedges and hedges, through thorns and thorns, through furze-bushes and furze-bushes, scratches and pricks.”
“Go, go—through hedges and hedges, through thorns and thorns, through furze bushes and furze bushes, scratches and pricks.”
And in no way could our poor hunchback find her way home. All torn to pieces and exhausted, at last, in the morning, she arrived at her house.
And there was no way for our poor hunchback to find her way home. Completely worn out and battered, she finally arrived at her house in the morning.
Estefanella Hirigaray.
Estefanella Hirigaray.
The second part of this story is evidently a blundered version, transferred from fairies to witches, of Croker’s “Legend of Knochgrafton” (“Fairy Legends of South of Ireland,” p. 10); and M. Cerquand, Part II., p. 17, has a Basque version, “Les Deux Bossus,” almost identical with this Irish legend. The tale, as given in Croker, is found in the Bearnais Gascon, in Spanish, Italian, and German. It is evident, we think, that the Basque land is not its home, but that it has travelled there. We have also another Basque variation of the first part, in which two lads hear the witches at the Sabbat say that a king’s daughter can only be cured by eating an ox’s heart. The opening of this story is so different, that we here give it:—
The second part of this story is clearly a messed-up version, switched from fairies to witches, of Croker’s “Legend of Knochgrafton” (“Fairy Legends of South of Ireland,” p. 10); and M. Cerquand, Part II., p. 17, has a Basque version, “The Two Hunchbacks,” that is almost identical to this Irish legend. The tale, as presented in Croker, appears in Bearnais Gascon, as well as in Spanish, Italian, and German. It’s obvious, we believe, that the Basque country is not its origin, but that it has traveled there. We also have another Basque variation of the first part, where two boys hear the witches at the Sabbat say that a king’s daughter can only be cured by eating an ox’s heart. The beginning of this story is so different that we’ll share it here:—
The Witches and the Idiots.
Once upon a time there were two brothers, the one an idiot, and the other a fool. They had an old mother, old, old, very old. One morning early the elder arranges to go with his sheep to the mountain, and he leaves the fool at home with his old, old, mother, and said to him:
Once upon a time, there were two brothers—one was an idiot, and the other a fool. They had an old mother, very old. One early morning, the elder brother planned to take his sheep to the mountain and left the fool at home with their old mother and said to him:
“I will give my mother some chocolate now, and you will give her a hot bath (afterwards), quite, quite, hot.”
“I'll get my mom some chocolate now, and you can give her a hot bath afterwards, really hot.”
He goes to the mountain with his sheep. The second son put the water on to boil, and said to his mother:
He goes up the mountain with his sheep. The second son started boiling water and said to his mother:
“My mom, the water is hot, which bath do you want?”4 [__A_TAG_PLACEHOLDER_0__]
She says to him:
She tells him:
“A bath with wood-ashes.”
“A bath with wood ashes.”
And he carries it to the bed while it is boiling; and as she did not get up, he said to her:
And he brings it to the bed while it's boiling; and since she didn't get up, he said to her:
“Would you like a little broth?” And she said “Yes.”
“Would you like some broth?” And she answered, "Yes."
“My mother, get up quickly!” and she did not get up.
“My mom, get up fast!” but she didn’t get up.
He takes her, and puts her himself into this boiling water, so that he boiled his poor mother. And he said to her,
He takes her and puts her into the boiling water himself, so he ends up boiling his poor mother. And he said to her,
“My mother, get up again; the water is not cold.”
“My mom, get up again; the water isn’t cold.”
She did not answer. The night comes, and the other brother returns from the mountains, and says to him:
She didn't answer. Night falls, and the other brother comes back from the mountains, and says to him:
“How is our mother?”
"How's our mom?"
“All right.”
"Okay."
“Have you given her the bath?”
“Did you give her a bath?”
“Yes; but she is still there, and she is asleep in her bath.”
“Yes; but she’s still there, and she’s sleeping in her bath.”
“Go and see if she is still asleep.”
“Go check if she’s still sleeping.”
He goes, and says, “No, no; she is laughing—she keeps on laughing.”
He leaves and says, “No, no; she’s laughing—she just keeps laughing.”
The other brother goes there, and perceives that their mother is quite dead. He did not know what to do. They both go into the garden, and there they make a great hole and bury her.
The other brother goes there and sees that their mother is completely dead. He doesn’t know what to do. They both go into the garden, and there they dig a big hole and bury her.
They then burn the house, go into the woods, see the witches, cure the king’s daughter, whom one of them marries, and they live happily.5
They then burn down the house, head into the woods, meet the witches, cure the king’s daughter, whom one of them marries, and they live happily ever after.5
It is possible that this first part may be a narrative of fact. We knew at Asté, near Bagnères de Bigorre, a brother, an idiot “crétin,” who deliberately began to chop up his sister (also an idiot and “crétin”), who offered no resistance. He had chopped off several of her fingers, when they were accidently interrupted. In spite of the blood and pain, she was only laughing at it.
It is possible that this first part may be a narrative of fact. We knew someone in Asté, near Bagnères de Bigorre, a brother, a “crétin,” who intentionally started to chop up his sister (also a “crétin”), who didn’t resist at all. He had already chopped off several of her fingers when they were accidentally interrupted. Despite the blood and pain, she was just laughing about it.
We have another tale of this kind, which may be also founded on fact, so sad is often the condition of the crétins [69]in the mountains. It is of a mother and her imbecile son; he nearly kills himself by chopping off the branch of the tree on which he was sitting. Then he believes himself dead, and commits various other follies. His mother thinks a wife might be able to take care of him, and tells him to cast sheeps’ eyes at the young girls coming out of church after mass. He takes this literally, cuts out the eyes of all their flock, and so kills their sheep, the only thing they had, and throws these at the girls, who are disgusted, and quarrel with him. He goes home, and mother and son end their lives together in wretchedness.
We have another story like this, which may also be based on truth, as the condition of the crétins [__A_TAG_PLACEHOLDER_0__]in the mountains is often so sad. It’s about a mother and her developmentally disabled son; he nearly injures himself by chopping off the branch of the tree he’s sitting on. Then he thinks he’s dead and does various other foolish things. His mother believes that a wife could take care of him, so she tells him to flirt with the young girls coming out of church after mass. He takes this literally, cuts out the eyes of all their sheep, which kills them, the only thing they had, and throws these at the girls, who are disgusted and argue with him. He goes home, and the mother and son end their lives together in misery.
The Witch and the New-Born Infant.
Like many others in the world, there was a man and woman, labourers, who lived by their toil. They were at ease. They had a mule, and the man lived by his mule carrying wine. Sometimes he was a week away from home. He always went to the same inn, where there was a woman and her daughter. One day the labourer sets off with his loaded mule, and his wife was very near her confinement. She was expecting it hourly; but, as he had orders upon orders, he was obliged to set off. He goes then, and comes to this inn. It was a market-day, and they had not kept a bedroom for him as usual, because there were so many people there, and he is put into a dark room without windows near the kitchen. He had not yet gone to sleep, when he hears the woman say to her daughter,
Like many others in the world, there was a man and a woman, working-class people, who lived off their hard work. They were comfortable. They had a mule, and the man earned his living by hauling wine with it. Sometimes, he was away from home for a week at a time. He always stopped at the same inn, where a woman and her daughter worked. One day, the laborer set off with his loaded mule, and his wife was very close to giving birth. She was expecting at any moment; however, since he had a lot of orders to fill, he had to leave. So, he went to the inn. It was market day, and they hadn’t reserved a room for him as usual because it was so crowded. Instead, he was given a dark room without windows near the kitchen. He hadn't even fallen asleep yet when he heard the woman speaking to her daughter,
“You are not aware that the wife of the man who is there is confined? Go and see if he is asleep.”
“You don’t know that the wife of the guy over there is in labor? Go check if he’s asleep.”
When the man heard that, he began to snore; and when the young girl heard through a slit in the door that he was snoring, she said to her mother,
When the man heard that, he started to snore; and when the young girl heard through a crack in the door that he was snoring, she said to her mother,
“Yes, yes, he is asleep.”
"Yes, he’s asleep."
The mother said to her then (you may guess whether he was listening)—
The mother said to her then (you can guess if he was listening)—
“I must go and charm this newly-born infant.” [70]
“I have to go and enchant this newborn baby.” [__A_TAG_PLACEHOLDER_0__]
She takes up a stone under the hearth, and takes from under it a saucepan, in which there was an ointment. She takes a brush, and well rubs herself over her whole body, saying,6
She picks up a stone from under the fireplace and pulls out a saucepan that has some ointment in it. She grabs a brush and thoroughly applies it all over her body, saying, 6
“Under all the clouds and over all the hedges, half an hour on the road, another half-hour there, and another to return.”
“Under all the clouds and over all the hedges, half an hour on the road, another half hour there, and another to get back.”
As soon as she had said that, off she went. When the man saw that she was gone, he comes out of his room. He had seen what she did. He anoints himself like her, and says,
As soon as she said that, she took off. When the man saw she was gone, he came out of his room. He had witnessed what she did. He anoints himself like she did and says,
“Over the clouds, and under the hedges”—(he made a blunder there7)—“a quarter of an hour to go there, half an hour to stop, and a quarter of an hour for the return.”
“Above the clouds, and below the hedges”—(he made a mistake there7)—“a fifteen-minute trip to get there, thirty minutes to stay, and another fifteen minutes to come back.”
He arrives at his house, but torn to pieces by the thorns, and his clothes in strips, but that was all the same to him; he places himself behind the door of his wife’s bedroom with a big stick. There comes a great white cat, “Miau, miau!”8 When the man heard that, he goes out of the place where he was hiding, and with his stick he almost killed this cat, and set out directly afterwards for the inn, but not easily, under all the hedges. In spite of that, he arrives at the woman’s house. He goes to bed quickly. The next day, when he gets up, he sees only the daughter. He asks her where her mother is. “She is ill, and you must pay me.”
He arrives at his house, but he's torn up by thorns, and his clothes are in tatters, but that doesn't bother him; he positions himself behind the door of his wife's bedroom with a big stick. A large white cat comes by and meows, “Miau, miau!” 8 When the man hears that, he steps out from his hiding spot and nearly kills the cat with his stick, then heads straight to the inn, though it’s not easy with all the hedges. Despite that, he makes it to the woman’s house. He quickly goes to bed. The next day, when he wakes up, he only sees the daughter. He asks her where her mother is. “She is ill, and you need to pay me.”
“No! I prefer to see your mother.”
“No! I’d rather see your mom.”
He goes to the mother, and finds her very ill. From this [71]day he goes no more to that inn. When he gets home, he tells his wife what had happened, and how he had saved the child. But all was not ended there. They had misfortune upon misfortune. All their cows died, and all their other animals too. They were sinking into the deepest misery.9 They did not know what would become of them. This man was brooding sadly in thought, when he met an old woman, who asked him what was the matter with him. He told her all his troubles, how many misfortunes they had had—all his cows lost. He had bought others, and they too had died directly. He is charmed by witches.
He goes to his mother and finds her really sick. From that day on, he stops going to that inn. When he gets home, he tells his wife what happened and how he saved the child. But that wasn’t the end of it. They faced one misfortune after another. All their cows died, and so did all their other animals. They were sinking into deep misery. They had no idea what would happen to them. This man was lost in sad thoughts when he ran into an old woman who asked him what was wrong. He shared all his troubles with her, telling her about the misfortunes they had faced—how they lost all their cows. He bought new ones, and they died right away too. He is under a witch's spell.
“If you are like that you have only to put a consecrated taper under the peck measure in the stable, and you will catch her.”
“If you’re like that, all you have to do is place a blessed candle under the grain measure in the barn, and you’ll catch her.”
He does as the old woman told him, and hides himself in the manger. At midnight she comes under the form of a cat, and gets astride the ox, saying:
He does what the old woman told him and hides himself in the manger. At midnight, she comes in the shape of a cat and sits on the ox, saying:
“The others before were fine, but this is very much finer.”
“The ones before were good, but this one is definitely better.”
When our man heard that he comes out from where he was hiding, and with his stick he leaves her quite dead; although when he had done that our man was without any resources; (he had) neither bread, nor maize, nor cows, nor pigs, and his wife and children were starving.
When our guy heard that, he stepped out from where he was hiding, and with his stick, he left her completely dead; however, after he did that, our guy was totally out of options; he had neither bread, nor corn, nor cows, nor pigs, and his wife and kids were starving.
He goes off to see if he can do anything. There meets him a gentleman, who says to him:
He goes to see if he can help. There he meets a gentleman, who says to him:
“What is the matter, man, that you are so sad?”
“What’s wrong, man? Why are you so sad?”
“It is this misery that I am in that torments me so.”
“It’s this misery I’m in that torments me so.”
“If you have only that, we will arrange all that if you like. I will give you as much money as you wish, if at the end of the year you can guess, and if you tell me with what the devil makes his chalice; and if you do not guess it then your soul shall be for us.”
“If that’s all you have, we can sort everything out if you want. I’ll give you as much money as you want, but by the end of the year, you need to guess what the devil uses to make his chalice; and if you can’t guess it, then your soul will belong to us.”
When our man has got his money, he goes off home without thinking at all of the future. He lived happily for [72]some time with his wife and child; but as the time approached he grew sad, and said nothing to his wife. One day he had gone a long way, wishing and trying to find out his secret, and the night overtakes him. He stops at a cross-roads, and hides himself. (You know that the witches come to the cross-roads10 to meet together.) They come then, “hushta” from one side, “fushta” from the other, dancing. When they had well amused themselves like that, they begin to tell each other the news. One says:
When our guy has his money, he heads home without a care for the future. He happily lives for [__A_TAG_PLACEHOLDER_0__] a while with his wife and child; but as time goes on, he starts to feel down and doesn't mention it to his wife. One day, after wandering far in search of his secret and with night closing in on him, he stops at a crossroad and hides. (You know that the witches gather at the crossroads10.) They arrive, “hushta” from one side, “fushta” from the other, dancing. After they've entertained themselves for a while, they start sharing the latest news. One of them says:
“You do not know, then, such a man has sold his head to the devil; certainly he will not guess with what the devil makes his chalice. I do not know myself; tell it me.”
"You don't know, then, that such a man has sold his soul to the devil; he certainly won't realize what the devil uses to make his chalice. I don't know either; tell me."
“With the parings of the finger-nails which Christians cut on the Sunday.”
“With the trimmed nails that Christians cut on Sunday.”
Our man with difficulty, with great difficulty, kept from showing himself, through his joy and delight. As soon as the day appeared all the witches went off to their homes, and our man too went off to his. He was no more sad. He waited till the day arrived, and went to the cross-roads. This gentleman was already there, come with a lot of devils, thinking that he would be for hell. He asks him:
Our guy struggled, really struggled, to hold back his joy and excitement. As soon as dawn broke, all the witches headed home, and he did too. He wasn’t sad anymore. He waited until day came and went to the crossroads. This gentleman was already there, accompanied by a bunch of devils, thinking he would be headed for hell. He asks him:
“You know what the devil makes his chalice of?”
“You know what the devil makes his cup out of?”
“I do not know, but I will try. With the parings of the finger-nails which Christians cut on Sundays?”
“I don’t know, but I’ll try. With the nail clippings that Christians cut on Sundays?”
As soon as he heard that, the devil goes off with all the others in fire and flame to the bottom of hell. Our man went off home, and lived a long time with his wife and daughter. If they had lived well, they would have died well too. [73]
As soon as he heard that, the devil took off with all the others in a blaze to the bottom of hell. Our guy headed home and lived for a long time with his wife and daughter. If they had lived well, they would have died well too. [__A_TAG_PLACEHOLDER_0__]
The Changeling.
Like many others in the world, there was a gentleman and lady. They were very well off, but they could not keep any of their children. They had had ever so many, and all died. The lady was again in a hopeful condition. At the beginning of the night she was confined of a fine boy.
Like many others in the world, there was a man and a woman. They were very wealthy, but they couldn’t keep any of their children. They had quite a few, and all of them died. The woman was once again hopeful. At the beginning of the night, she gave birth to a beautiful baby boy.
Two young men heard this news, and they said to each other:
Two young guys heard this news, and they said to each other:
“We ought to have a feast; we must steal a sheep out of this house. They will not pay attention to us with all their bustle and their joy.”
“We should have a feast; we need to steal a sheep from this house. They won’t notice us with all their commotion and happiness.”
One of the lads then goes after eleven o’clock towards the house. He meets an old woman, who said to him:
One of the guys then heads towards the house around eleven o'clock. He runs into an old woman, who said to him:
“Where are you off to, lad? There is nothing like the truth.”
“Where are you headed, kid? There’s nothing like the truth.”
“I was going, then, to such a house; the lady has been confined, and I wish to take advantage of it to steal a sheep. They will not pay any attention to-day. And you, where are you going?”
“I was headed to that house; the lady has been locked away, and I want to take advantage of it to steal a sheep. They won't be paying attention today. And you, where are you headed?”
“I too am going to the house. I am a witch, and it is I who have killed all their children.”
“I’m going to the house too. I’m a witch, and I’m the one who killed all their children.”
“And how do you do that?”
“And how do you do that?”
“Easily. When the infant sneezes nobody says, ‘Domine stekan,’11 and then I become mistress of the child.”
“Easily. When the baby sneezes, nobody says, ‘Domine stekan,’11 and then I become the child's guardian.”
The witch enters, doubtless as she liked, much more easily than our lad; but nevertheless he got in himself too. He was busy choosing his sheep, when he hears the infant sneeze. He says very, very loudly:
The witch walks in, probably just as she wanted, much more easily than our guy; but still, he managed to get in too. He was busy picking out his sheep when he heard the baby sneeze. He says really, really loudly:
“Domine stekan; even if I should not get my sheep.”
“Lord, help me; even if I don’t get my sheep.”
They go to see who is there, and what he was saying. The lad relates what the old woman had told him. As you may imagine they thanked him well, and told him to choose [74]the finest sheep. The father and mother were delighted that they would save this child; but, poor wretches, they had not seen everything. A devil had come, who took their child and carried it to the roadside, and left it there. A coachman passing by sees this child, and takes it with him. He was married, but had no children. They had a great desire to have one. They were very well off also. His wife was delighted to see this fine child; they gave it a good nurse, and the child grew fast and became wonderfully handsome. The devil had placed himself in the child’s cradle. This mother gave him suck, and, contrary to the other, he did not grow at all. The parents were vexed at having such a child; they did not know what to think of it. Their true child was more than extraordinarily clever. The coachman and his wife were dazed with joy, and they loved him as (if he were) their own child. When he was twelve years old, he said to his father and mother that he wished to become a monk. The coachman and his wife were very sorry, and they asked him to become only a priest. But after having seen his great desire they allow him to do as he wished.
They went to see who was there and what he was saying. The young man shared what the old woman had told him. As you can imagine, they thanked him profusely and told him to choose [__A_TAG_PLACEHOLDER_0__]the finest sheep. The father and mother were thrilled that they would save this child; but, poor souls, they had no idea of everything that had happened. A devil had come, taken their child, and left it by the roadside. A passing coachman saw the child and took him with him. He was married but did not have children. They really wanted a child. They were also quite well-off. His wife was overjoyed to have this beautiful child; they provided a good nurse, and the child grew quickly and became incredibly handsome. The devil had positioned himself in the child's cradle. This mother nursed him, and unlike the other child, he didn’t grow at all. The parents were upset to have such a child; they didn’t know what to make of it. Their real child was exceptionally intelligent. The coachman and his wife were overwhelmed with joy, and they loved him as if he were their own. When he turned twelve, he told his parents that he wanted to become a monk. The coachman and his wife were very sad and asked him to just become a priest. But seeing his strong desire, they allowed him to pursue his wish.
He went away then, and at the age of eighteen years he was able to say mass. When he was there, one day two men were passing in front of the garden of his real father, and they began to quarrel. They got so enraged that one killed the other, and threw him into his father’s garden. This father was tried and condemned to death for having killed this man.
He left then, and by the age of eighteen, he was able to say mass. One day, while he was there, two men walked by his biological father's garden, and they started arguing. They got so angry that one of them killed the other and dumped him in his father's garden. This father was put on trial and sentenced to death for the murder.
While this young monk was saying mass, there comes to him a white pigeon and tells him what was taking place in his father’s house, and that the pigeon will assume the form of the monk, “and you shall go off in my shape.” The monk willingly does what he tells him, and arrives when they are leading his father to execution. He was being followed by the judges and by a crowd of people. He asks what he has done. They tell him that he has killed a man. He asks if they would do him a favour before they put him [75]to death—if they would accompany him to the grave of the man whom he has killed. They tell him, “Yes.”
While this young monk was saying mass, a white pigeon came to him and told him what was happening at his father's house, saying that it would take the form of the monk, “and you will go in my shape.” The monk happily agreed to this, and arrived just as they were leading his father to execution. He was followed by the judges and a crowd of people. He asked what he had done. They told him that he had killed a man. He then asked if they would do him a favor before they executed him—if they would take him to the grave of the man he had killed. They replied, “Yes.”
They all go off then. The monk has the grave opened, restores him to life, and asks him, pointing to his father:
They all leave then. The monk has the grave opened, brings him back to life, and asks him, pointing to his father:
“Is this the man who has killed you?”
“Is this the guy who killed you?”
The dead man says to him, “No!”
The dead man says, “No!”
After having said that he dies again. The monk did not wish to know who had killed him; he knew all he wanted with that. The father wished to take the monk home with him to dinner, but he would not go that day. He said to him:
After saying that, he dies again. The monk didn't want to know who had killed him; he knew all he needed to know about that. The father wanted to take the monk home for dinner, but he wouldn't go that day. He said to him:
“I will come on such a day.”
“I will come on that day.”
As you may fancy they made a splendid dinner; nothing was wanting there. They invited all their friends and acquaintances to rejoice with them. When the monk arrives, the lady, before sitting down to table, wished to show him her child, how she had suckled him with her own milk eighteen years, and that he did not grow at all, but was always just as he was when he was born. The monk betook himself to prayer, and he saw that which they believed to be a child fly away under the shape of a devil in fire and flame, and he carried off with him part of the house. He told his mother not to vex herself because she had had the devil there, and that she would be happier without such a child.
They prepared a fantastic dinner; nothing was missing. They invited all their friends and acquaintances to celebrate with them. When the monk arrived, the lady, before sitting down to eat, wanted to show him her child, explaining how she had breastfed him for eighteen years and that he hadn’t grown at all, remaining just as he was when he was born. The monk began to pray, and he saw what they believed to be a child transform into a devil made of fire and flames, carrying part of the house away with him. He told his mother not to worry about having had a devil for a child and that she would be happier without him.
All the world was astonished at the power of this monk; but the mother was still grieved. The monk, to console her, told her his history; how he was her true child; how the devil had taken him and carried him to the roadside; how he had been found and brought up by a coachman; and that it was he himself who had been made priest, and her son. All were astounded at his words. After they had well dined, the monk went back into his convent, and the father and mother lived honourably, as they did before; and as they lived well, they died well too.
Everyone was amazed by the power of this monk, but the mother was still heartbroken. To comfort her, the monk shared his story: how he was her real child, how the devil had taken him and left him by the roadside, how he had been found and raised by a coachman, and that it was he who became a priest and her son. Everyone was shocked by his words. After they had a good meal together, the monk returned to his convent, and the father and mother lived honorably, just as they had before; and since they lived well, they also died well.
Catherine Elizondo. [76]
Catherine Elizondo. [__A_TAG_PLACEHOLDER_0__]
1 Cerquand, Part I., p. 29, notes to Conte 8; Fr. Michel, “Le Pays Basque,” p. 152 (Didot, Paris, 1857).
1 Cerquand, Part I., p. 29, notes to Conte 8; Fr. Michel, “Basque Country,” p. 152 (Didot, Paris, 1857).
2 “Akhelarre,” literally “goat pasture.” This was the name in the 16th century.
2 “Akhelarre,” which means “goat pasture.” This was the name in the 16th century.
3 This belief in a toad sitting at the church door to swallow the Host is found in De Lancre.
3 This belief in a toad sitting at the church door to swallow the communion wafer is found in De Lancre.
4 That is, one with bran, or herbs, wood-ashes, &c., or plain water.
4 That is, one with bran, or herbs, wood ashes, etc., or just plain water.
5 M. Cerquand gives this tale at length, Part II., pp. 10, 11. The incidents are very slightly changed.
5 M. Cerquand shares this story in detail, Part II., pp. 10, 11. The events are only slightly modified.
6 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.
6 Compare this with the scene in Apuleius, “The Golden Ass;” and for a somewhat similar “fairy ointment,” see Hunt’s “Popular Romances of the West of England,” pp. 110–113.
7 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.
7 The mistake is confusing “dessus,” meaning over, and “dessous,” meaning under. This indicates that the story is originally French, or at least the witch's part; because this punning error couldn't occur in Basque. The two words don’t sound alike at all. “Gaiñetik” and “azpetik” are the terms used here.
8 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.
8 Witches still take the form of cats, usually black ones. About two years ago, we heard about a man who, at midnight, cut off the ear of a black cat that was supposedly enchanting his cattle, and the next morning it turned out to be a woman's ear, with an earring still in it. He took it to the town hall, and we could have seen it there, but we didn't go to check since it was quite far away.
9 Literally, “red misery.” In Basque the most intense wretchedness of any kind is always called “red.”
9 Literally, “red misery.” In Basque, the deepest form of suffering is always referred to as “red.”
10 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.
10 There are several superstitions associated with crossroads in the Basque Country. When someone dies, the bedding or mattress is sometimes burned at the nearest crossroads, and every passerby says a "Paternoster" in honor of the deceased. This custom is fading away, but it's still practiced in some older families.
11 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.
11 This is, of course, just a mispronunciation of “The Lord be with you”—“The Lord be with you.” Compare the opposite effect of “God save us,” in Croker’s story of “Master and Man,” pp. 96, 97.

VI.—Contes des Fées.
Under this head, we include all those legends which do not readily fall under our other denominations. Fée and fairy are not synonymous. All such tales as those of the “Arabian Nights” might come within the designation of Contes des Fées, but they could hardly be included under Fairy Tales, though the former may be said to embrace the latter. We have divided our legends of this kind into two sections:—(A) Those which have a greater or less similarity to Keltic legends, as recorded in Campbell’s “Tales of the West Highlands,” and elsewhere; (B) Those which we believe to be derived directly from the French.
Under this category, we include all those legends that don't easily fit into our other classifications. "Fée" and "fairy" aren't the same. Tales like those in the “Arabian Nights” could fall under the label of Contes des Fées, but they wouldn't really fit under Fairy Tales, even though the former can be said to include the latter. We've divided our legends of this type into two sections: (A) Those that bear some resemblance to Celtic legends, as recorded in Campbell’s “Tales of the West Highlands” and elsewhere; (B) Those that we believe come directly from the French.
We have chosen the designation Keltic, because the burning question concerning the Basques at present is their relation to the Keltic race. Anything that can throw light upon this will have a certain interest for a small portion of the scientific world. That these legends do in some degree resemble the Keltic ones will, we think, be denied by no one. Whether they have a closer affinity with them than with the general run of Indo-European mythology may be an open question. Or, again, whether the Basques have borrowed from the Kelts, or the Kelts from the Basques, we leave undetermined. One legend here given, that of “Juan Dekos,” has clearly been borrowed from the Gaelic, and that since the Keltic occupation of the Hebrides.1 The very [77]term Keltiberi, as used by the classical writers, shows some contact of the Kelts with the Basques in ancient times, whether we take Basque and Iberi to be co-extensive and convertible terms or not. What the rôle of the “White Mare” is in these tales we do not understand. Can it be connected with the figure of a horse which appears so frequently on the so-called Keltiberian coins, or is it a mere variation of the Sanscrit “Harits, or horses of the sun?” Campbell, Vol. I., p. 63, says these “were always feminine, as the horses in Gaelic stories are.”
We’ve chosen the term Keltic because the pressing issue regarding the Basques today is their connection to the Keltic race. Anything that sheds light on this will definitely interest a small part of the scientific community. No one, we believe, will deny that these legends somewhat resemble Keltic ones. Whether they have a closer relationship with them than with the general Indo-European mythology remains debatable. Additionally, whether the Basques borrowed from the Kelts or vice versa is something we won’t determine here. One legend provided, that of “Juan Dekos,” has clearly been taken from the Gaelic, and that dates back to the Keltic occupation of the Hebrides.1 The very [__A_TAG_PLACEHOLDER_0__]term Keltiberi, as used by classical writers, indicates some interaction between the Kelts and the Basques in ancient times, regardless of whether we consider Basque and Iberi to be interchangeable terms. We're not sure what the role of the “White Mare” is in these stories. Could it be linked to the horse figure that frequently appears on the so-called Keltiberian coins, or is it simply a variation of the Sanskrit “Harits,” or horses of the sun? Campbell, Vol. I., p. 63, states these “were always feminine, as the horses in Gaelic stories are.”
It may be, perhaps, as well to mention that we did not see Campbell’s “Tales of the West Highlands” till after these legends had been written down.
It might be worth noting that we didn’t see Campbell’s “Tales of the West Highlands” until after these legends were recorded.
(A.)—Tales like the Keltic.
Malbrouk.2
Like many others in the world, there was a man and a woman who were over-burdened with children, and were very poor. The man used to go to the forest every day to get wood for his family. His wife was on the point of being confined. One day he was in the forest, and a gentleman comes to him, and says:
Like many others in the world, there was a man and a woman who had a lot of kids and were very poor. The man went to the forest every day to gather wood for his family. His wife was about to give birth. One day, while he was in the forest, a gentleman approached him and said:
“What are you doing, friend?”
“What are you up to, friend?”
“I am looking for wood to support my family.”
“I’m looking for wood to provide for my family.”
“You are very poor, then?”
"Are you really that broke?"
“Yes, yes.”
“Yeah, yeah.”
“If you will make me godfather to your next child according to your law, I will give you a great deal of money.”
“If you make me the godfather of your next child according to your tradition, I’ll give you a lot of money.”
He says to him, “Yes, I will do so.”
He says to him, “Yeah, I’ll do that.”
He gives him, then, a great deal of money, and he goes [78]home. His wife is confined shortly afterwards, and they were waiting, not knowing what to do to tell it to the godfather, since they did not know where he lived. He himself appeared from somewhere. They go to the church, and he gives him the name Malbrouk. While they were returning to the house, the godfather disappears with the child like smoke. The father and mother were distressed about it, though they had plenty of money; but in time their grief faded away.
He gives him a lot of money, and he goes [__A_TAG_PLACEHOLDER_0__]home. His wife gives birth shortly after, and they’re unsure of how to tell the godfather since they don’t know where he lives. He unexpectedly shows up. They go to the church, and he names the child Malbrouk. While they’re on their way home, the godfather vanishes with the baby like smoke. The parents are upset about it, even though they have plenty of money; but eventually, their sorrow fades.
The old Malbrouk went to his house. His wife was a witch, and they had three daughters. The little Malbrouk grew fast, and at seven years’ old he was as tall as a tall man. His godfather said to him:
The old Malbrouk went home. His wife was a witch, and they had three daughters. Little Malbrouk grew quickly, and by the time he was seven, he was as tall as a grown man. His godfather said to him:
“Malbrouk, would you like to go to your own home?”
“Malbrouk, do you want to go back to your own home?”
He said to him, “Am I not here in my own home?”
He said to him, “Aren't I in my own home?”
He told him, “No,” and that he might go there for three days.
He said, “No,” and that he could go there for three days.
“Go to such a mountain, and the first house that you will see there will be yours.”
“Go to that mountain, and the first house you see there will be yours.”
He goes, then, to the mountain, and sees the house, and goes to it. He finds his two brothers at the door cutting wood. He tells them that he is their brother; but they will not believe him. They take him indoors, and he tells his father and mother that he is Malbrouk. They are astonished to see such a big man for seven years’ old. They pass these three days in great delight; and he said to his brothers:
He goes to the mountain and sees the house, then walks up to it. He finds his two brothers at the door chopping wood. He tells them he’s their brother, but they don’t believe him. They take him inside, and he tells his mom and dad that he’s Malbrouk. They’re amazed to see such a big kid for being only seven years old. They spend those three days having a great time, and he says to his brothers:
“There is plenty of room at my godfather’s for you too, and you must come with me.”
“There’s plenty of room at my godfather’s for you as well, and you have to come with me.”
They go off, then, all three together. When they arrive, the witch was not at all contented. She said to her husband:
They leave together, all three of them. When they get there, the witch was not happy at all. She said to her husband:
“I don’t know. These three men will do us some mischief, and we must kill them.”
“I don’t know. These three guys will cause us some trouble, and we have to take them out.”
Malbrouk did not wish to; but as the witch gave him no rest, he told her that at the end of three days he would kill them. What does the little Malbrouk do? At night their daughters used to put crowns on their heads, and the little [79]Malbrouk and his brothers cotton night-caps. The little Malbrouk says to them:
Malbrouk didn't want to, but since the witch wouldn't leave him alone, he told her that he would kill them in three days. What does little Malbrouk do? At night, their daughters would put crowns on their heads, while little Malbrouk and his brothers wore cotton nightcaps. Little Malbrouk says to them:
“We must make an exchange; it is now our turn to have the crowns.”
“We need to make a trade; now it's our time to get the crowns.”
The girls were just as well pleased, and they gave them to them. One night (old) Malbrouk goes there, and after having felt their heads, when he perceived that they had the night-caps, he kills the three. After the little Malbrouk saw that he woke his brothers, took his godfather’s seven-leagued boots, and goes off, far, far, far away. The witch said to (the old Malbrouk):
The girls were just as happy, and they gave them to them. One night, old Malbrouk goes there, and after checking their heads, he realizes they have the nightcaps, so he kills the three. After little Malbrouk noticed this, he woke his brothers, took his godfather’s seven-league boots, and ran off, far, far away. The witch said to old Malbrouk:
“You have taken good care whom you have killed? I am not at all satisfied that you have not done some donkey-trick.”
“You’ve been careful about who you’ve killed? I’m not convinced you haven’t pulled some stupid stunt.”
The witch goes, and sees her three daughters dead. She was terribly angry,3 and there was no help for it.
The witch leaves and finds her three daughters dead. She was extremely angry, 3 and there was no way to change that.
Malbrouk and his brothers come to a place where a king lives, and he remarks that everything is sad. He asks what it is? They tell him that the king has lost his three daughters, and that nobody can find them. Malbrouk says to them:
Malbrouk and his brothers arrive at a place where a king resides, and he notes that everything feels gloomy. He asks what’s going on. They tell him that the king has lost his three daughters, and no one can find them. Malbrouk says to them:
“I will find them.”
"I'll find them."
They tell that quickly to the king, and bring them before him, and Malbrouk tells him, too, that he will find them. All three set out. When they have gone a little way they find an old woman, who says to them:
They quickly tell the king and bring them to him, and Malbrouk tells him that he will find them. All three of them set out. After they have gone a short distance, they come across an old woman, who says to them:
“Where are you going to in that fashion?”
“Where are you going dressed like that?”
“To look for the king’s three daughters.”
“To search for the king’s three daughters.”
This old woman says to them:
This elderly woman says to them:
“Go to the king, and ask him for three hundred fathoms of new rope, a bucket, and a bell.”
“Go to the king and ask him for three hundred fathoms of new rope, a bucket, and a bell.”
They go, and the king gives to them immediately what they ask for. They go, then, to the woman, and she says to them, pointing to a well, that they are in that well.4 The eldest put himself into the bucket, and says to them:
They leave, and the king immediately gives them what they requested. They then go to the woman, and she tells them, pointing to a well, that they are in that well.4 The eldest gets into the bucket and says to them:
“When I am afraid, I will ring the bell.” [80]
“When I’m scared, I’ll ring the bell.” [__A_TAG_PLACEHOLDER_0__]
When he has gone only a little way he is frightened, and rings. They pull him up. The second goes; and when he has gone a little farther down he is frightened, and rings. Malbrouk then gets in, and he says to them:
When he has gone just a short distance, he gets scared and rings the bell. They pull him up. The second one goes; and when he has gone a bit farther down, he too gets scared and rings the bell. Then Malbrouk gets in, and he says to them:
“When I shall give a pull at the bucket from below, then you will pull it up.”
“When I pull the bucket up from below, then you pull it up.”
He goes down, then, and at last he sees that there is a beautiful house underground, and he sees there a beautiful young lady, who is sitting with a serpent asleep in her lap. When she sees Malbrouk, she says to him:
He goes down, and finally he sees a beautiful house underground, where a stunning young woman is sitting with a snake asleep in her lap. When she notices Malbrouk, she says to him:
“Be off, I pray you, from here; he has only three-quarters of an hour to sleep, and if he wakes, it is all over with you and me.”
“Please leave this place; he only has about 45 minutes to sleep, and if he wakes up, it's all over for both of us.”
He says to her, “No matter; lay the head of the serpent on the ground, gently, gently, without waking him.”
He says to her, “It doesn’t matter; place the head of the serpent on the ground, softly, softly, without waking him.”
She lays it there, and he carries off this young lady in the bucket, after having pulled the cord. He goes into another chamber, and he sees another young lady, still more beautiful, with the head of a lion asleep on her lap. She also says to him:
She puts it there, and he takes this young lady in the bucket after pulling the cord. He enters another room and sees another young lady, even more beautiful, with a lion's head resting on her lap. She also says to him:
“Be off quickly from here. He has only half-an-hour to sleep, and if he wakes, it is all up with you and me.”
“Leave here fast. He only has half an hour to sleep, and if he wakes up, it'll be over for both of us.”
Malbrouk says to her, “Place gently, gently, without waking him, the head of the lion on the ground.”
Malbrouk says to her, “Carefully, carefully, without waking him, set the lion's head down on the ground.”
She does so. Malbrouk takes her, gets into the bucket with her, and his brothers pull them both up. They write at once to the king to come and fetch them, that they have found two of his daughters. As you may suppose, the king sends a carriage directly to fetch them, and he makes great rejoicings. The king tells him to choose whichever of the two he likes for his wife. Malbrouk says to him:
She does that. Malbrouk joins her in the bucket, and his brothers pull them both up. They immediately write to the king to come and get them because they’ve found two of his daughters. As you can imagine, the king sends a carriage right away to pick them up, and he celebrates greatly. The king tells him to choose whichever of the two he wants for his wife. Malbrouk replies to him:
“When I shall have found your third daughter she shall be my wife, and my two brothers may take these two young ladies for their wives.”
“When I find your third daughter, she will be my wife, and my two brothers can take these two young ladies to be their wives.”
They do as Malbrouk said, and he sets out to see his sweetheart. He goes on, and on, and on. All the fowls of the air know Malbrouk. As he was going along he finds [81]a wolf, a dog, a hawk, and an ant, and in their language they cry out:
They follow Malbrouk's advice, and he heads off to see his sweetheart. He goes on and on. All the birds in the sky know Malbrouk. As he walks, he comes across [__A_TAG_PLACEHOLDER_0__]a wolf, a dog, a hawk, and an ant, and they shout in their own language:
“Oyhu!5 Malbrouk, Malbrouk!” and saying to him, “Where are you going, Malbrouk? these three days we have been here before this sheep, and cannot agree how to divide it; but you, you shall divide it.”
“Oyhu!5 Malbrouk, Malbrouk!” and saying to him, “Where are you going, Malbrouk? We’ve been here for three days in front of this sheep and still can’t figure out how to split it; but you, you’ll handle the division.”
Malbrouk goes to them, then, trembling lest they should make a division of him, too. He cuts off the head, and gives it to the ant.
Malbrouk approaches them, feeling anxious that they might divide him as well. He chops off the head and hands it to the ant.
“You will have enough to eat, and for your whole household.”
“You’ll have plenty to eat, and so will everyone in your household.”
He gives the entrails to the hawk, and for the dog and the wolf he cuts the carcase in half. He left them all well satisfied; and Malbrouk goes on his way in silence, in silence. When he had gone a little way, the ant says:
He gives the innards to the hawk, and for the dog and the wolf, he splits the carcass in half. He leaves them all happy, and Malbrouk continues on his way in silence, in silence. After he has walked a bit, the ant says:
“We have not given Malbrouk any reward.”
“We haven’t given Malbrouk any reward.”
The wolf calls to him to come back. Malbrouk comes trembling, thinking that it was his turn, and that they are going to eat him, without doubt. The ant says to him:
The wolf calls him to come back. Malbrouk approaches nervously, thinking it's his turn and that they're definitely going to eat him. The ant says to him:
“We have not given you anything, after that you have made such a good division for us; but whenever you wish to become an ant, you have only to say, ‘Jesus, ant!’ and you will become an ant.”
“We haven’t given you anything, after you’ve made such a great division for us; but whenever you want to be an ant, just say, ‘Jesus, ant!’ and you’ll become an ant.”
The hawk says to him: “When you wish to make yourself a hawk, you will say, ‘Jesus, hawk!’ and you will be a hawk.”
The hawk says to him: “When you want to turn into a hawk, just say, ‘Jesus, hawk!’ and you’ll be a hawk.”
The wolf says to him: “When you shall wish to become a wolf, you shall say, ‘Jesus, wolf!’ and you shall be a wolf.”
The wolf says to him, “When you want to become a wolf, just say, ‘Jesus, wolf!’ and you’ll be a wolf.”
And the dog, he said to him the same thing, too.6 He [82]goes off, then, well pleased, further into the forest. A woodpecker says to him:
And the dog said the same thing to him, too.6 He [__A_TAG_PLACEHOLDER_0__]walks away, then, feeling happy, deeper into the forest. A woodpecker says to him:
“Malbrouk, where are you going?”
"Malbrouk, where are you off to?"
“To fetch such a daughter of a king.”
“To bring back such a daughter of a king.”
“You will not find her easily. Since they have delivered her sisters, he has carried her to the farther side of the Red Sea,7 in an island, and keeps her there in prison, in a beautiful house, with the doors and windows so closely shut that only the ants can get into that house.”
“You won’t find her easily. Since they brought her sisters, he’s taken her to the far side of the Red Sea,7 to an island, and keeps her locked up in a beautiful house, with the doors and windows shut so tightly that only the ants can get in.”
Malbrouk goes off happy at hearing this news, and that he would find the princess. He goes on, and on, and on, and he arrives opposite to this island, and remembering what the hawk had said to him, he said, “Jesus, hawk!” and immediately he becomes a hawk.8 He flies away, and goes on until he comes to the island of which the woodpecker had told him; he sees that he can only get in there like an ant, and he says, “Jesus, ant!” and he gets through the little lattice-work. He is dazed at the sight of the beauty of this young lady. He says, “Jesus, man!” and he becomes a man again. When the young lady sees him, she says to him:
Malbrouk leaves feeling happy about the news and that he would find the princess. He keeps going until he arrives opposite this island, and remembering what the hawk had told him, he says, “Jesus, hawk!” and instantly he turns into a hawk. He flies off until he reaches the island the woodpecker mentioned; he sees that he can only enter like an ant, and he says, “Jesus, ant!” and squeezes through the small lattice-work. He's amazed by the beauty of this young lady. He says, “Jesus, man!” and transforms back into a man. When the young lady sees him, she says to him:
“Be off quickly from here. It is all over with your life. He is about to come, this horrible body without a soul,9 before a quarter of an hour, and you will be done away with.”
“Get out of here quickly. Your life is over. He’s about to arrive, this horrible soulless being, 9 in less than fifteen minutes, and you won’t be around anymore.”
“I will become an ant again, and I will place myself in your bosom; but do not scratch yourself too hard, else you will crush me.”
“I’ll turn into an ant again and put myself in your embrace; just don’t scratch yourself too hard, or you’ll squash me.”
As soon as he has said that the monster comes. He [83]gives her partridges and pigeons for her dinner, but he himself eats serpents and horrible vermin. He tells her that he has a slight headache, and to take the hammer and rap him on the head. She could not lift it, it was so big; but she knocks him as well as she is able. The monster goes off. The ant comes out from where he was, and prepares to eat the partridges and pigeons with the young lady. Malbrouk said to her:
As soon as he says that, the monster arrives. He [__A_TAG_PLACEHOLDER_0__]gives her partridges and pigeons for dinner, but he eats snakes and disgusting pests. He tells her he has a slight headache and asks her to take the hammer and hit him on the head. She can’t lift it because it’s so heavy, but she hits him as best as she can. The monster leaves. The ant comes out from where he was hiding and gets ready to eat the partridges and pigeons with the young lady. Malbrouk says to her:
“You must ask him, as if you were in great trouble about it, what would have to be done to kill him? and you will tell him how unhappy you would be if he should be killed—that you would die of hunger in prison in this island.”
“You need to ask him, as if you were really worried about it, what it would take to kill him? And you should tell him how unhappy you would be if he were killed—that you would starve in prison on this island.”
The young lady says, “Yes,” she will do so.
The young woman says, “Yes,” she will do that.
The monster comes again, and says to her:
The monster shows up again and says to her:
“Ay! ay! ay! my head. Take the hammer, and hit me hard.”
“Ay! ay! ay! my head. Take the hammer and hit me hard.”
The young lady does it until she is tired, and then she says:
The young woman keeps going until she's exhausted, and then she says:
“How unfortunate I shall be if you die.”
“How unfortunate I would be if you died.”
He answers, “I shall not die. He who will know that will know a great secret.”
He replies, “I won’t die. Whoever understands that will discover a great secret.”
“Most certainly I would not wish you to die. I should die of hunger in this island without you, and I should get no benefit by it. You ought to tell me what would kill you.”
"There's no way I want you to die. I would starve on this island without you, and it wouldn't do me any good. You need to tell me what would hurt you."
He says to her, “No! Before this, too, a woman has deceived a man, and I will not tell you.”
He says to her, “No! A woman has tricked a man before this, and I'm not going to tell you.”
“You can tell it to me—yes, to me. To whom shall I tell it? I see nobody. Nobody is able to come here.”
“You can tell it to me—yes, to me. Who should I tell it to? I see nobody. No one is able to come here.”
At last, at last, he tells her then:
At last, he finally tells her:
“You must kill a terrible wolf which is in the forest, and inside him is a fox, in the fox is a pigeon; this pigeon has an egg in his head, and whoever should strike me on the forehead with this egg would kill me.10 But who will know all that? Nobody.” [84]
“You need to kill a fierce wolf that's in the forest, and inside that wolf is a fox, inside the fox is a pigeon; this pigeon has an egg in its head, and whoever hits me on the forehead with this egg will kill me.10 But who will know all of this? No one.” [__A_TAG_PLACEHOLDER_0__]
The princess said to him, “Nobody, happily. I, too, I should die.”
The princess said to him, “No one, thankfully. I should die, too.”
The monster goes out as before, and the ant too, as you may think, happy in knowing the secret. On the very next day he sets out for the forest. He sees a frightful wolf. He says, directly, “Jesus, wolf!” and he immediately becomes a wolf. He then goes to this wolf, and they begin to fight, and he gets him down and chokes him. He leaves him there, and goes off to the young lady in the island, and says to her:
The monster goes out like before, and the ant too, as you might imagine, feeling good about knowing the secret. The very next day, he heads out to the forest. He spots a terrifying wolf. He immediately shouts, “Jesus, wolf!” and he instantly turns into a wolf himself. Then he approaches this wolf, and they start to fight; he manages to bring it down and chokes it. He leaves it there and heads over to the young lady on the island, saying to her:
“We have got the wolf; I have killed him, and left him in the forest.”
“We've got the wolf; I killed him and left him in the forest.”
The monster comes directly afterwards, saying:
The monster comes right after, saying:
“Ay! ay! ay! my head! Strike my head quickly.”
“Ay! ay! ay! my head! Hit my head quickly.”
She hits his head till she is tired. He says to the princess:
She hits his head until she's tired. He says to the princess:
“They have killed the wolf; I do not know if anything is going to happen to me. I am much afraid of it.”
“They’ve killed the wolf; I’m not sure if anything is going to happen to me. I’m really scared about it.”
“You have nothing to be afraid of. To whom could I have told anything? Nobody can get in here.”
“You don’t have anything to worry about. Who could I have told anything to? No one can get in here.”
When he has gone, the ant goes to the forest. He opens the wolf, and out of him comes a fox, who escapes at full speed. Malbrouk says, “Jesus, dog!” and he becomes a dog. He, too, sets off running, and catches the fox. They begin to fight, and he kills him, too. He opens him, and there comes out of him a pigeon. Malbrouk says, at once, “Jesus, hawk!” and he becomes a hawk. He flies off to catch the pigeon, seizes him in his terrible talons, and takes out of his head this precious egg, and goes proudly with it into the chamber of the young lady. He tells how he has very happily accomplished his business, and says to her:
When he leaves, the ant heads into the forest. He opens the wolf, and out pops a fox, who runs away as fast as he can. Malbrouk exclaims, “Wow, dog!” and turns into a dog. He also takes off running and quickly catches the fox. They start to fight, and he kills the fox as well. He opens it up, and out comes a pigeon. Malbrouk immediately says, “Wow, hawk!” and transforms into a hawk. He soars off to catch the pigeon, grabs it with his sharp talons, and takes this precious egg out of its head, strutting back with it into the young lady's room. He boasts about how successfully he completed his task and tells her:
“At present, it is your turn; act alone.”
“At this moment, it’s your turn; take action by yourself.”
And again he makes himself an ant. Our monster comes, crying, that it is all up with him, that they have taken the egg out of the pigeon, and that he does not know what must become of him. He tells her to strike him on the head with the hammer. [85]
And again he turns himself into an ant. Our monster arrives, crying, saying that it’s all over for him, that they’ve taken the egg out of the pigeon, and that he has no idea what will happen to him. He tells her to hit him on the head with the hammer. [__A_TAG_PLACEHOLDER_0__]
The young lady says to him:
The young woman says to him:
“What have you to fear? Who shall have got this egg? And how should he strike your forehead?”
"What do you have to be afraid of? Who’s going to get this egg? And how would he hit your forehead?"
He shows her how, saying, “Like that.”
He demonstrates to her how to do it, saying, “Like this.”
As the young lady had the egg in her hand, she strikes the monster as he had told her, and he falls stark dead. In an instant the ant comes out joyously (from his hiding-place), and he says to her:
As the young woman held the egg in her hand, she hit the monster like he had instructed her, and he dropped dead. In a moment, the ant came out happily (from his hiding spot), and he said to her:
“We must set out instantly for your father’s house.”
“We need to head to your dad’s house right away.”
They open a window, and the young man makes himself a hawk, and he says to the young lady:
They open a window, and the young man pretends to be a hawk, and he says to the young lady:
“Cling firmly to my neck.”
“Hold on tight to my neck.”
And he flies off, and they arrive at the other side of the island. He writes immediately to the king his lord, to send and fetch them as quickly as possible. The king sent; and judge what joy and what feasts there were in that court. The king wished them to marry directly, but Malbrouk would not do so. (He said) that he ought to bring his dowry. The king said to him:
And he takes off, and they reach the other side of the island. He immediately writes to his lord, the king, asking him to send for them as quickly as possible. The king complied, and just imagine the joy and celebrations in that court. The king wanted them to get married right away, but Malbrouk refused. He said he needed to bring his dowry. The king said to him:
“You have gained enough already.”
“You've gained enough already.”
He will not hear of that, but goes off far, far, far away, to the house of his godfather.
He refuses to listen to that and heads off far, far away to his godfather's house.
They had there a cow with golden horns, and these horns bore fruits of diamonds. A boy used to guard her in the field. Malbrouk said to him:11
They had a cow with golden horns, and these horns produced fruit made of diamonds. A boy used to watch over her in the field. Malbrouk said to him:11
“What! do you not hear that the master is calling you? Go, quickly, then, and learn what he wants of you.”
“What! Don’t you hear that the boss is calling you? Go, quickly, and find out what he wants from you.”
The boy, (believing it), goes off. The master calls to him from the window:
The boy, thinking it's true, leaves. The master calls to him from the window:
“Where are you going to, leaving the cow? Go quickly; I see that Malbrouk is about there.”
“Where are you going, leaving the cow? Hurry up; I see that Malbrouk is around there.”
The boy sets off running back, but he cannot find the cow. Malbrouk had got off proudly with his cow, and he gives it to his future wife, who was very much pleased with it. [86]The king wished him, then, to marry, (saying) that he was quite rich enough. Malbrouk would not yet. He must make a present to the king. He goes again to his godfather’s house. He wished to steal from him a moon, which lighted for seven leagues round. Old Malbrouk used to drink a barrel of water every night. Young Malbrouk goes and empties this barrel. When night came, Malbrouk goes to drink at his barrel, and finds it empty. He goes to find his wife, and says to her:
The boy takes off running back, but he can't find the cow. Malbrouk had proudly taken his cow and gives it to his future wife, who is very happy with it. [__A_TAG_PLACEHOLDER_0__]The king then expressed his wish for him to marry, saying he was wealthy enough. Malbrouk wasn't ready yet. He needed to make a gift to the king. He goes back to his godfather’s house. He plans to steal a moon that lights up for seven leagues around. Old Malbrouk used to drink a barrel of water every night. Young Malbrouk goes and empties this barrel. When night comes, Malbrouk goes to drink from his barrel and finds it empty. He goes to find his wife and tells her:
“I have not got a drop of water; go directly, and fetch me some. I cannot bear this thirst.”
“I don’t have any water; go right now and get me some. I can’t stand this thirst.”
His wife said to him, “It is night, light your moon.” He lights it, and puts it by the chimney, on the roof. When everyone has gone to the fountain, young Malbrouk goes and takes this moon, and carries it to the king. And he, astonished, said to him:
His wife said to him, “It’s nighttime, light your moon.” He lights it and places it by the chimney on the roof. When everyone has gone to the fountain, young Malbrouk takes this moon and brings it to the king. The king, astonished, said to him:
“Now you have done grandly; now be married.”
“Now you have done beautifully; now go get married.”
But he would not; (he said) that he ought to bring something more. His godfather had a violin, which it was enough only to touch for it to play, no matter what beautiful music, and it would be heard seven leagues off. He goes into his godfather’s house to take the violin, and as soon as he has touched it, it begins to play music. Old Malbrouk rushes off, and catches his godson in the act. He seizes him, and puts him into an iron cage. He and his wife are right well pleased. They say to him:
But he wouldn’t; he said he needed to bring something more. His godfather had a violin that played beautifully with just a touch, and its music could be heard for seven leagues. He goes into his godfather’s house to take the violin, and as soon as he touches it, it starts to play. Old Malbrouk rushes in and catches his godson in the act. He grabs him and puts him in an iron cage. He and his wife are very pleased. They say to him:
“This evening we are going to roast you, and eat you.”
“This evening we're going to roast you and eat you.”
Old Malbrouk goes to the forest to fetch wood, and his wife was busy cutting some small—she was taking a great deal of trouble about it. Malbrouk says to her:
Old Malbrouk goes to the forest to get some wood, while his wife is busy cutting a few small pieces—she's really putting a lot of effort into it. Malbrouk says to her:
“Let me get out of here; I will cut that wood for you. You can kill me all the same this evening.”
“Let me leave; I’ll cut that wood for you. You can still kill me tonight.”
She lets him out. After having cut up some, he takes one of the largest pieces and strikes the wife of Malbrouk, and kills her. He makes a great fire, and puts her in the caldron to boil. He takes the violin, and leaves the [87]house. When old Malbrouk hears the violin, he says to himself:
She lets him out. After cutting up some, he takes one of the biggest pieces and strikes Malbrouk's wife, killing her. He starts a large fire and puts her in the cauldron to boil. He grabs the violin and leaves the [__A_TAG_PLACEHOLDER_0__]house. When old Malbrouk hears the violin, he thinks to himself:
“My wife, not being able to hold out any longer, has, doubtless, killed Malbrouk, and to show me her joy she has taken the violin.”
“My wife, unable to wait any longer, has probably killed Malbrouk, and to show me her excitement, she has picked up the violin.”
And he does not trouble himself any more about it. When he approaches the house he stands, well pleased, looking at the caldron on the fire, but, on coming nearer, he sees some long hairs. He pulls out a little more, and perceives that it is his wife, who is there already, half-boiled. Think what a rage he was in. The young Malbrouk went to the king’s house, and married his well-beloved princess. They made great rejoicings. As the king was somewhat aged, he gives his crown to Malbrouk, saying that he had well gained it. They all lived happily, and he made his two brothers kings also.
And he doesn’t worry about it anymore. When he gets close to the house, he stands there, satisfied, looking at the pot on the fire, but as he approaches, he notices some long hairs. He pulls out a bit more and realizes it’s his wife, already half-boiled. Just imagine how furious he was. The young Malbrouk went to the king’s palace and married his beloved princess. They celebrated a lot. Since the king was quite old, he handed his crown to Malbrouk, saying he had earned it well. They all lived happily, and he made his two brothers kings too.
Laurentine,
About 35 years old; learnt it from her mother.
Laurentine,
Around 35 years old; learned it from her mom.
The Fisherman and His Sons.
Like many others in the world, there was a fisherman who lived with his wife. One day he was fishing and caught a fine fish (at that time all the animals and everything used to speak), and the fish said to him:12
Like many others in the world, there was a fisherman who lived with his wife. One day he was fishing and caught a nice fish (back then, all the animals and everything could talk), and the fish said to him:12
“Spare my life! Spare my life! I will give you all that you shall desire.”
“Please, spare my life! I’ll give you everything you want.”
And this poor man spared its life, and went home without having caught anything else. When he came home his wife asks him:
And this poor man let it go and returned home without catching anything else. When he got home, his wife asked him:
“Where are your fish?” [88]
“Where are your fish?” [__A_TAG_PLACEHOLDER_0__]
He tells her how that he had caught a fish, and that it had begged him to spare its life, and that he had left it in the water. His wife says to him:
He tells her that he caught a fish, and that it begged him to spare its life, and that he left it in the water. His wife says to him:
“Have you lost your head then? After having caught a fish to put it back again into the water!”
“Have you lost your mind? You caught a fish only to throw it back into the water!”
And she called him all sorts of names, even “big donkey.”
And she called him all kinds of names, even “big donkey.”
The next day he goes fishing again, and (what a chance!) the same fish came again. It asks him again to spare its life. But the man answers:
The next day, he goes fishing again, and (what a coincidence!) the same fish shows up. It asks him once more to spare its life. But the man replies:
“No! My wife loaded me with abuse last evening.”
“No! My wife put me through a lot of verbal abuse last night.”
The fish said to him that he would give him as much money as he wished if he would but spare him. And our fisherman lets him go again. He remains there again all day, but nothing comes to his hook. Again he goes off home without anything at all. His wife is furious at seeing that he has nothing. He gives her some money, but she was not satisfied, and told her husband that he ought to have brought the fish.
The fish told him that he would give him as much money as he wanted if he would just spare him. So, our fisherman let him go again. He stayed there all day, but nothing bit. Once again, he went home empty-handed. His wife was furious when she saw that he had nothing. He gave her some money, but she was not satisfied and told her husband that he should have brought the fish.
He goes fishing again for the third time, and again the same fish returns, and says to him, “Let me go into the water.”
He goes fishing for the third time, and once again the same fish comes back and says to him, “Let me go into the water.”
But our man will not let him go again; his wife had scolded him so much last night. He must carry him home.
But our guy isn't going to let him go again; his wife had chewed him out so much last night. He has to take him home.
“Well, then, since you will carry me home, I will tell you how you must divide me. You must give my tail to the dog, my head to the mare, and my trunk to your wife. At the end of a certain time your wife will bear three sons, and they will all be exactly like each other, exactly alike. The mare will have three colts, but all three alike, and the bitch three puppies, all exactly alike too. And if any misfortune should happen to any of the three children, the well which is behind the house will begin to boil.”
“Well, since you’re taking me home, I’ll tell you how to divide me. You need to give my tail to the dog, my head to the mare, and my trunk to your wife. After a certain time, your wife will have three sons, and they’ll all look exactly the same. The mare will have three colts, but all three will be identical, and the dog will have three puppies, all exactly alike too. And if anything unfortunate happens to any of the three children, the well behind the house will start to boil.”
The woman did as the fish had said, and she gave birth to three wonderfully fine boys, who were all exactly, exactly alike, and the mare had three colts exactly alike, and the bitch three puppies exactly alike too. [89]
The woman did as the fish had told her, and she gave birth to three incredibly handsome boys, who were all exactly, exactly the same, and the mare had three colts that were exactly the same, and the dog had three puppies that were exactly the same too. [__A_TAG_PLACEHOLDER_0__]
When these children grew big, one of them said to his parents that he wished to go from country to country to see the world. His parents did not wish it. But he had such a desire that at last they gave him leave. He takes a horse and a dog, extraordinarily large and handsome, a sword also,13 and off he starts. He goes on, and on, very, very far. He comes to a city and goes to an inn. They were lamenting loudly there, and everybody was sad.14 He asks, “What is it?” They tell him how that a serpent with seven heads lived in the mountain, and that every day they drew lots to know who should go to him, because he must eat one person every day; and that to-day the lot has fallen on the king’s daughter, and that everyone was in mourning, and that the next day this princess must go very early to the mountain.
When these children grew up, one of them told his parents that he wanted to travel from country to country and see the world. His parents didn't want him to go. But his desire was so strong that eventually, they agreed to let him leave. He took a large, beautiful horse and a big dog, along with a sword, 13 and set off. He traveled on and on, very, very far. He reached a city and went to an inn. There, he found everyone crying and looking sad. 14 He asked, "What’s going on?" They explained that a seven-headed serpent lived in the mountain and that every day they held a draw to see who would be offered to it, since it needed to eat one person daily. Today, the draw had fallen on the king's daughter, and everyone was in mourning because she would have to go to the mountain early the next day.
Our young man takes his horse, his dog, and his sword, and starts off before the princess. He keeps himself hidden until the princess was alone at the top. Then our lad comes out, and the princess says to him:
Our young man grabs his horse, his dog, and his sword, and heads out in front of the princess. He stays out of sight until the princess is alone at the top. Then he steps out, and the princess says to him:
“Where do you come from here? Go down quickly, else you will be eaten as well as I. It is quite enough for one (to die).”
“Where are you coming from? Get out of here fast, or you'll end up getting eaten too, just like me. One death is more than enough.”
And she entreats him to go down, but our lad will not. He wishes to try if he can do anything. At the same moment they hear a shrill hissing, and with that the serpent comes. The lad says to the dog:
And she begs him to go downstairs, but our guy refuses. He wants to see if he can do something. Just then, they hear a loud hissing, and with that, the serpent appears. The guy says to the dog:
“Do your duty.”
"Fulfill your responsibilities."
And the dog leaps upon the serpent and holds him. He takes his sword and cuts off his seven heads as best he can. When he has done that he takes the seven tongues out of the seven heads and puts them in his pocket. This princess had on seven robes, each more beautiful than the others, [90]and he cuts seven pieces out of them severally. The princess does not know what to do to thank him. She wishes to take the lad home with her, but he will not go. And he returns to the inn.
And the dog jumps on the serpent and grabs it. He takes his sword and does his best to cut off its seven heads. After doing that, he takes the seven tongues from the seven heads and puts them in his pocket. The princess is wearing seven robes, each one more beautiful than the last, [__A_TAG_PLACEHOLDER_0__]and he cuts seven pieces from them individually. The princess doesn’t know how to thank him. She wants to take the young man home with her, but he refuses to go. So he heads back to the inn.
The king proclaims that the man who has killed the serpent has gained the half of his kingdom, and his daughter; that he should make himself known. Our lad does not show himself at all, but a charcoal-burner15 passing by on the mountain found the seven heads. He presents himself before the king as if he had killed the serpent. But the princess does not recognise him, and says that it is not he who has saved her. But as no one else came the marriage was about to be celebrated, when the princess pointed out to her father from a distance her rescuer. The king would not believe her. But they send and fetch him, and tell the charcoal-burner to show the seven heads of the serpent, and he shows them with great boldness. Our young man tells him to open their mouths. He does so, and the mouths had no tongues. Then he who had killed the serpent shows the seven tongues, and the seven pieces of the princess’ robes, and they were all convinced that he had killed the serpent; and they burned the charcoal-burner alive in the middle of the market-place.
The king announces that the man who killed the serpent has earned half of his kingdom and his daughter; he should step forward. Our guy stays hidden, but a charcoal burner passing by on the mountain finds the seven heads. He goes to the king claiming he killed the serpent. However, the princess doesn’t recognize him and insists it wasn’t him who saved her. Just as the marriage ceremony was about to start, the princess points out her real rescuer from afar. The king refuses to believe her. But they send for him and ask the charcoal burner to show the seven serpent heads, which he displays boldly. Our young man asks him to open their mouths. He does, and there are no tongues inside. Then the real serpent killer shows the seven tongues and the seven pieces of the princess’ garments, convincing everyone that he’s the one who killed the serpent; they burn the charcoal burner alive in the middle of the marketplace.
Our young man marries the princess, and they had many and great rejoicings because he had delivered all the world from the terrible serpent. In the evening, when they retired to their chamber, the wife knelt down to say her prayers, and the husband went and looked out of the window, and he saw by the moonlight a magnificent castle,16 which he had never seen before.
Our young man marries the princess, and there were many celebrations because he had saved the whole world from the terrible serpent. In the evening, when they went to their room, the wife knelt down to pray, and the husband looked out the window, where he saw by the moonlight a magnificent castle, 16 that he had never seen before.
He asks his wife:
He asks his wife:
“What is that?”
“What’s that?”
His wife says to him: [91]
His wife tells him: [__A_TAG_PLACEHOLDER_0__]
“Nobody goes to that castle, for they who go there never return.”17
“Nobody goes to that castle because those who do never come back.”17
The husband said to her that he must go there. His wife did not wish it, but he had such a desire to do so that he takes his horse, his dog, and his sword, and goes off. He looks round and round (the castle), but he cannot find the door. At last he finds a little door half hidden, very small. He knocks. An old woman comes to him, and asks him what he wants.
The husband told her that he needed to go there. His wife didn't want him to, but he was so eager to go that he took his horse, his dog, and his sword, and set off. He looked around the castle but couldn’t find the door. Finally, he discovered a small door that was partially hidden. He knocked, and an old woman came to him and asked what he wanted.
He says, “I have seen this castle so beautiful outside, that I am anxious to see the inside.”
He says, “I’ve seen this castle looking so beautiful from the outside that I’m eager to see the inside.”
She shows him in. He sees a table splendidly laid out. There was nothing that there was not on the table. This woman invites him to take something. He says that he does not want anything, but she insists so much that he ends by taking something. As soon as he has eaten the first mouthful he becomes a terrible monster, and by no means could he get out of that house.
She lets him in. He sees a beautifully set table. There was everything on the table. This woman encourages him to have something. He says he doesn't want anything, but she insists so much that he finally takes something. As soon as he eats the first bite, he turns into a terrifying monster, and there's no way he can escape that house.
The water begins to boil at home, as the fish had said. All those in the house are grieved because some misfortune has happened to the son. One of the brothers at home said that he would immediately set out to the help of his brother. Those at home are very sorry, but they let him go. He takes a horse and a dog. The father and mother give him all the money that they can give him, and he starts off. He goes on, and on, and on, and, as was fated,18 he comes to the same inn as his brother. There they recognise him. They inform the king that the gentleman is at the house, because he had had a search made for him through all the neighbourhood. They come and fetch him out of his corner, and he lets them do as they wish. A great supper was made, and he goes off with the princess. As before, the princess knelt down to pray. The young man goes to look out of the window, and sees this palace. He asks her what this beautiful castle is. She says to him: [92]
The water starts to boil at home, just like the fish said. Everyone in the house is upset because something bad has happened to the son. One of the brothers at home says he will immediately go help his brother. Everyone else is really sad, but they let him go. He takes a horse and a dog. The parents give him all the money they can spare, and he sets off. He travels on and on, and, as fate would have it, 18 he arrives at the same inn as his brother. They recognize him there. They inform the king that a gentleman is at the inn, as he had been searched for throughout the neighborhood. They come to fetch him from his corner, and he allows them to do as they please. A grand supper is prepared, and he goes off with the princess. As before, the princess kneels down to pray. The young man looks out the window and sees a beautiful palace. He asks her what this stunning castle is. She replies: [__A_TAG_PLACEHOLDER_0__]
“You do not know what takes place there! They who go there never return.”
“You have no idea what happens there! Those who go there never come back.”
He says that he will start off directly. His wife asks him if he will return to that castle as before. “Do not go, I pray you.”
He says he will get right to it. His wife asks him if he’ll go back to that castle like before. “Please don’t go.”
But nothing could have stopped him, and off he goes with his horse and his dog. Like the other brother, he goes wandering round and round the house without finding the door. At last he sees a very little door half hidden. He knocks at it, and the old woman comes and says to him:
But nothing could stop him, so he takes off with his horse and dog. Like his brother, he wanders around the house without finding the entrance. Finally, he spots a tiny door that's partly hidden. He knocks on it, and an old woman opens the door and says to him:
“What do you want?”
"What do you need?"
“I have seen the outside of this castle, and I wish to see the inside.”
“I’ve seen the outside of this castle, and I want to see the inside.”
She tells him to come in. He leaves his horse and his dog outside, and he sees a table splendidly set out; one could not mention anything that was wanting, there was something of everything. She tells him to eat something. He did not wish to, but at last he takes something, (so little, that it was) almost nothing. At the first mouthful he becomes a terrible monster, and cannot in any way get out.
She invites him to come in. He leaves his horse and dog outside, and he sees a beautifully laid table; there was everything one could think of. She tells him to eat something. He doesn't want to, but eventually, he takes a small amount, almost nothing. With the first bite, he transforms into a terrifying monster and finds himself unable to escape.
The water at home begins to boil, and they know that some misfortune has happened to him.
The water at home starts to boil, and they realize that something bad has happened to him.
The third brother said that he must set out as quickly as possible. The parents did not wish it, but he said to them:
The third brother said that he needed to leave as soon as possible. The parents didn't want this, but he told them:
“Perhaps I shall save them; let me go.”
“Maybe I can save them; just let me go.”
They give him as much money as they can. He takes a horse and a dog, and off he starts. He goes on, and on, and on. He also goes to the same inn as his other brothers. He is recognised immediately, and the king is informed that this young gentleman is there. He sends to fetch him immediately, and makes great feastings and rejoicings, thinking that it is always the same as their first young gentleman. In the evening he is conducted to the princess. The princess kneels down to say her evening prayers, and her husband, wishing to see a little more of the festival, placed himself at the window. He also sees the beautiful castle. He asks his wife: [93]
They give him as much money as they can. He takes a horse and a dog, and sets off. He keeps going, and going, and going. He also stops at the same inn as his other brothers. He's recognized right away, and the king is informed that this young man is there. He sends someone to bring him in immediately and throws a big feast and celebration, thinking he's just like their first young gentleman. In the evening, he's brought to the princess. The princess kneels to say her evening prayers, and her husband, wanting to enjoy a bit more of the festivities, positions himself at the window. He also sees the beautiful castle. He asks his wife: [__A_TAG_PLACEHOLDER_0__]
“What is this beautiful house?”
“What’s this beautiful house?”
She says to him, “What! You! Do not you know what it is? No one returns from there. You know yourself what happens there, since you have been there yourself.”
She says to him, “What! You! Don't you know what it is? No one comes back from there. You know what happens there since you've been there yourself.”
He said to her, “I must go and see it again.”
He said to her, “I need to go see it again.”
The princess would not let him go; but he broke away from her. He takes his horse and his dog, and starts off. He looks, and looks all round, and cannot find the door. An old woman appears to him, and says to him—
The princess wouldn't let him leave, but he broke free from her. He grabs his horse and his dog, and heads out. He looks around and can't find the door. An old woman suddenly appears and says to him—
“What do you think will become of you here? They who go in there do not come out.”
“What do you think will happen to you here? Those who go in there don’t come out.”
“But that is why I wish to go in, to know what passes within.”
"But that's exactly why I want to go in, to understand what’s happening inside."
Then the old woman gives him a pigeon, cooked and prepared for eating, and said to him,
Then the old woman gives him a pigeon, cooked and ready to eat, and says to him,
“Inside there is an old woman. She will try and force you to eat; but, if you are wise, you will not eat. You will show her the pigeon that you have in your pocket which remains after your repast, and you must make her eat some of the pigeon, and you will have full power over her.”
“Inside, there’s an old woman. She will try to make you eat, but if you’re smart, you won’t eat. You’ll show her the leftover pigeon in your pocket from your meal, and you have to make her eat some of the pigeon, and that will give you complete control over her.”
When he has found the door, he knocks. This old woman comes, and asks him what he wants. He says that he only wishes to see this house. She lets him in. He takes his dog, also, with him. He sees this splendid table. She wishes absolutely to make him eat; but he says that it is altogether impossible—that he has in his pocket a pigeon which he has not been able to eat, and that she must eat some of that. The old woman says she will not. He compels her, and tells her she must; and at last she eats it. He then asks her what she has done with his brothers. She says that she knows nothing about them; that she does not know what he means. He forces her to tell him, and says to her,
When he finds the door, he knocks. An old woman answers and asks him what he wants. He tells her he just wants to see the house. She lets him in, and he brings his dog with him. He notices a beautiful table. She really wants him to eat, but he insists that it's impossible because he has a pigeon in his pocket that he hasn't been able to eat, and she needs to have some of it. The old woman refuses. He insists, telling her she has to, and eventually, she eats it. He then asks her what she’s done with his brothers. She claims to know nothing about them and says she doesn't understand what he means. He pressures her to tell him, saying to her,
“I will make my dog strangle you if you do not tell me.”
“I will have my dog attack you if you don’t tell me.”
He frightens her so, that she shows him some terrible [94]monsters. He tells her to restore them as they were before, otherwise some misfortune shall happen to her, and to mind what she is about. At last she set to work to change them as they were before, and their horses and dogs as well.
He scares her so much that she shows him some terrible [__A_TAG_PLACEHOLDER_0__] monsters. He tells her to fix them back to how they were before, or else something bad will happen to her, and to pay attention to what she’s doing. Finally, she starts working to change them back to their original state, including their horses and dogs.
They all go to the king’s palace, where everyone is immensely astonished to see three gentlemen arrive exactly alike in all respects. They ask the princess which is her husband. But the poor young lady is greatly embarrassed. She could not distinguish them, because they were exactly alike. At last he who had killed the serpent said that he was her husband. They make great rejoicings, and give a great deal of money to the two brothers, and to their parents, and they went off. They burnt the old woman in the midst of the market-place, and this handsome castle was given to the newly-married pair, and they lived happily at court; and, as they lived well, so they died happily.
They all head to the king’s palace, where everyone is incredibly surprised to see three men who are identical in every way. They ask the princess which one is her husband. But the poor young lady is very embarrassed. She can't tell them apart because they look exactly the same. Finally, the one who defeated the serpent claims he is her husband. There are celebrations, and they give a lot of money to the two brothers and their parents before they leave. They burned the old woman in the middle of the marketplace, and this beautiful castle was given to the newlyweds, where they lived happily at court; and just as they lived well, they died happily too.
Catherine Elizondo.
Catherine Elizondo.
All the latter part of this tale is much more detailed than in the Gaelic, and it is singular to read this note from Campbell’s collector:—“The Gaelic is given as nearly as possible in the words used by Mackenzie; but he thinks his story rather shortened.” Of the identity of the two stories there can be no doubt, although each supplies what is wanting to the other.
All the latter part of this tale is much more detailed than in the Gaelic, and it's interesting to read this note from Campbell’s collector:—“The Gaelic is given as closely as possible in the words used by Mackenzie; but he feels his story is somewhat shortened.” There is no doubt about the identity of the two stories, even though each provides what the other lacks.
Tabakiera, the Snuff-Box.19
Like many others in the world, there was a lad who wished to travel, and off he went. He finds a snuff-box, and opens it. And the snuff-box said to him—
Like many others in the world, there was a boy who wanted to travel, so he set off. He found a snuff-box and opened it. And the snuff-box said to him—
“Que quieres?” (“What do you wish for?”) [95]
“What do you want?” (“What do you want?”) [__A_TAG_PLACEHOLDER_0__]
He is frightened, and puts it at once into his pocket. Luckily he did not throw it away. He goes on, and on, and on, and at last he said to himself,
He’s scared and immediately puts it in his pocket. Fortunately, he didn’t throw it away. He keeps going and going, and finally, he says to himself,
“(I wonder) if it would say to me again, ‘Que quieres?’ I should well know what to answer.”
“(I wonder) if it would ask me again, ‘What do you want?’ I should definitely know how to respond.”
He takes it out again, and opens it, and it says to him again,
He takes it out again and opens it, and it tells him again,
“Que quieres?”
“What's up?”
The lad says to it, “My hat full of gold.”
The kid says to it, “My hat full of gold.”
And it is filled!
And it's filled!
He is astounded, and he said to himself that he would never want anything any more. He goes on, and on, and on; and, after he had passed some forests, he arrives at a fine castle. The king lived there. He goes round, and round, and round it, looking at it with an impudent air. The king says to him—
He is amazed and thinks to himself that he never wants anything again. He keeps going and going, and after passing through some forests, he arrives at a magnificent castle. The king lived there. He walks around it, checking it out with an arrogant attitude. The king says to him—
“What are you looking for?”
“What are you searching for?”
“To see your castle.”
"To visit your castle."
“You would wish, too, to have one like it?”
“You would want one like it too?”
The lad does not answer. When the evening came, our lad takes out his snuff-box, and it said to him,
The boy doesn't respond. When evening arrives, our boy pulls out his snuffbox, and it says to him,
“Que quieres?”
“¿Qué quieres?”
“Build here, on this very spot, a castle, with laths of gold and silver, and diamond tiles, and with all its furniture of gold and silver.”20
“Build a castle right here, on this exact spot, using gold and silver beams, diamond tiles, and all its furnishings made of gold and silver.”20
As soon as he has said it, he sees in front of the king’s castle a castle like what he had asked for. When the king gets up in the morning, he was astonished at this dazzling castle. His eyes were blinded by the (reflection of the) rays of the sun which fell upon it. The king went and said to him—
As soon as he said it, he saw in front of the king’s castle a castle just like the one he had asked for. When the king woke up in the morning, he was amazed by this stunning castle. His eyes were blinded by the sunlight reflecting off it. The king went and said to him—
“You must be a man of great power,21 and you must come [96]to our house, where we will live together. I have a daughter, too, and you shall marry her.”
“You must be a man of great power,21 and you must come [__A_TAG_PLACEHOLDER_0__]to our house, where we will live together. I have a daughter, too, and you will marry her.”
They do as the king had said, and they lived all together in the dazzling house. He was married to the king’s daughter, and lived happily.
They did as the king had instructed, and they all lived together in the stunning house. He married the king’s daughter and lived happily.
Now, the king’s wife was very envious of the lad and of his wife. She knew, by her daughter, how that they had a snuff-box, and that it did all that they wished. She intrigued with one of the servants to try and take it from them; but they take great care (to conceal) where they put the snuff-box away every evening. Nevertheless, at last she sees where it is put, and in the middle of the night, while they slept, she takes it from them, and carries it to her old mistress. What a joy for her!
Now, the queen was really jealous of the young man and his wife. She found out through her daughter that they had a magic snuff-box that granted them whatever they desired. She conspired with one of the servants to try to steal it from them; however, they were very careful about where they hid the snuff-box every night. But eventually, she figured out where it was kept, and in the middle of the night, while they were asleep, she stole it from them and took it to her old mistress. What a thrill for her!
She opens it, and the snuff-box says to her, “Que quieres?”
She opens it, and the snuff-box says to her, “What do you want?”
“You must take myself and my husband, and my servants, and this beautiful house, to the other side of the Red Sea,22 and leave my daughter and her husband here.”
“You must take me, my husband, my servants, and this beautiful house to the other side of the Red Sea,22 and leave my daughter and her husband here.”
When the young couple awoke in the morning, they found themselves in the old castle, and their snuff-box was gone. They look for it everywhere, but it is useless.
When the young couple woke up in the morning, they found themselves in the old castle, and their snuff-box was missing. They searched for it everywhere, but it was no use.
The young man will not wait an instant longer at home. He must start off at once to find his castle and his snuff-box. He takes a horse, and as much gold as the horse can carry, and he goes on, and on, and on, and on. He searches through all the towns in the neighbourhood until he had finished all his money. He searched, but he did not find it anywhere. But he went looking out still, feeding his horse as best he could, and begging for himself. Some one told him that he ought to go to the moon—that he makes a very long journey, and that he might guide him. He goes far, far, far away, on, and on, and on, and at last he arrives. He finds an old woman, who says to him— [97]
The young man won't wait another moment at home. He needs to set off right away to find his castle and his snuff-box. He grabs a horse and takes as much gold as the horse can carry, and he keeps going. He searches through all the towns in the area until he runs out of money. He looked everywhere but didn’t find it. Still, he kept searching, feeding his horse as best he could, and begging for himself. Someone told him he should go to the moon—that it’s quite a journey, but they could guide him. He traveled far, far away, and eventually, he arrived. There, he met an old woman who said to him— [__A_TAG_PLACEHOLDER_0__]
“What do you come to do here? My son devours all creatures of all sorts; and, if you will trust me, you will be off before his arrival.”
“What are you doing here? My son consumes all kinds of creatures; and if you trust me, you’ll be gone before he gets here.”
He tells her his misfortunes—how that he had a snuff-box of great power, which has been stolen from him, and that he is now without anything, far from his wife, and stripped of everything, “and perhaps your son, in his journeys, has seen my palace, with its golden laths and tiles of diamonds, and the other ornaments of gold and silver.”
He shares his troubles with her—how he had a powerful snuff-box that was stolen from him, leaving him with nothing, far from his wife, and completely stripped of everything. “And maybe your son, during his travels, has seen my palace, with its golden beams and diamond tiles, along with the other decorations of gold and silver.”
At that moment the moon appeared, and said to his mother that he smelt some one. His mother told him how that there was a wretched man who had lost everything; that he was come to him (for help), and that he would guide him. The moon told him to show himself. He comes, and asks him if he has not seen a house with beams of gold and with tiles of diamonds, and the rest of gold and silver; and he tells him how it was taken away from him.
At that moment, the moon showed up and told his mother that he could smell someone. His mother explained that there was a miserable man who had lost everything; he had come to them for help, and she said he would guide him. The moon told him to reveal himself. The man came forward and asked if he had seen a house with golden beams and diamond tiles, and the rest made of gold and silver; he shared how it had been taken away from him.
He answers, “No;” that he has not seen it, but that the sun makes longer journeys than he, and of greater extent, and that he would do better to go to him.
He replies, “No;” that he hasn't seen it, but that the sun travels farther and in greater measure than he does, and that he would be better off going to him.
He goes off again, on, and on, and on, with his horse, whom he nourished as he could, and begging for himself. At length he arrives at the sun’s house. He finds an old woman, who said to him,
He continues on and on with his horse, which he took care of as best as he could, while also begging for himself. Finally, he reaches the sun’s house. There, he meets an old woman who says to him,
“Where do you come from? Be off from here! Do you not know that my son eats all Christians?”
“Where are you from? Get away from here! Don’t you realize that my son devours all Christians?”
He said to her, “No! I will not go away. I am so wretched that I do not care if he does eat me.”
He said to her, “No! I’m not leaving. I’m so miserable that I don’t care if he eats me.”
And he tells her how he has lost everything; that he had a house, which had not its equal, with beams of gold and tiles of diamonds, and all the ornaments of gold and precious stones; and that he had been going about looking for it so long a time, and that there was no man so wretched as he. This woman hides him. The sun comes out and says to his mother—
And he tells her how he has lost everything; that he once had a house unlike any other, with golden beams and diamond tiles, filled with decorations made of gold and precious stones; and that he has been searching for it for so long, and no one is as miserable as he is. This woman hides him. The sun comes out and says to his mother—
“I smell the smell of a Christian, and I must eat him.” [98]
“I can smell a Christian, and I have to eat him.” [__A_TAG_PLACEHOLDER_0__]
The mother tells him that it was an unfortunate man who had lost his all, that he had come to speak to him, and begs him to take pity on him. He tells her to bring him out. Then the young man comes and asks the sun if he has seen a palace which has its equal nowhere, with its laths of gold and its tiles of diamonds, and the rest of gold and silver. The sun says to him:
The mother tells him that there was a sad man who had lost everything, that he had come to talk to him, and asks him to have compassion for him. He tells her to bring him out. Then the young man arrives and asks the sun if it has seen a palace that is unlike any other, adorned with gold beams and diamond tiles, and everything else made of gold and silver. The sun replies to him:
“No, but the south wind searches everything that I cannot see. He enters into every corner, he does, and if any one ought to know he will know.”
“No, but the south wind explores everything I can't see. It goes into every nook and cranny, it really does, and if anyone is supposed to know, he will know.”
Our poor man then sets off again, feeding his horse how he could and begging for himself, and he comes at length to the house of the south wind.23 He finds an old woman carrying water, and who was filling a great many barrels. She said to him:
Our poor man then sets off again, doing his best to feed his horse and begging for himself, and eventually he arrives at the house of the south wind.23 He sees an old woman carrying water, filling up a lot of barrels. She says to him:
“What are you thinking of to come here? My son eats up everything when he arrives hungry and furious. You must beware of him.”
“What were you thinking coming here? My son devours everything when he gets here hungry and angry. You need to watch out for him.”
He says to her, “It is all the same to me. Let him eat me; I am so wretched that I fear nothing.”
He says to her, “It makes no difference to me. Let him eat me; I’m so miserable that I fear nothing.”
And he tells her how he had a beautiful house which had not its equal in all the world, and with it all sorts of riches, and that, “Having abandoned my wife, I am seeking it, and I am come to consult your son, being sent by the sun.”
And he tells her how he had a beautiful house that was unmatched anywhere in the world, along with all kinds of wealth, and that, “Having left my wife, I am searching for it, and I have come to consult your son, sent by the sun.”
She hides him under the staircase. The south wind arrives as if he meant to tear the house up, and very thirsty. Before beginning to drink he smells the smell of the race of Christians, and said to his mother:
She hides him under the staircase. The south wind comes in like it wants to rip the house apart, and it's really thirsty. Before he starts drinking, he catches the scent of the Christians, and says to his mother:
“Out with what you have hidden,” and that he must begin by eating him.
“Reveal what you’ve kept hidden,” and that he should start by eating him.
His mother said to him, “Eat and drink what is before you.”
His mom said to him, “Go ahead and eat and drink what’s in front of you.”
And she tells him the misfortunes of this man, and how that the sun has spared his life that he might come and consult him. [99]
And she tells him about this man's misfortunes and how the sun has spared his life so he could come and talk to him. [__A_TAG_PLACEHOLDER_0__]
Then he makes the man come out, and the man tells him how that he is going about trying to find a house, and that if anybody ought to know it is he, and that they had robbed him of his house, which had laths of gold, tiles of diamonds, and all the rest of gold and silver, and if he has not seen it anywhere?
Then he makes the man come out, and the man tells him that he is trying to find a house, and that if anyone should know, it’s him, and that they had taken his house, which had gold laths, diamond tiles, and everything else made of gold and silver. He asks if he has seen it anywhere.
He tells him, “Yes, yes, and all to-day I have been passing over it, and have not been able to take away one of its tiles.”
He says to him, “Yeah, yeah, and all day today I’ve been thinking about it, and I still haven’t been able to remove a single tile.”
“Oh! if you will tell me where it is!”
“Oh! If you tell me where it is!”
He says that it is on the other side of the Red Sea, very, very far away.
He says it's on the other side of the Red Sea, really, really far away.
When our man heard that, the length of the road did not frighten him—he had already travelled over so much. He sets out then, and at last arrives at that city. He asks if anyone is in want of a gardener. They tell him that the gardener of the castle has gone away, and that perhaps they will take him. He goes off, and recognises his house—judge with what joy and delight! He asks if they are in want of a gardener. They tell him “Yes,” and our lad is very pleased. He passes some time tolerably happily—middling. He talks with a servant about the riches of the masters and of the power which they had. He flattered and cajoled this young girl very much to get from her the history of the snuff-box, and he told her once that he very much wished to see it. One evening she brought it to him to look at, and our lad, very much pleased, pays great attention to where it was hidden in the room of the mistress. At night, when everybody is asleep, he goes and takes the snuff-box. You will understand with what joy he opens it.
When our guy heard that, the length of the journey didn’t scare him—he had already traveled so much. So he sets off and finally arrives in that city. He asks if anyone needs a gardener. They tell him that the gardener at the castle has left, and they might consider hiring him. He heads over and recognizes his house—just imagine his joy and excitement! He asks if they need a gardener. They say “Yes,” and he’s really happy about it. He spends some time reasonably well—average, really. He chats with a servant about his masters' wealth and power. He flattered and sweet-talked this young girl a lot to get her to share the story of the snuff-box, telling her that he was very eager to see it. One evening, she brings it to him to look at, and he’s thrilled, paying close attention to where it was kept in the mistress's room. At night, when everyone is asleep, he sneaks in and takes the snuff-box. You can imagine how excited he is when he opens it.
It says to him, “Que quieres?”
It says to him, “What do you want?”
And the lad says to it, “Que quieres, Que quieres,24 carry me with my castle to the same place as (we were in) formerly, and drown the king and the queen and all the servants in this Red Sea.” [100]
And the boy says to it, “What do you want? What do you want?,24 take me with my castle to the same place we were before, and drown the king, the queen, and all the servants in this Red Sea.” [__A_TAG_PLACEHOLDER_0__]
As soon as he had said it, he was carried to his wife, and they lived happily, and the others all perished in the Red Sea.25
As soon as he said it, he was taken to his wife, and they lived happily, while the others all drowned in the Red Sea.25
Catherine Elizondo.
Catherine Elizondo.
Mahistruba, the Master Mariner.
Like many others in the world, there was a master mariner. Having had many losses and misfortunes in his life he no longer made any voyages, but every day went down to the seaside for amusement, and every day he met a large serpent, and every day he said to it:
Like many others in the world, there was a master mariner. After experiencing many losses and misfortunes in his life, he no longer went on voyages, but every day he went down to the seaside for fun, and every day he encountered a large serpent, and every day he said to it:
“God has given thy life to thee; live then.”
“God has given you your life; so live it.”
This master mariner lived upon what his wife and daughter earned by sewing. One day the serpent said to him:
This master sailor relied on what his wife and daughter made by sewing. One day, the serpent said to him:
“Go to such a shipbuilder’s, and order a ship of so many tons burden. Ask the price of it, and then double the price they tell you.”26
“Go to a shipbuilder and order a ship that can hold a certain number of tons. Ask how much it costs and then double the price they give you.”26
He does as the serpent told him, and the next day he goes down to the shore, and he tells the serpent that he has done as he had told him. The serpent then bids him go and fetch twelve sailors, very strong men, and to double whatever they shall ask. He goes and does what he was told to do. He returns to the serpent and tells him that he has twelve men. The serpent gives him all the money which he needed to pay for the ship. The shipbuilder is astonished to find that he is paid so large a sum of money in advance by this miserable man, but he hastens to finish his work as quickly as possible. The serpent again bids him have made [101]in the hold of the ship a large empty space and a huge chest, and tells him to bring this down himself. He brings it, and the serpent gets into it. The ship was quickly ready, he embarks the chest in the ship, and they set out.
He follows the serpent's instructions, and the next day he heads to the shore, informing the serpent that he has done as asked. The serpent then tells him to go and gather twelve strong sailors and to pay them double whatever they request. He goes and does as instructed. When he returns, he tells the serpent that he has found twelve men. The serpent gives him all the money he needs to pay for the ship. The shipbuilder is shocked to receive such a large upfront payment from this shabby man, but he quickly gets to work finishing the ship. The serpent then instructs him to create a large empty space and a huge chest in the ship's hold and tells him to bring it down himself. He does so, and the serpent climbs inside. The ship is soon ready, he loads the chest onto the ship, and they set sail.
This captain used to go every day to the serpent, but the sailors did not know what he went (into the hold) to do, nor what there was in the chest. The ship had already gone some distance, and nobody knew its destination. One day the serpent told the captain that there was going to be a frightful storm, that the earth and sky would mingle together, and that at midnight a large black bird would pass over the ship, and that it must be killed, and (he tells him) to go and see if there is any sportsman among his sailors. He goes and asks the sailors if there is any sportsman among them.27
This captain used to visit the serpent every day, but the sailors had no idea what he was doing down in the hold or what was in the chest. The ship had already traveled quite a distance, and no one knew where it was headed. One day, the serpent warned the captain that a terrible storm was coming, that the earth and sky would merge, and that at midnight, a large black bird would fly over the ship. The serpent told him it needed to be killed and advised him to check if any of his sailors were hunters. So, he went and asked the sailors if any of them were hunters.27
One of them answers, “Yes; I can kill a swallow in its flight.”
One of them replies, “Yeah; I can take out a swallow in mid-flight.”
“All the better, all the better; that will be of use to you.”
“All the better, all the better; that will be helpful to you.”
He goes down to tell the serpent that there is a sportsman who can kill a swallow in its flight. And at the same moment the weather becomes black as night, and earth and sky are mingled together, and all are trembling with fright. The serpent gives the captain a good drink for the sportsman, and they bind him to the mast. At midnight a piercing cry was heard. It was the bird which was passing over, and our sportsman has the good luck to kill him. At the very instant the sea becomes calm. The captain goes to the serpent, and tells him that the bird is killed.
He goes down to tell the serpent that there’s an athlete who can take down a swallow in mid-flight. At that moment, the weather turns dark as night, and the earth and sky blend together, filling everyone with fear. The serpent offers the captain a strong drink for the athlete, and they tie him to the mast. At midnight, a sharp cry is heard. It’s the bird flying overhead, and our athlete is fortunate enough to kill it. Right at that moment, the sea becomes calm. The captain approaches the serpent and tells him that the bird is dead.
The serpent answers him, “I know it.”
The snake replies, “I know.”
When they had gone a little further without anything happening, the serpent said one day:
When they had traveled a bit further with nothing happening, the serpent said one day:
“Are we not near such a port?”
“Are we not close to such a port?”
The captain says to him, “It is in sight.”
The captain says to him, "It's in sight."
“Very well, then, we are going there.” [102]
“Okay, let’s go there.” [__A_TAG_PLACEHOLDER_0__]
He tells him to go again, and ask his sailors if there is a fast runner among them. The captain goes and asks his sailors if there is any fast runner among them.
He tells him to go again and ask his sailors if any of them are fast runners. The captain goes and asks his sailors if there are any fast runners among them.
One of them says to him, “As for me, I can catch a hare running.”
One of them says to him, “As for me, I can catch a hare on the run.”
“So much the better, so much the better; that will be of use to you.”
“So much the better, so much the better; that will help you.”
The captain goes to tell the serpent that there is one who can catch a hare running. The serpent says to him:
The captain goes to tell the serpent that there’s someone who can catch a running hare. The serpent replies to him:
“You will land the runner at this port, and you will tell him that he must go to the top of a little mountain; that there is a little house there, and an old, old woman in it; and that there is there a steel, a flint, and a tinder-box; and that he must bring these three things on board one by one, making a separate journey each time.”
“You will bring the runner to this port, and tell him that he needs to go to the top of a small mountain; that there’s a little house there, and an old, old woman inside it; and that inside the house there are a steel, a flint, and a tinder-box; and that he must bring these three items on board one by one, taking a separate trip each time.”
Our runner goes off, and comes to this house. He sees the old woman, with red eyes, spinning at the threshold of her door. He asks her for a drop of water, that he has walked a long way without finding any water, and will she give him a little drop? The old woman says to him, “No.” He begs her again, telling her that he does not know the roads in the country, nor where he is going to. This old woman kept constantly looking at the chimney-piece, and she said to him:
Our runner takes off and arrives at this house. He sees an old woman with red eyes, spinning at her doorstep. He asks her for a drop of water, explaining that he has walked a long way without finding any and wonders if she could give him some. The old woman replies, "No." He pleads with her again, saying he doesn’t know the roads in the area or where he’s headed. Meanwhile, the old woman keeps glancing at the fireplace and says to him:
“I am going to give you some, then.”
"I'll give you some now."
While she went to the pitcher, our runner takes the steel off the chimney-piece, and goes off at full speed, like the lightning; but the old woman is after him. At the very instant that he is about to leap into the ship the old woman catches him, and snatches off a bit of his coat, and a piece of the skin of his back with it.28 The captain goes to the serpent, and says to him:
While she went to get the pitcher, our runner took the steel off the mantelpiece and took off at full speed, like lightning; but the old woman is right behind him. Just as he’s about to leap into the ship, the old woman grabs him, tearing off a bit of his coat and a piece of the skin on his back with it.28 The captain approaches the serpent and says to him:
“We have got the steel, but our man has got the skin of his back torn off.” [103]
“We have the steel, but our guy has had the skin on his back torn off.” [__A_TAG_PLACEHOLDER_0__]
He gives him a remedy, and a good drink, and tells him that the man will be cured by to-morrow, but that he must go again next day.
He gives him a treatment and a good drink, and tells him that the guy will be better by tomorrow, but that he needs to come back the next day.
He says, “No, no; the devil may carry off this old woman, if he likes, but I will not go there any more.”
He says, “No, no; the devil can take this old woman if he wants, but I’m not going there again.”
But, as he was cured next day by giving him that good drink again, he sets off. He dresses himself in a shirt without arms, and in an old torn pair of trousers, and goes to the old woman’s, saying that his ship is wrecked on the shore, that he has been wandering about for forty-eight hours, and he begs her to let him go to the fire to light his pipe.
But, after being cured the next day by having that good drink again, he sets off. He puts on a sleeveless shirt and an old torn pair of pants, and heads to the old woman’s place, saying that his ship has wrecked on the shore, that he has been wandering around for forty-eight hours, and he asks her to let him sit by the fire to light his pipe.
She says, “No.”
She said, "No."
“Do have pity—I am so wretched; it is only a little favour I ask of you.”
“Please have mercy—I’m feeling so miserable; it’s just a small favor I’m asking of you.”
“No, no, I was deceived yesterday.”
“No, no, I was fooled yesterday.”
But the man answered, “All the world are not deceivers. Don’t be afraid.”
But the man replied, “Not everyone in the world is a liar. Don’t worry.”
The old woman rises to go to the fire, and as she stoops to take it,29 the man seizes the flint and escapes, running as if he would break his feet. But the old woman runs as fast as our runner; but she only catches him as he is jumping into the ship; she tears off the shirt, and the skin of his neck and back with it, and he falls into the ship.
The old woman gets up to go to the fire, and as she bends down to grab it, 29 the man grabs the flint and takes off running like he’s trying to break his own feet. But the old woman runs just as fast as a sprinter; she only catches him as he jumps into the boat; she rips off his shirt, taking the skin from his neck and back along with it, and he tumbles into the boat.
The captain goes directly to the serpent: “We have got the flint.”
The captain goes straight to the serpent: “We've got the flint.”
He says to him, “I know it.”
He says to him, “I know it.”
He gives him the medicine and the good drink, in order that the man may be cured by the morrow, and that he may go again. But the man says, “No,” that he does not want to see that red-eyed old woman any more. They tell him that they still want the tinder-box. The next day they give him the good drink. That gives him courage, and the desire to return again. [104]
He gives him the medicine and the nice drink so that the man can be better by tomorrow and go back again. But the man says, “No,” that he doesn't want to see that red-eyed old woman ever again. They tell him they still want the tinder-box. The next day they give him the nice drink. That gives him courage and makes him want to return again. [__A_TAG_PLACEHOLDER_0__]
He dresses himself up as if he had been shipwrecked, and goes off half naked. He comes to the old woman’s, and asks for a little bread, as he has not eaten for a long time, (and begs her) to have pity on him—that he does not know where to go to.
He outfits himself like someone who just survived a shipwreck and heads out mostly unclothed. He arrives at the old woman’s place and asks for some bread since he hasn’t eaten in a long time, pleading with her to have mercy on him, explaining that he has no idea where to go.
The old woman says to him: “Be off, where you will; you shall get nothing at my house, and nobody shall come in here. Every day I have enemies.”
The old woman says to him, “Go wherever you want; you’re not getting anything at my place, and no one is allowed in here. I have enemies every day.”
“But what have you to fear from a poor man who only wants a little bread, and who will be off immediately afterwards?”
“But what do you have to fear from a poor man who just wants a little food and will leave right after?”
At last the old woman rises to go to her cupboard, and our man takes her little tinder-box. The old woman runs after him, wishing to catch him, but our man is ahead. She overtakes him just as he is leaping into the ship. The old woman takes hold of the skin of his neck, and tears it all right down to the soles of his feet. Our runner falls down, and they do not know whether he is alive or dead; and the old woman says:
At last, the old woman gets up to go to her cupboard, and our guy grabs her little tinder-box. The old woman chases after him, wanting to catch him, but our guy is already ahead. She catches up to him just as he jumps onto the ship. The old woman grabs the skin on the back of his neck and rips it all the way down to the soles of his feet. Our runner collapses, and they can't tell if he's alive or dead; and the old woman says:
“I renounce him, and all those who are in this ship.”
“I reject him and everyone else on this ship.”
The captain goes to the serpent, and says to him:
The captain approaches the serpent and says to him:
“We have the tinder-box, but our runner is in great danger. I do not know whether he will live; he has no skin left from his neck to the soles of his feet.”
“We have the matchbox, but our runner is in serious danger. I don’t know if he will survive; he has no skin left from his neck to the soles of his feet.”
“Console yourselves, console yourselves, he will be cured by to-morrow. Here is the medicine and the good drink. Now, you are saved. Go on deck, and fire seven rounds of cannon.”
“Calm down, calm down, he’ll be fine by tomorrow. Here’s the medicine and the good drink. Now, you’re all set. Go up on deck and fire seven cannon shots.”
He mounts on deck and fires the seven rounds of cannon, and returns to the serpent, and says to him:
He climbs onto the deck and fires the seven cannon shots, then goes back to the serpent and says to him:
“We have fired the seven rounds.”
"We've shot the seven rounds."
He says to him, “Fire twelve rounds more; but do not be afraid. The police will come here; they will handcuff you. You will be put in prison, and you will ask, as a favour, not to be executed before that they have visited the ship, in order to prove that there is nothing in it to merit such a chastisement.” [105]
He tells him, "Shoot twelve more rounds; but don't be scared. The police will arrive soon; they will handcuff you. You'll end up in prison, and you'll plead, as a favor, not to be executed until they visit the ship to show there's nothing there that deserves such a punishment." [__A_TAG_PLACEHOLDER_0__]
The captain goes on deck, and fires the twelve rounds of cannon. As soon as he has fired them, the magistrates and the police arrive; they handcuff the men, the sailors, and the captain, and they put them in prison. The sailors were not pleased; but the captain said to them:
The captain goes on deck and fires twelve cannon shots. As soon as he does, the magistrates and police show up; they arrest the men, the sailors, and the captain, and put them in jail. The sailors weren't happy about it, but the captain said to them:
“You will soon be delivered.”
"You will be delivered soon."
The next day the captain asks to go and speak to the king. He is brought before the king, and the king says:
The next day, the captain requests to speak with the king. He is taken before the king, and the king says:
“You are condemned to be hanged.”
“You are sentenced to be hanged.”
The captain says to him, “What! because we have fired some cannon-shots you are going to hang us!!”
The captain says to him, “What! Just because we fired a few cannon shots, you're going to hang us?!”
“Yes, yes, because for seven years we have not heard the cannon in this city.30 I am in mourning—I and my people. I had an only son, and I have lost him. I cannot forget him.”
“Yes, yes, because for seven years we haven't heard the cannon in this city.30 I'm in mourning—I and my people. I had one son, and I’ve lost him. I can’t forget him.”
The captain says to him: “I did not know either this news or this order, and I beg you not to kill us before going and seeing if there is anything in the ship which condemns us justly.”
The captain says to him: “I didn’t know about this news or this order, and I ask you not to kill us before checking if there’s anything on the ship that justly condemns us.”
The king goes with his courtiers, his soldiers, and his judges—in a word, with everybody. When he has mounted on deck, what a surprise! The king finds his dearly-loved son, who relates to him how he had been enchanted by an old woman, and that he remained a serpent seven years.31 How the captain every day went to walk by the seaside, and every day left him his life, saying to him, “The good God has made you too;” and having seen the captain’s good heart, “I thought he would spare me, and it is to him that I owe my life.”
The king is accompanied by his courtiers, soldiers, and judges—in short, everyone. When he steps on deck, what a surprise! The king sees his beloved son, who tells him how he had been enchanted by an old woman and remained a serpent for seven years. How the captain would walk along the beach every day and always spared his life, saying to him, “The good God made you too;” and seeing the captain’s kind heart, “I thought he would save me, and it is to him that I owe my life.”
He goes to the court. The men are let out of prison, and they give the captain a large sum of money for a dowry for [106]his two daughters, and the ship for himself. To the sailors they give as much as they like to eat and drink for all the time they wish to stop there, and afterwards enough to live upon for the rest of their lives. The king and his son lived happily, and as they had lived well, they died happily also.
He goes to court. The men are released from prison, and they give the captain a large sum of money for a dowry for [__A_TAG_PLACEHOLDER_0__]his two daughters and a ship for himself. To the sailors, they provide as much food and drink as they want for however long they choose to stay, and then enough to live on for the rest of their lives. The king and his son lived happily, and since they had lived well, they died happily as well.
Gachina,
The Net-maker.
Gachina,
The Net Creator.
Dragon.
A king had a son who was called Dragon. He was as debauched as it is possible to be. All the money that he had he had spent, and still more; not having enough, he demanded his portion from his father. The father gives it him immediately, and he goes off, taking with him a companion who had been a soldier, and who was very like himself.32 Very quickly they spent all their money. While they were travelling in a forest they see a beautiful castle. They enter and find there a table ready set out, and a magnificent supper prepared. They sit down to table and sup. Nobody appears as yet, and they go up-stairs to see the house, and they find the beds all ready, and they go to bed. They pass a very good night. The next morning Dragon gets up and opens the shutters, and sees a dazzling garden.
A king had a son named Dragon. He was as reckless as one could be. He had spent all his money and then some; not having enough, he asked his father for his share. The father gave it to him right away, and he left, taking along a friend who was a soldier and resembled him closely. They quickly blew through all their cash. While traveling through a forest, they spotted a beautiful castle. They entered and found a table set with a lavish dinner. They sat down and ate. No one appeared, so they went upstairs to explore the house and found the beds made up, so they went to sleep. They had a great night. The next morning, Dragon woke up, opened the shutters, and saw a stunning garden.
He goes down into the garden, still without seeing anybody; but in passing under a fig tree, a voice says to him:
He walks into the garden, still not seeing anyone; but as he passes under a fig tree, a voice says to him:
“Ay! ay! ay! what pain you have put me to, and what suffering you are causing me!”
“Ay! ay! ay! the pain you've caused me, and the suffering I'm going through!”
He turns on all sides and finds nothing. He says:
He looks around in every direction and sees nothing. He says:
“Who are you? You! I do not understand it. Appear!”
“Who are you? You! I don't get it. Show yourself!”
The voice says to him, “I cannot to-day; but perhaps [107]to-morrow you will see me. But in order to do that you will have to suffer severely.”
The voice says to him, “I can’t today; but maybe tomorrow you’ll see me. But for that to happen, you’ll need to endure a lot.”
He promises to suffer no matter what for her. The voice says to him:
He promises to endure anything for her. The voice tells him:
“To-morrow night they will make you suffer every kind of torture, but you must not say anything; and if you do that, you will see me to-morrow.”
“Tomorrow night they will make you go through every kind of torture, but you must not say anything; and if you do that, you will see me tomorrow.”
They had spoken all this before the soldier friend, but he had heard nothing of it.
They had talked about all this in front of their soldier friend, but he hadn’t heard any of it.
They go to the house and find the dinner quite ready. Dragon would have wished that night had already come, to know what it was he was to see. He goes off to bed then, and after eleven o’clock he feels that something is coming, and his whole body is pricked all over. He keeps quite silent, because he wished to see the voice. And when the cock crew “Kukuruku!” he was released (from his torture). He lies waiting for daybreak to go to the fig tree. Day did not appear as soon as he would have wished it, and he goes running to the garden and sees under the fig tree, coming out of the ground as high as her shoulders, a young girl, and she says to him:
They go to the house and find dinner all set. Dragon wished night had come already so he could know what he was about to see. He heads off to bed, and after eleven o’clock, he senses that something is approaching, and his whole body feels tingly. He stays completely silent because he wants to see the sound. When the rooster crows “Kukuruku!”, he is freed from his torment. He lies there waiting for dawn to go to the fig tree. Daylight doesn't arrive as quickly as he hoped, so he runs to the garden and sees a young girl rising from the ground beneath the fig tree, up to her shoulders, and she says to him:
“Last night you have suffered in silence, but the next night they will make you suffer much more. I do not know if you can bear it without speaking.”
“Last night you suffered in silence, but tonight they will make you suffer even more. I don’t know if you can handle it without saying anything.”
He promises her that he will suffer still more in order to save her.
He promises her that he will endure even more pain to save her.
As usual, they find the table ready for dinner and for supper. He goes off to bed. There happens to him the same thing as in the preceding night, but they do him still more harm. Happily he lies still without speaking. The cock crows “Kukuruku!” and they leave him quiet. As soon as daylight has come he goes off to the garden, and he sees the young lady visible as far as the knees. Dragon is delighted to save this beautiful girl, but she says sadly to him:
As usual, they find the table set for dinner and supper. He goes off to bed. The same thing happens to him as the night before, but they do even more damage. Luckily, he stays quiet without speaking. The rooster crows “Kukuruku!” and they leave him alone. Once daylight breaks, he heads to the garden, where he sees the young lady up to her knees. Dragon is thrilled to save this beautiful girl, but she sadly says to him:
“You have seen nothing up to this time. They will make you suffer twice as much.”
“You haven't seen anything yet. They’re going to make you suffer twice as much.”
He says that he has courage to endure anything, because [108]he wishes to get her out of that state. When night comes, he perceives that two are coming instead of one. One of them was lame, and he says to him (and you know lame people and cripples are the most cruel).33 He says then to the other:
He claims he has the strength to face anything because [__A_TAG_PLACEHOLDER_0__] he wants to rescue her from that situation. When night falls, he realizes that two people are approaching instead of one. One of them is limping, and he says to him (and you know that people with disabilities can be the harshest). 33 He then says to the other:
“What! You have not been able to make this wretched boy speak! I will make him speak, I will.”
“What! You haven't been able to get this miserable kid to talk! I'll make him speak, I will.”
He cuts off his arms and then his legs, and our Dragon does not say anything. They make him suffer a great deal, but happily the cock crows “Kukuruku!” and he is delivered. He was much afraid what would become of him without hands and without feet; but on touching himself he feels with pleasure that all that is made right again. While he is in bed he hears a great noise. He lies without saying anything, being frightened, and not knowing what might happen to him, when all of a sudden this young lady appears and says to him:
He cuts off his arms and then his legs, and our Dragon doesn't say anything. They make him suffer a lot, but fortunately, the rooster crows "Cock-a-doodle-doo!" and he is saved. He was very scared about what would happen to him without hands and feet; but when he touches himself, he feels relieved that everything is fixed. While he’s in bed, he hears a loud noise. He lies there quietly, scared and unsure of what might happen to him, when suddenly this young lady appears and says to him:
“You have saved me; I am very well pleased with you. But this is not enough; we must be off from here immediately.”
“You saved me; I'm really happy with you. But this isn't enough; we need to leave here right away.”
All the three go off together, and travel far, far, far away, and they arrive in a city. The young lady did not think it proper to lodge in the same hotel with them. Next morning the young lady gets up very early, and goes in search of the landlord of the hotel, and says to him:
All three set off together and traveled really far away until they reached a city. The young woman didn't think it was proper to stay in the same hotel as them. The next morning, she got up very early and went looking for the hotel owner, saying to him:
“A gentleman will come here to ask for me. You will tell him that I have gone out, and if he wishes to see me he must come to the fountain at the Four Cantons34—but fasting—and he is to wait for me there.”
“A guy will come here to ask for me. You’ll tell him that I’ve stepped out, and if he wants to see me, he must come to the fountain at the Four Cantons34—but he has to be fasting—and he should wait for me there.”
The next morning the young gentleman goes to the hotel, and they tell him what the young lady has said. On that very day he goes to the fountain, taking his comrade with him, and fasting; but as the young lady had not yet arrived, forgetting himself, he put his hand in his pocket, and finding there a small nut, he eats it. As soon as he has eaten it he [109]falls asleep.35 The young lady arrives. She sees that he is asleep. She says to his companion:
The next morning, the young man goes to the hotel, and they tell him what the young woman has said. That same day, he heads to the fountain, bringing his friend along and not eating anything; but since the young woman hasn’t shown up yet, he absentmindedly reaches into his pocket and finds a small nut, which he eats. As soon as he finishes it, he [__A_TAG_PLACEHOLDER_0__]falls asleep.35 The young woman arrives. She notices that he is sleeping. She says to his friend:
“He has eaten something. Tell him that I will return, but tell, tell him, I beg you, to eat nothing.”
“He's eaten something. Tell him I'll be back, but please, I beg you, tell him not to eat anything.”
She leaves him a beautiful handkerchief. Dragon wakes up as soon as the young lady is gone. His comrade tells him that she had come, and that she had told him not to eat anything. And he shows Dragon the handkerchief. He was very vexed at having eaten, and would have wished that it was already the next day. He starts then very, very early, and waits for the young lady, and, as was fated to happen, finding a walnut in his pocket, he eats it. He immediately falls asleep. The young lady appears and finds him sleeping. She says that she will return again the next day, but that he must not eat anything. She leaves him another handkerchief. Dragon awakes as soon as she has gone. Judge with what vexation. His friend tells him that she said that she would return the next day, but that he must do his best not to eat anything. He goes then the third day without eating anything, but, as was to happen, despairing of seeing the young lady, who was late, arrive, he takes an apple from an apple tree and eats it. He falls asleep immediately. The young lady comes and finds him asleep. She gives his comrade a ring to give to Dragon, telling him that if Dragon wishes to see her he will find her in the City of the Four Quarters. Dragon is very vexed, and he says to his friend:
She leaves him a beautiful handkerchief. Dragon wakes up as soon as the young lady is gone. His friend tells him that she had come and told him not to eat anything. Then he shows Dragon the handkerchief. Dragon is really upset about eating and wishes it was already the next day. He gets up very, very early and waits for the young lady, and as fate would have it, he finds a walnut in his pocket and eats it. He immediately falls asleep. The young lady shows up and sees him sleeping. She says she will come back the next day, but he mustn't eat anything. She leaves him another handkerchief. Dragon wakes up as soon as she’s gone. Imagine his frustration. His friend tells him that she said she would be back the next day, but he needs to make sure not to eat anything. So, on the third day, he goes without eating. However, as fate would have it, feeling hopeless about the young lady being late, he grabs an apple from a tree and eats it. He falls asleep right away. The young lady arrives and finds him asleep. She gives his friend a ring to give to Dragon, saying that if Dragon wants to see her, he will find her in the City of the Four Quarters. Dragon is extremely frustrated, and he says to his friend:
“The good God knows when I shall find this city, and it is better for you to go in one direction (and I in another).”
“The good God knows when I’ll find this city, and it’s better for you to go one way (and I’ll go another).”
Thereupon they separate. Dragon goes off, far, far, far away. He comes to a mountain; there he sees a man, who had before his door holy water, and whoever made use of it was well received. He goes in, therefore, and asks him if [110]he knows where is the City of the Four Quarters. He tells him—
Thereupon they split up. Dragon walks off, really far away. He arrives at a mountain and sees a man who has holy water by his door, and anyone who uses it is welcomed. So, he goes in and asks him if [__A_TAG_PLACEHOLDER_0__]he knows where the City of the Four Quarters is. The man tells him—
“No; but there are the animals of the earth and of the air, and that the latter might perhaps guide him there.”
“No; but there are the animals of the land and of the sky, and maybe the latter could guide him there.”
He whistles to them. They come from all quarters, and he asks them if they know where is the City of the Four Quarters? They tell him “No.” Then the man says to him—
He whistles to them. They come from all directions, and he asks them if they know where the City of the Four Quarters is. They respond, “No.” Then the man says to him—
“I have a brother on such a mountain, who has many more animals than I have; he has them all under his power, that man has.”
“I have a brother on a mountain who has way more animals than I do; he has complete control over all of them.”
Dragon goes off then, and arrives there; he asks of that man if he knows where the City of the Four Quarters is? He tells him “No,” but that he has animals which will know it, if anyone ought to know it. He whistles to them. He sees the animals, small and great, coming from all quarters. Dragon was trembling with fright. He asks them one by one if they know where the City of the Four Quarters is. They tell him “No;” but the man sees that one animal is wanting, and that is the eagle. He whistles, and he comes. He asks him, too, if he knows where the City of the Four Quarters is. He says to him—
Dragon sets off and arrives there; he asks the man if he knows where the City of the Four Quarters is. The man replies, “No,” but says he has animals that might know, if anyone does. He whistles for them. He sees the animals, large and small, coming from all directions. Dragon is trembling with fear. He asks each one if they know where the City of the Four Quarters is. They all tell him “No,” but the man notices that one animal is missing, and that’s the eagle. He whistles, and the eagle arrives. He asks it, too, if it knows where the City of the Four Quarters is. It responds—
“I am just come from there.”
“I just came from there.”
The man says to him,
The guy tells him,
“You must, then, guide this young gentleman there.”
“You need to take this young man there.”
The eagle says to him, “Willingly, if he will give me a morsel of flesh each time that I open my mouth.”
The eagle says to him, “Sure, if he’ll give me a piece of meat every time I open my mouth.”
Dragon replies, “Yes, willingly.”
Dragon replies, “Yes, for sure.”
He then buys an ox. The eagle tells him to get upon his back. The man climbs up there with his ox, and when he opens his mouth he gives him a morsel of the ox, which kept gradually diminishing.
He then buys an ox. The eagle tells him to get on its back. The man climbs up there with his ox, and when he opens his mouth, he gives it a piece of the ox, which keeps getting smaller.
They were obliged to cross over the sea, and there was no bridge to it there. The ox was finished when they were in the middle of the sea, and there was a great rock there. The eagle opens his mouth again, and, as there was no more beef, what does he do? As he was afraid of being left [111]upon that rock, he cuts a morsel from the back of his own thighs, and puts it in his mouth.36 They arrive on the other side of the sea. The eagle leaves him there, saying to him,
They had to cross the sea, and there was no bridge to help them. The ox ran out of steam when they were in the middle of the sea, and there was a huge rock there. The eagle opens his mouth again, and since there was no more meat, what does he do? Afraid of being stuck on that rock, he cuts a piece from the back of his own thighs and puts it in his mouth. [__A_TAG_PLACEHOLDER_0__] They make it to the other side of the sea. The eagle leaves him there, telling him,
“You are in the City of the Four Quarters. Do your own business here. I am going off to my own home.”
“You're in the City of the Four Quarters. Mind your own business here. I'm heading off to my own place.”
This young gentleman asks what is the news in this city. They tell him that the king’s daughter is going to be married to-day. In this city it was permitted only to the wedding party to enter the church, but Dragon had bribed one of the keepers with money, (saying) that he would stop quiet in a corner of the church. It was also the custom in this city to publish the banns at the moment of marriage. When the priest began to publish them, Dragon came out of his corner, and said—
This young man asks what's happening in the city. They tell him that the king's daughter is getting married today. In this city, only the wedding party was allowed to enter the church, but Dragon had bribed one of the attendants with money, promising to stay quietly in a corner of the church. It was also customary in this city to announce the banns at the time of the marriage. When the priest started to announce them, Dragon emerged from his corner and said—
“I make an objection.”
“I object.”
He goes to the young lady, who recognises him; and he shows her the ring and the kerchiefs, and asks her in marriage. She says—
He approaches the young woman, who recognizes him; he shows her the ring and the handkerchiefs, and asks her to marry him. She replies—
“This shall be my husband; he has well deserved it.”
“This is going to be my husband; he totally deserves it.”
He was still lame, as a piece of his flesh was still wanting. They were married then. The other bridegroom went back home quite ashamed. The others lived very happily, because both had suffered much. Then I was there, now I am here.
He was still lame, as a part of his flesh was still missing. They were married then. The other groom went back home feeling quite ashamed. The others lived very happily because both had suffered a lot. Then I was there, now I’m here.
Louise Lanusse,
St. Jean Pied de Port.
Louise Lanusse,
St. Jean Pied de Port.
Ezkabi-Fidel.
As there are many in the world, and as we are many of us, there was a mother who had a son. They were very poor. The son wished to go off somewhere, in order to [112]better himself, (he said); that it was not living to live like that. The mother was sorry; but what could she do? In order that her son may be better off, she lets him go. He goes then, travelling on, and on, and on. In a forest he meets with a gentleman, who asks him where he is going. He tells him that, wishing to better himself, he had gone away from home to do something. This gentleman asks him if he is willing to be his servant. He replies, “Yes.” They go off then together, and come to a beautiful place. After having entered, the gentleman gives him all the keys of the house, saying that he has a journey he must make, and that he must see the whole house—that he will find in it everything he wants to eat, and to take care of the horses in the stable. The gentleman goes away as soon as he had seen all the house and the stable. There were a lot of horses there, and in the midst of them all a white mare,37 who said to him,
As there are many people in the world, and as we are many of us, there was a mother who had a son. They were very poor. The son wanted to leave and go somewhere to [__A_TAG_PLACEHOLDER_0__] improve himself, saying that it wasn’t living to stay like that. The mother felt sad, but what could she do? To help her son have a better life, she let him go. He set off, traveling on and on. In a forest, he met a gentleman who asked him where he was going. He explained that he had left home to do something that would help him improve. The gentleman asked if he would like to be his servant. He replied, “Yes.” They left together and arrived at a beautiful place. Once inside, the gentleman handed him all the keys to the house, explaining that he had a journey to make and that he should explore the entire house—he would find everything he needed to eat and to take care of the horses in the stable. The gentleman left as soon as he had shown him around the house and the stable. There were many horses there, and among them was a white mare, 37 who said to him,
“Ay! ay! Fidel, save me, I pray you, from here, and get me outside. You will not be sorry for it.”
“Hey! Hey! Fidel, please save me from here and get me outside. You won’t regret it.”
Fidel stops at the place whence this voice came. A moment after, the white mare says to him,
Fidel stops at the spot where the voice came from. A moment later, the white mare says to him,
“Come near the white mare; it is she who is speaking to you.”
“Come closer to the white mare; she’s the one talking to you.”
Fidel goes up to her, and says to her that he cannot let her go—that the master has not given him any other work to do (than to take care of the horses), and that he certainly will not do any such thing. The mare said to him,
Fidel approaches her and tells her that he can't let her go—that the master hasn't given him any other tasks (other than taking care of the horses), and he definitely won't do anything like that. The mare responded to him,
“Go and fetch a saucepan, and when I shall have filled it with water, you will wash your hands and your head.”
"Go get a saucepan, and when I’ve filled it with water, you can wash your hands and your head."
Fidel does as the mare told him, and is quite astonished at seeing his hands shine, and he says to her that he does not wish to have them like that, but that, as to his head, he [113]could hide it.38 The mare told him to wash his hands in the water, and that they would become again as they were before.
Fidel followed the mare's instructions and was surprised to see his hands shining. He told her he didn't want them like that, but he could hide his head. The mare told him to wash his hands in the water, and they would return to how they were before.
The time goes on, and the time returns. A long time had passed, and the master had never returned. And one day the mare said to him,
The time goes on, and the time comes back. A long time had gone by, and the master had still not returned. Then one day, the mare said to him,
“Fidel, do you know how long you have been here?”
“Fidel, do you have any idea how long you’ve been here?”
He says to her, “I don’t know at all—six months, perhaps?”
He says to her, “I have no idea—maybe six months?”
The mare says to him, “Six years have passed, and if the master arrives when seven years shall have passed, you will be enchanted—you, too, as we all are here—and the master is a devil.”
The mare says to him, “Six years have gone by, and if the master shows up when seven years have passed, you’ll be cursed—you, too, like all of us here—and the master is a devil.”
After that he heard that, Fidel is frightened, and he says to himself that it would be better to do what the white mare had said—to get on her back, and both to escape from there. They go off then, both of them. When they had gone some little distance, the mare asks him if he sees anything behind him.
After that, he heard that, and Fidel got scared. He thought to himself that it would be better to do what the white mare suggested—to get on her back and escape together. So they set off. After going a short way, the mare asked him if he saw anything behind him.
He says, “Yes,” that he sees something terrible, but in the clouds; but that it is something terrific.39 The mare gives the earth a kick with her foot, and says to it,
He says, “Yes,” that he sees something awful, but in the clouds; but that it is something amazing.39 The mare kicks the ground with her hoof and says to it,
“Earth, with thy power form a dense, terrible fog where he is.”
“Earth, with your power, create a thick, dreadful fog where he is.”
They go on again, and the mare says again—
They continue on, and the mare says again—
“Look back again, if you see anything.”
“Look back again and see if you notice anything.”
Fidel says to her, “Yes, I see again this terrible thing; it is coming after us quickly, and is going to catch us.”
Fidel says to her, “Yes, I see that awful thing again; it’s coming for us fast, and it’s going to catch us.”
The mare at the same time says again to the earth, in striking it with her foot, [114]
The mare simultaneously strikes the earth with her hoof and says to it again, [__A_TAG_PLACEHOLDER_0__]
“Let it hail stones, and hail there where he is as much as can possibly fall.”
“Let it hail, and let it hail where he is as much as it can possibly fall.”
They go on. The mare says again,
They continue moving forward. The mare says again,
“Look back, if you see anything.”
“Look back, if you notice anything.”
He says to her again, “He is here, this terrible monster. It is all up with us now—we cannot escape him; he is quite near, and he comes with speed.”
He tells her again, “He’s here, this awful monster. It’s all over for us now—we can’t escape him; he’s really close, and he’s coming fast.”
The mare strikes the earth with her foot, and says to it—
The mare stomps her hoof on the ground and says to it—
“Form before him a river, and let him drown himself there for evermore.”
“Make a river in front of him, and let him drown in it forever.”
He sees him drown himself there. The mare says to him,
He sees him drown himself there. The mare says to him,
“Now you shall go to such a spot. The king lives there. You will ask if they want a gardener, and they will tell you ‘Yes.’ You will stay there without doing anything, and the work will do itself by itself, without your doing anything. Every day three beautiful flowers will come up in this garden. You will carry them to the three daughters of the king, but you will always give the finest to the youngest.”40
“Now you should go to that place. The king lives there. You'll ask if they need a gardener, and they'll say 'Yes.' You'll stay there without doing anything, and the work will take care of itself. Every day, three beautiful flowers will bloom in this garden. You'll take them to the king's three daughters, but you should always give the best one to the youngest.”40
It was the custom to carry the dinner to the gardener, but it was the youngest of the daughters who carried it to him. From the first day the gardener pleased the young lady, and she said to him one day that he must marry her. The lad said to her that that cannot be, that she ought not to think of marrying with a person of low birth and who has nothing, and that she must not dream any such dreams. This young lady falls ill. The father sends for the doctor, who says, after having touched her pulse, that she is ill of love; and the doctor goes to tell it to the king. The father goes to the young lady and tells her what the physician has said to him—that she is not so very ill. The daughter says to him:
It was the tradition to bring dinner to the gardener, but it was the youngest daughter who took it to him. From the very first day, the gardener caught her interest, and one day she told him that he had to marry her. The young man responded that it wasn't possible, that she should not consider marrying someone of low status who had nothing, and that she shouldn't entertain such thoughts. This young lady fell ill. The father called for the doctor, who, after feeling her pulse, said she was suffering from love; he then went to report this to the king. The father approached his daughter and told her what the doctor had said—that she wasn't really that ill. The daughter replied:
“In order to cure me you must send and fetch the gardener. Let him give me some broth and I shall be cured.”
“To heal me, you need to send for the gardener. If he brings me some broth, I’ll get better.”
The father sends to fetch him directly, has him washed and properly dressed, and makes him carry the broth. There was among the court an old, old nurse; she was a [115]witch, and as she knew what the physician had said, she goes and hides herself in the young lady’s bedroom before the gardener came there, in order to know what the young lady would say to him. The young lady said to him:
The father sends someone to get him, has him cleaned up and dressed nicely, and makes him carry the soup. There was an ancient nurse at court; she was a [__A_TAG_PLACEHOLDER_0__]witch, and since she was aware of what the doctor had said, she goes and hides in the young lady’s bedroom before the gardener arrives, to find out what the young lady would say to him. The young lady said to him:
“Yes, and you shall marry me; I will not marry anybody else but you, whatever you may say.”
“Yes, and you’re going to marry me; I won’t marry anyone else but you, no matter what you say.”
The lad said to her: “No, no, I will not hear that mentioned.”
The guy said to her, "No, no, I don't want to talk about that."
The nurse had heard all that had passed, and she goes and tells it immediately to the king. The young lady was cured, and goes to carry the dinner to Fidel. Fidel had a habit of always giving the first spoonful of the soup to the dog. He gives it him that day too, and as soon as the dog has eaten it he falls stark dead. When the young lady saw that she goes and tells it to her father. The father sends for a big dog, and gives him some of the soup, and as soon as he has eaten it he falls dead. Judge of the anger of that young lady. She goes and takes this old witch and has her burnt. She goes to look for Fidel in a little house which was at the bottom of the garden, and she sees his head bare.41 It was shining like the sun, and she entirely lost her own head for it, and she said to him, that he must marry her. As she left him no peace, her father said to her:
The nurse had heard everything that happened, and she immediately went to tell the king. The young lady was healed and went to bring dinner to Fidel. Fidel had a habit of always giving the first spoonful of soup to his dog. He did the same that day, and as soon as the dog ate it, he collapsed and died. When the young lady saw this, she ran to tell her father. The father called for a large dog, gave him some of the soup, and as soon as he ate it, he also fell dead. Imagine the anger of that young lady. She found the old witch and had her burned. She went to search for Fidel in a small house at the bottom of the garden and saw his bare head. It was shining like the sun, and she completely lost her mind over it, telling him that he must marry her. When she wouldn’t leave him alone, her father said to her:
“If you will marry him, do so; but I will not give you anything. You must go and live in a corner of the mountain with your husband; there is a house there, and there you must stop. You may come only one day a week to see me.”
“If you want to marry him, go ahead; but I won’t give you anything. You have to go and live in a corner of the mountain with your husband; there’s a house there, and that’s where you need to stay. You can come see me only one day a week.”
That was all the same to this young lady, (and they are married), and go off there. As the king had given her no money, when Fidel’s hair grew she went from time to time to the goldsmiths, who said to her that they had not money enough belonging to them to pay for the gold that she brought them. And they lived there very happily. [116]
That didn’t matter to this young lady, (and they got married), and went off. Since the king hadn’t given her any money, whenever Fidel’s hair grew, she would occasionally visit the goldsmiths, who told her that they didn’t have enough money to pay for the gold she brought them. And they lived there very happily. [__A_TAG_PLACEHOLDER_0__]
One day Fidel heard that the king was engaged in a great war, and he told his wife to go to her father and tell him that he too wished to go to this war. This young lady goes to tell her father her husband’s commission. Her father says to her:
One day Fidel heard that the king was involved in a major war, and he told his wife to go to her father and let him know that he also wanted to join the fight. This young woman went to inform her father of her husband's request. Her father said to her:
“What is the use of a young man like that who has never killed anything but mole-crickets? Let him stop at home.”
“What’s the point of a young man like that who has never killed anything except mole crickets? He might as well stay home.”
His daughter says to him: “At least he is your son-in-law!”
His daughter says to him, "At least he's your son-in-law!"
The father then says to her: “He may come on such a day.”
The father then says to her, "He might come on that day."
Fidel goes as they had told him. He asks the king for a horse and a sword. The king gives him a horse blind and lame. Fidel was not pleased with it. He begins his march, wishing to get on as quickly as possible, but when he had gone a little distance, the horse sticks in the mud, and cannot in any way get out of it. While he is there, the white mare comes to him. She gives him a beautiful horse, and a lance and a sword, and tells him that he will see his brothers-in-law encamped round a city, but not to stop there with them, but to ride straight to the city; that the gates will be shut, but as soon as he shall have touched them with his lance they will be broken to pieces, and that they will make peace with him. He does as she told him, and starts off on his horse like the lightning, without paying the slightest attention to his brothers-in-law. He goes up to the city, and as soon as he has touched the gates with his sword they are in pieces. He enters the city, and all the world comes out and makes him a thousand fêtes. They declare that they wish for no more war. They give him the key of the treasury and all the papers, and he retires from there with all the honours. When he returns he tells his brothers-in-law to retire—that the war is finished. They go back again. He stops at the place where he had left his old horse in the mud. He sends away his beautiful horse with all his things, and Fidel stops there, not being able to drag his old horse out of the mud. When his brothers-in-law [117]pass, they mock at him (and ask him) if it is there that he has passed all his time. He tells them, “Yes.” The others go on ahead, and at length he also arrives at the king’s house. He leaves his old horse there and goes off home. He does not tell his wife what has happened, and they live in their hole.
Fidel goes just as they instructed him. He asks the king for a horse and a sword. The king gives him a horse that is blind and lame. Fidel is not happy about it. He starts his journey, eager to get moving quickly, but after traveling a short distance, the horse gets stuck in the mud and can't get out. While he's stuck, the white mare approaches him. She gives him a beautiful horse, a lance, and a sword, and tells him that he will find his brothers-in-law camped around a city, but he shouldn't stop with them; instead, he should ride straight to the city. She warns him that the gates will be closed, but if he touches them with his lance, they will break open, and they will make peace with him. He follows her advice and takes off on his horse like lightning, ignoring his brothers-in-law. He reaches the city, and as soon as he touches the gates with his sword, they crumble. He enters the city, and everyone comes out to celebrate him with a thousand fêtes. They declare they want no more war. They give him the key to the treasury and all the documents, and he leaves with all the honors. When he returns, he tells his brothers-in-law to go back—that the war is over. They head back. He stops at the spot where he left his old horse in the mud. He sends his beautiful horse and all his belongings away, but he stays there, unable to drag his old horse out of the mud. As his brothers-in-law [__A_TAG_PLACEHOLDER_0__] pass by, they laugh at him and ask if this is where he has spent all his time. He replies, “Yes.” The others continue ahead, and eventually, he arrives at the king’s house. He leaves his old horse there and heads home. He doesn’t tell his wife what happened, and they continue living in their little home.
The king was getting old, and he had entirely lost his sight. Somebody gave him to understand that there was a water which made people young again, and another which restored sight. He told his sons-in-law that they must go (and look for it)—that he could not live long like that. And both of them start off. Their wives, at starting, had given each a golden apple.42 They go far away; but they find nothing. Tired at last, they stop in a beautiful city. They take each of them a wife, and they live according to their fancy. When Fidel saw that his brothers-in-law did not arrive, he said to his wife that he must go off; perhaps he might be able better to find the waters which his father wanted. He goes off without saying anything to the king, and travels on, and on, and on.
The king was getting old and had completely lost his sight. Someone told him there was a water that made people young again and another that restored sight. He told his sons-in-law they had to go find it because he couldn’t live like this for much longer. Both of them set off. Each of their wives gave them a golden apple before they left.42 They traveled far, but found nothing. Eventually, tired, they stopped in a beautiful city. Each of them took a wife, and they lived however they wanted. When Fidel noticed that his brothers-in-law hadn’t returned, he told his wife he needed to leave; maybe he could find the waters his father needed. He left without telling the king and continued on his journey.
He meets an old woman, who says to him, “Where are you going to?” He tells her how he wants a water which gives sight to the blind and makes the old young,43 and that he would not go back home without finding it. This old woman says to him:
He meets an old woman, who asks him, “Where are you going?” He tells her he’s looking for a magical water that restores sight to the blind and makes the old young, 43 and that he won’t go back home until he finds it. The old woman responds to him:
“You will see two animals fighting close to you, and you will gather the herb which makes the dead to live; you will have it boiled, and you will keep this water for yourself.”
“You'll see two animals fighting nearby, and you'll collect the herb that brings the dead back to life; you'll boil it, and you'll keep this water for yourself.”
This lad goes on a little farther, and he sees two lizards fighting so fiercely that one kills the other. The one who was left alive takes a blade of grass and touches the dead and rekindles his life.44 Fidel gathers this grass, and goes [118]off to this old woman. The old woman gives him two bottles, telling him that the one is for giving sight to the blind, and the other for making old men young; that he must not sell these waters for money, but must make an exchange of them for two golden apples which his brothers-in-law have in this very city, and that it is to them that he must give this water.
This kid walks a bit further and sees two lizards fighting so fiercely that one ends up killing the other. The survivor picks up a blade of grass, touches the dead lizard, and brings it back to life. 44 Fidel collects this grass and goes [__A_TAG_PLACEHOLDER_0__] to an old woman. She gives him two bottles, telling him that one restores sight to the blind and the other makes old men young. She warns him not to sell these waters for money but to trade them for two golden apples that his brothers-in-law have in this city, and that he must give this water to them.
Fidel goes into the city, and as soon as he has entered, he cries:
Fidel heads into the city, and the moment he steps in, he shouts:
“Who wishes to buy the water that gives sight to the blind, and the water which makes old men young?”
"Who wants to buy the water that restores sight to the blind and the water that makes old men young?"
His two brothers-in-law appear, and say that they must have some of this water, and ask what it costs. And he tells them that he does not sell it, but only gives it in exchange for golden apples. These gentlemen willingly make the exchange. But they wish to make trial of it directly; they bring an old blind dog, and immediately he grows young again. Judge how pleased they were with their water of power. They set off to the king, and this water makes him become very young and gives him sight. The king wishes to have great rejoicings, and invites all his friends in the neighbourhood. Fidel arrives at home, and says nothing to his wife. When he hears that the king is going to have rejoicings, he sends his wife to ask the king if he would not like them to go there too; that they would help, one in cutting the wood, and the other in serving at table. She did not wish to go there at all. She told her husband that she would a hundred times sooner stop at home; but her husband sends her off by force, (saying) that they ought to be there on that day. She goes, then, the poor woman, against her wish. She asks her father if he does not want some one to help on the feast day. The father says, “No!”—they have servants enough. An old general who was sitting by his side said to him:
His two brothers-in-law show up and say they need some of this water, asking how much it costs. He tells them he doesn't sell it but only gives it in exchange for golden apples. They happily agree to the trade. Wanting to test it right away, they bring an old blind dog, and instantly, the dog becomes young again. You can imagine how thrilled they were with their magical water. They head to the king, and this water makes him young again and restores his sight. The king wants to celebrate and invites all his friends from the area. Fidel gets home and says nothing to his wife. When he hears about the king's celebration, he sends his wife to ask if they can go too, saying they can help—one with chopping wood and the other with serving at the table. She doesn’t want to go at all. She tells her husband she'd rather stay home, but he insists she must go because they should be there that day. So, she goes, poor woman, against her will. She asks her father if he needs help for the feast. The father says, "No!"—they have enough servants. An old general sitting beside him said to him:
“Why do you not let them come?”
“Why won’t you let them come?”
Then the king said, “Come then on such a day.”
Then the king said, “Alright, come on that day.”
Fidel and his wife go. While they are at breakfast the [119]old general asks Fidel if he also does not know something to relate? He replies “Yes,” that he knows some (stories), but more than one would not be pleased with what he would tell. Then the king says, placing his sword upon the table:
Fidel and his wife leave. While they're having breakfast, the [__A_TAG_PLACEHOLDER_0__]old general asks Fidel if he has anything to share. He responds, “Yes,” that he has some stories, but more than one person might not be happy with what he would say. Then the king lays his sword on the table:
“The point of my sword shall know news of the heart of him who shall speak.”
"The tip of my sword will feel the truth of the one who speaks."
Fidel begins then, how he went to the war with an old horse, blind and lame, but that in spite of that he had carried off the keys of the treasure and the papers. The king says to him that he has not seen them yet—that he is still expecting them. Fidel takes out the papers and gives them to the king. He gives also the keys of the treasury. The king assures himself that they are the real ones. He then narrates how he has sold in exchange for two golden apples that precious water. At this instant his wife rises and says to him:
Fidel starts by telling how he went to war with an old horse that was blind and lame, yet despite that, he managed to bring back the keys to the treasure and the documents. The king tells him he hasn't seen them yet—that he's still waiting for them. Fidel pulls out the documents and hands them to the king. He also gives the keys to the treasury. The king checks to make sure they're the real deal. Then he shares how he traded that precious water for two golden apples. At that moment, his wife stands up and says to him:
“Where have you these golden apples—you?”
“Where do you have these golden apples?”
As it is she who has spoken the first words, Fidel takes up the king’s sword and strikes his wife dead.45 The king was grieved to see that, but Fidel says to him:
As she is the one who spoke first, Fidel grabs the king's sword and kills his wife. 45 The king was saddened to witness this, but Fidel replies to him:
“Do not disturb yourself for that; as I have taken away her life I will give it her again.”
“Don't worry about that; since I've taken her life, I will give it back to her.”
He takes out his water which rekindles dead men, and rubs some on her temple, and she suddenly returns to life. Everyone is astounded at this great deed, and at all that he has already done. The king tells him that he has already gained the crown, but that he must be cured of this terrible scab46 first. His wife rises, takes off his kerchief which he had upon his head, and shows the shining head of her husband, saying:
He takes out his water that brings the dead back to life and rubs some on her temple, and she suddenly revives. Everyone is amazed by this incredible act and all that he has accomplished so far. The king tells him he has already earned the crown, but he needs to be treated for this awful scab46 first. His wife gets up, removes the kerchief from his head, and reveals her husband’s gleaming head, saying:
“See, this is the scab of my husband!” [120]
“Look, this is my husband's scab!” [__A_TAG_PLACEHOLDER_0__]
The king says that the crown will shine much better on his head. He goes to fetch it, and places it upon this precious head. He banishes his sons-in-law with his two daughters to the same desert place where Fidel formerly lived. And Fidel and his wife lived much richer than the king was. His precious head gave him this power; and as they lived well they died well too.
The king claims that the crown will look even better on him. He goes to get it and puts it on his head. He sends his sons-in-law and his two daughters to the same desert where Fidel used to live. Fidel and his wife lived much more comfortably than the king did. His precious head gave him this power; and because they lived well, they also died well.
Laurentine.
Laurentine.
We have another version almost identical with the above, except at the commencement. Ezkabi really has the scab. On his journey, after leaving his home, he pays the debts of a poor man whose corpse is being beaten in front of the church, and buries him. There is nothing about a white mare. An old woman is the good genius of the tale. He goes as gardener, and the king’s daughter falls in love with him, from catching a sight of his golden hair from her window; for the rest the stories are identical, except that this is a shorter form than the above.
We have another version that's almost the same as the one above, except at the beginning. Ezkabi really has the scab. On his journey, after leaving home, he pays off the debts of a poor man whose corpse is being beaten in front of the church, and he buries him. There’s nothing about a white mare. An old woman serves as the good fairy of the story. He takes a job as a gardener, and the king’s daughter falls for him when she catches a glimpse of his golden hair from her window; otherwise, the stories are identical, except that this one is a shorter version than the previous.
The Lady Pigeon and her Comb.47
Like many others in the world, there was a mother and her son; they were very poor. This son wished to leave his mother and go away, (saying) that they were wretched as they were. He goes off then far, far, far away. He finds a castle in a forest, and goes in and asks if they want a servant, and it is a Tartaro who comes to him. He asks him:
Like many others in the world, there was a mother and her son; they were very poor. This son wanted to leave his mother and go away, saying that they were miserable as they were. So, he went far, far away. He discovered a castle in a forest, went inside, and asked if they needed a servant, and a Tartaro came to him. He asked him:
“Where are you going to like that, ant of the earth?”
“Where are you going dressed like that, ant of the earth?”
He says that, being very poor at home, he wished to work to better himself. [121]
He says that, since he was very poor at home, he wanted to work to improve his situation. [__A_TAG_PLACEHOLDER_0__]
The Tartaro says to him, “As you have told the truth I spare your life, ant of the earth, and in a few days you will go away from here. Three young ladies will come to bathe in the water in my garden. They will leave their pigeon-robes under a large stone, and you will take the pigeon’s skin which is in the middle.48 The two young ladies will come out of the water and will take their skins. She who stops in the water will ask you for her skin, but you shall not give it her before she shall promise to help you always.”
The Tartaro says to him, “Since you've told the truth, I’ll spare your life, creature of the earth, and in a few days, you’ll be free to leave this place. Three young women will come to bathe in the water in my garden. They’ll leave their pigeon-robes under a large stone, and you’ll take the pigeon skin that’s in the middle. The two young women will come out of the water and take their skins. The one who stays in the water will ask you for her skin, but you must not give it to her until she promises to always help you.”
The next day our lad sees that the young ladies are in the water. He goes and does as the Tartaro tells him; he takes the middle one of the three skins, the two young ladies take their skins, and the third asks him to give her hers. The lad will not give it her without her promise. The young lady will not give her word. He then says to her that he will not give it her at all. The young lady then says to him that he may reckon upon her, that she gives him her word, and that he shall go to-morrow to her father’s house, that he will take him as servant, and that he lives in such a place. The lad goes off then the next day and finds this beautiful house in a forest.
The next day, the young man sees that the ladies are in the water. He does what the Tartaro instructed; he picks the middle one of the three skins, while the two young ladies take their own skins, and the third asks him for hers. The young man refuses to give it to her without a promise. The young lady won’t commit. He tells her that he won't give it to her at all. Then the young lady says he can count on her, that she gives him her word, and that he should come to her father’s house tomorrow, where he will take him in as a servant, and that he lives in a certain place. So the young man sets off the next day and discovers a beautiful house in a forest.
He asks if they want a servant? They tell him, “Yes,” but that there is a great deal of work to do there. The next morning (the father) takes him into the forest and says to him:
He asks if they want a servant. They tell him, “Yes,” but that there’s a lot of work to do there. The next morning, the father takes him into the forest and says to him:
“You must pull up all these oaks with their roots, you must cut them into lengths, and put the trunks on one side, the branches on another, and the roots by themselves, each in their place. Afterwards you will plough the ground, then you will harrow it, then sow the wheat; you will then cut it, and you bring me at noon a little cake made out of this wheat, otherwise you will be put to death.”49 [122]
"You need to dig up all these oak trees with their roots, chop them into manageable pieces, and stack the trunks on one side, the branches on another, and the roots separately, each in its designated spot. After that, you'll plow the land, then you'll break up the soil, and then plant the wheat; after that, you’ll harvest it and bring me a small cake made from this wheat at noon, or else you will be punished severely."49 [__A_TAG_PLACEHOLDER_0__]
The lad says to him, “I will try.”
The guy says to him, “I’ll give it a shot.”
He goes then to the forest and sits down pensive. It was already eleven o’clock when the young lady appears to him. She says to him:
He then goes to the forest and sits down, lost in thought. It was already eleven o’clock when the young lady appears to him. She says to him:
“Why are you like that, so sad? Have not I promised that I would help you? Shut your eyes, but all the worse for you if you shall open them.”
“Why are you like this, so sad? Haven’t I promised that I would help you? Close your eyes, but it’ll be worse for you if you open them.”
“Comb, with thy power tear up these oaks with their roots, cut them into lengths, put the trunks together, and the branches, and the roots too by themselves.”
“Comb, with your power, rip up these oaks by their roots, cut them into sections, stack the trunks, and separate the branches and roots too.”
As soon as it was said it was done. She throws another comb, and says to it:
As soon as someone said it, it was done. She throws another comb and says to it:
“Comb, with thy power turn up this ground, harrow it, and sow the wheat.”
“Comb, with your power, turn up this ground, break it up, and plant the wheat.”
As soon as it was said it was done. She throws another comb, and says:
As soon as it was mentioned, it was taken care of. She throws another comb and says:
“Comb, with thy power make a cake of this wheat when you have cut it.”
“Comb, with your power, make a cake from this wheat after you’ve cut it.”
Our lad was curious to know what was taking place, but the young lady said to him:
Our guy was curious about what was happening, but the young woman said to him:
“Woe to you and to me if you open (your eyes).51 Nothing will be finished for us.”
“Woe to you and to me if you open (your eyes).51 Nothing will be finished for us.”
He does not open them, and the cake is cooked. Twelve o’clock was going to strike. She says to him:
He doesn’t open them, and the cake is done. The clock is about to strike twelve. She says to him:
“Go with speed, you have no time to lose.”
“Move quickly, you have no time to waste.”
The lad goes to the king and brings him the cake. The king is astonished. He says (to himself), “That is a clever lad, that,” and he wishes to be assured of it by looking out of window; and, after having seen that this huge forest had been torn up, he is astonished. He sends away the lad, [123]and goes and tells it to his wife. His wife says to him, “Take care that he is not in league with your daughter.”52
The boy goes to the king and brings him the cake. The king is surprised. He says to himself, “That’s a clever kid,” and he wants to confirm it by looking out the window. After seeing that the huge forest has been uprooted, he is even more amazed. He sends the boy away, [__A_TAG_PLACEHOLDER_0__] and goes to tell his wife about it. His wife replies, “Make sure he’s not in cahoots with your daughter.” 52
The husband says to her, “What do you mean? They have never seen each other.”
The husband says to her, “What are you talking about? They’ve never met.”
This husband was a devil. The young lady told our lad that her father is going to send him to fetch a ring in a river far away. “He will tell you to choose a sword from the midst of ever so many others, but you will take an old sabre and leave the others.”
This husband was a jerk. The young lady told our guy that her dad is going to send him to get a ring from a river far away. “He’ll tell you to pick a sword from a whole bunch of them, but you should take an old sabre and ignore the rest.”
The next day his wife told him that he ought to send him to fetch a ring which he had lost in the bed of a river. He sends him then, and tells him that he must choose a sword; that he will have quantities of evil fish to conquer. The lad says to him that he will not have those fine swords, that he has enough with this old sabre, which was used to scrape off the dirt.
The next day, his wife told him that he should send him to retrieve a ring he had lost in the riverbed. He sends him off and explains that he needs to choose a sword because he will have plenty of nasty fish to deal with. The boy responds that he doesn't want those fancy swords; he’s fine with this old sabre, which was used to scrape off dirt.
When he arrived at the bank of the river he sat there weeping, not knowing what to do. The young lady comes to him, and says:
When he got to the riverbank, he sat there crying, unsure of what to do. The young woman approaches him and says:
“What! You are weeping! Did not I tell you that I would always help you?”
“What! You’re crying! Didn’t I tell you that I would always be there for you?”
It was eleven o’clock. The young lady says to him:
It was eleven o’clock. The young woman says to him:
“You must cut me in pieces with this sabre, and throw all the pieces into the water.”
“You have to cut me into pieces with this sword and toss all the pieces into the water.”
The lad will not do it by any means. He says to her:
The guy is definitely not going to do it. He says to her:
“I prefer to die here on the spot than to make you suffer.”
"I would rather die right here than make you suffer."
The lady says to him, “It is nothing at all what I shall suffer, and you must do it directly—the favourable moment is passing by like this, like this.”
The woman says to him, “It’s not about what I’ll go through, and you need to do it right away—the perfect moment is slipping away like this, like this.”
The lad, trembling all over, begins with his sabre. He throws all the pieces into the river; but, lo! a part of the lady’s little finger sticks to a nail in his shoe. The young lady comes out of the water and says to him: [124]
The guy, shaking all over, starts with his sword. He tosses all the pieces into the river; but, wait! a part of the lady’s pinky gets caught on a nail in his shoe. The young woman emerges from the water and says to him: [__A_TAG_PLACEHOLDER_0__]
“You have not thrown everything into the water. My little finger is wanting.”53
“You haven’t given it your all. I feel like I’m missing something.”53
After having looked for it, he sees that he has it under his foot, hooked on to a nail. The young lady gives him the ring. She tells him to go without losing a moment; for he must give it to the king at noon. He arrives happily (in time). The young lady, as she goes into the house, bangs the door with all her might and begins to cry out:
After searching for it, he realizes he has it under his foot, caught on a nail. The young lady hands him the ring and urges him to leave immediately, as he needs to present it to the king by noon. He arrives joyfully (just in time). As the young lady enters the house, she slams the door with all her strength and starts to cry out:
“Ay! ay! ay! I have crushed my little finger.”
“Ay! ay! ay! I’ve smashed my little finger.”
And she makes believe that she has done it there. The king was pleased. He tells him that on the morrow he must tame a horse and three young fillies.54 The lad says to him:
And she pretends that she has done it there. The king was happy. He tells him that tomorrow he has to tame a horse and three young fillies.54 The boy says to him:
“I will try.”
"I'll give it a shot."
The master gives him a terrible club. The young lady says to him in the evening:
The master gives him a heavy club. The young lady says to him in the evening:
“The horse which my father has spoken to you about will be himself. You will strike him with all your might with your terrible club on the nose, and he will yield and be conquered. The first filly will be my eldest sister. You will strike her on the chest with all your force, and she also will yield and will be conquered. I shall come the last. You will make a show of beating me too, and you will hit the ground with your stick, and I too will yield, and I shall be conquered.”
“The horse my father told you about will be him. You’ll hit him with all your strength with your heavy club on the nose, and he will give in and be defeated. The first filly will be my oldest sister. You’ll hit her on the chest with all your power, and she will give in and be defeated as well. I will come last. You’ll pretend to beat me too, and you’ll strike the ground with your stick, and I will also give in, and I will be defeated.”
The next day the lad does as the young lady has told him. The horse comes. He was very high-spirited, but our lad strikes him on the nose, he yields, and is conquered. He does the same thing with the fillies. He beats them with his terrible club, they yield, and are conquered; and when the third comes he makes a show of hitting her, and strikes the earth. She yields, and all go off.
The next day, the boy follows the young lady's instructions. The horse arrives. He was very spirited, but the boy taps him on the nose, and he submits. He does the same thing with the fillies. He hits them with his heavy club, they submit, and are defeated; when the third one approaches, he pretends to hit her and strikes the ground instead. She submits, and they all leave.
The next day he sees the master with his lips swollen, and with all his face as black as soot. The young ladies had also pain in the chest. The youngest also gets up very late indeed in order to do as the others. [125]
The next day, he sees the master with his lips swollen and his entire face as black as soot. The young ladies are also experiencing pain in their chests. The youngest one sleeps in very late just to keep up with the others. [__A_TAG_PLACEHOLDER_0__]
The master says to him that he sees he is a valuable servant, and very clever, and that he will give him one of his daughters for wife, but that he must choose her with his eyes shut. And the young lady says to him:
The master tells him that he recognizes he is a valuable servant and very smart, and he will give him one of his daughters to marry, but he must choose her with his eyes closed. And the young lady says to him:
“You will choose the one that will give you her hand twice, and in any way you will recognise me, because you will find that my little finger is wanting. I will always put that in front.”
“You will choose the one who will marry you twice, and in any case, you will recognize me because you will see that my little finger is missing. I will always show that first.”
The next day the master said to him:
The next day, the master said to him:
“We are here now; you shall now choose the one you wish for, always keeping your eyes shut.”
“We're here now; you can choose the one you want, just keep your eyes closed.”
He shuts them then; and the eldest daughter approaches, and gives him her hand. He says to the king:
He closes them then; and the oldest daughter steps forward and offers him her hand. He says to the king:
“It is very heavy, (this hand); too heavy for me. I will not have this one.”
“It's really heavy, this hand; too heavy for me. I won’t take this one.”
The second one approaches, she gives him her hand, and he immediately recognises that the little finger is wanting. He says to the king:
The second one comes closer, she offers him her hand, and he instantly notices that her little finger is missing. He says to the king:
“This is the one I must have.”
“This is the one I need.”
They are married immediately.55 They pass some days like that. His wife says to him:
They get married right away.55 They spend a few days like that. His wife says to him:
“It is better for us to be off from here, and to flee, otherwise my father will kill us.”
“It’s better for us to get out of here and run away, otherwise my dad will kill us.”
They set off, then, that evening at ten o’clock, and the young lady spits before the door of her room, saying:
They set off that evening at ten o’clock, and the young lady spat before the door of her room, saying:
“Spittle, with thy power, you shall speak in my place.”56 And they go off a long way. At midnight, the father goes to the door of the lad and his wife, and knocks at the door; they do not answer. He knocks harder, and then the spittle says to him:
“Spit, with your power, you will speak for me.”56 And they walk a long distance. At midnight, the father goes to the door of the young man and his wife and knocks. They do not respond. He knocks harder, and then the spit says to him:
“Just now nobody can come into this room.”
“Right now, no one can come into this room.”
The father says, “It is I. I must come in.”
The father says, “It’s me. I need to come in.”
“It is impossible,” says the spittle again. [126]
“It’s impossible,” says the spittle again. [__A_TAG_PLACEHOLDER_0__]
The father grows more and more angry; the spittle makes him stop an hour like that at the door. At last, not being able to do anything else, he smashes the door, and goes inside. What is his terrible rage when he sees the room empty. He goes off to his wife, and says to her:
The father gets angrier and angrier; the drool makes him stand there for an hour at the door. Finally, unable to do anything else, he breaks down the door and goes inside. His rage is intense when he finds the room empty. He heads to his wife and says to her:
“You were not mistaken; they were well acquainted, and they were really in league with one another, and they have both escaped together; but I will not leave them like that. I will go off after them, and I shall find them sooner or later.”
“You were right; they knew each other well, and they were truly working together, and they both got away; but I won't let them get off that easily. I'm going after them, and I’ll find them sooner or later.”
He starts off. Our gentleman and lady had gone very far, but the young lady was still afraid. She said to her husband:
He begins. Our man and woman had traveled quite a distance, but the young woman was still feeling scared. She said to her husband:
“He might overtake us even now. I—I cannot turn my head; but (look) if you can see something.”
“He might catch up with us any moment now. I—I can’t turn my head; but (look) if you can see anything.”
The husband says to her: “Yes, something terrible is coming after us; I have never seen a monster like this.”
The husband says to her, “Yes, something awful is coming for us; I’ve never seen a monster like this.”
“Comb, with thy power, let there be formed before my father hedges and thorns, and before me a good road.”
“Comb, with your power, let there be hedges and thorns formed before my father, and a good road before me.”
It is done as she wished. They go a good way, and she says again:
It’s done just as she wanted. They walk for a while, and she says again:
“Look, I beg you, if you see anything again.”
“Please, I'm begging you, if you see anything again.”
The husband looks back, and sees nothing; but in the clouds he sees something terrible, and tells so to his wife. And his wife says, taking her comb:
The husband looks back and sees nothing; but in the clouds, he sees something awful and tells his wife about it. And his wife replies, taking her comb:
“Comb, with thy power, let there be formed where he is a fog, and hail, and a terrific storm.”
“Comb, with your power, let a fog form where he is, along with hail and a terrible storm.”
It happens as they wish. They go a little way farther, and his wife says to him:
It happens the way they want. They walk a bit further, and his wife says to him:
“Look behind you, then, if you see anything.”
“Turn around and see if you notice anything.”
The husband says to her: “Now it is all over with us. We have him here after us; he is on us. Use all your power.” [127]
The husband says to her: “Now it’s all over for us. We have him here after us; he’s onto us. Use all your strength.” [__A_TAG_PLACEHOLDER_0__]
She throws again a comb immediately, and says:
She immediately throws the comb again and says:
“Comb, with thy power, form between my father and me a terrible river, and let him be drowned there for ever.”
“Comb, with your power, create a fierce river between my father and me, and let him drown in it forever.”
As soon as she has said that, they see a mighty water, and there their father and enemy drowns himself.58
As soon as she says that, they see a huge wave, and there their father and enemy drowns himself.58
The young lady says, “Now we have no more fear of him, we shall live in peace.”
The young woman says, “Now we don’t have to be afraid of him anymore; we can live in peace.”
They go a good distance, and arrive at a country into which the young lady could not enter. She says to her husband:
They travel quite a distance and reach a country where the young lady can't go in. She says to her husband:
“I can go no farther. It is the land of the Christians there; I cannot enter into it. You must go there the first. You must fetch a priest. He must baptize me, and afterwards I will come with you; but you must take great care that nobody kisses you. If so, you will forget me altogether. Mind and pay great attention to it; and you, too, do not you kiss anyone.”
“I can't go any further. That’s the land of the Christians; I can't enter there. You have to go first. You need to get a priest. He has to baptize me, and then I'll come with you; but you have to be really careful that nobody kisses you. If they do, you’ll forget all about me. Make sure to keep an eye on that, and you shouldn’t kiss anyone either.”
He promises his wife that he will not. He goes, then, on, and on, and on. He arrives in his own country, and as he is entering it an old aunt recognises him, and comes behind him, and gives him two kisses.59 It is all over with him. He forgets his wife, as if he had never seen her, and he stays there amusing himself, and taking his pleasure.
He promises his wife that he won't. Then he goes on and on and on. He arrives back in his country, and as he’s entering, an old aunt spots him, comes up behind him, and gives him two kisses. 59 It’s all over for him. He forgets his wife as if he’s never seen her, and he stays there having fun and enjoying himself.
The young lady, seeing that her husband never returned, that something had happened to him, and that she could no longer count upon him, she takes a little stick, and striking the earth, she says:
The young woman, realizing that her husband never came back, that something must have happened to him, and that she could no longer rely on him, picks up a small stick and strikes the ground, saying:
“I will that here, in this very spot, is built a beautiful hotel, with all that is necessary, servants, and all the rest.”
“I want a beautiful hotel to be built right here, with everything needed, staff, and all the rest.”
There was a beautiful garden, too, in front, and she had put over the door:
There was a beautiful garden out front, and she had hung above the door:
“Here they give to eat without payment.” [128]
“Here, they provide food for free.” [__A_TAG_PLACEHOLDER_0__]
One day the young man goes out hunting with two comrades, and while they were in the forest they said one to the other:
One day, the young guy went out hunting with two friends, and while they were in the forest, they said to each other:
“We never knew of this hotel here before. We must go there too. One can eat without payment.”
“We never knew about this hotel here before. We should check it out too. You can eat there for free.”
They go off then. The young lady recognises her husband very well, but he does not recognise her at all. She receives them very well. These gentlemen are so pleased with her, that one of them asks her if she will not let him pass the night with her.60 The young lady says to him, “Yes.” The other asks also, “I, too, was wishing it.” The young lady says to him:
They leave then. The young woman recognizes her husband perfectly, but he doesn’t recognize her at all. She greets them warmly. These gentlemen are so charmed by her that one of them asks if he can spend the night with her.60 The young woman replies, “Yes.” The other one also asks, “I wanted that too.” The young woman responds:
“To-morrow then, you, if you wish it, certainly.”
"Tomorrow then, if you want it, definitely."
And her husband says to her: “And I after to-morrow then.”
And her husband says to her: “And I will see you the day after tomorrow then.”
The young lady says to him, “Yes.” One of the young men remains then. He passes the evening in great delight, and when the hour comes for going to bed, the young lady says to him:
The young woman says to him, “Yes.” One of the young men stays then. He spends the evening happily, and when it’s time to go to bed, the young woman says to him:
“When you were small you were a choir-boy, and they used to powder you; this smell displeases me in bed. Before coming there you must comb yourself. Here is a comb, and when you have got all the powder out, you may come to bed.”
“When you were little, you were a choir boy, and they used to put powder on you; I can't stand that smell in bed. Before you come here, you need to comb your hair. Here’s a comb, and once you’ve gotten all the powder out, you can come to bed.”
Our lad begins then to comb his hair, but never could he get all the powder out, such quantities came out, and were still coming out of his head; and he was still at it when the young lady rose. The lad said to her:
Our guy starts to comb his hair, but he could never get all the powder out—so much kept pouring out of his head; he was still at it when the young lady got up. He said to her:
“What! you are getting up before I come.”
“What! You're getting up before I get there.”
“And do you not see that it is day? I cannot stop there any longer. People will come.”
“And don’t you see that it’s daytime? I can’t stay here any longer. People will arrive.”
Our young man goes off home without saying a word more. He meets his comrade who was to pass the night with this young lady. He says to him: [129]
Our young man heads home without saying another word. He runs into his buddy who was supposed to spend the night with this young lady. He says to him: [__A_TAG_PLACEHOLDER_0__]
“You are satisfied? You amused yourself well?”
“You happy? Did you have fun?”
“Yes, certainly, very well. If the time flies as fast with you as it did with me you will amuse yourself well.”
“Yes, of course, that sounds great. If time passes as quickly for you as it did for me, you’ll have a lot of fun.”
He goes off then to this house. The young lady says to him, after he had had a good supper:
He then heads over to the house. The young lady says to him after he’s had a nice dinner:
“Before going to bed you must wash your feet. The water will be here in this big copper; when you have them quite clean you may come to bed.”
“Before you go to bed, you need to wash your feet. The water will be in this big copper bowl; once your feet are clean, you can come to bed.”
Accordingly he washes one, and when he has finished washing the other, the first washed is still black and dirty. He washes it again, and finds the foot that he has just well washed very dirty again. He kept doing like that for such a long time. When the young lady gets up, the gentleman says to her:
Accordingly, he washes one, and when he finishes washing the other, the first one he washed is still black and dirty. He washes it again and finds that the foot he just cleaned is dirty again. He keeps doing this for a long time. When the young lady gets up, the gentleman says to her:
“What! You are getting up already, without me coming?”
“What! You’re already getting up without me being here?”
“Why did you not then come before day? I cannot stay any longer in bed. It is daylight, and the people will begin (to come).”
“Why didn’t you come before dawn? I can’t stay in bed any longer. It’s daytime, and people will start to arrive.”
Our young man withdraws as the other had done. Now it is the turn of her husband. She serves him still better than the others; nothing was wanting at his supper. When the hour for going to bed arrives, they go to the young lady’s room; when they are ready to get into bed, the young lady says to him:
Our young man pulls back, just like the other one did. Now it's her husband's turn. She takes care of him even better than she did for the others; everything he could want is there for his dinner. When it's time to go to bed, they head to the young lady’s room; as they're about to get into bed, the young lady says to him:
“Put out the light.”
"Turn off the light."
He puts it out, and it lights again directly. He puts it out again, and it lights again as soon as it is put out. He passes all the night like that in his shirt, never being able to put out that light. When daylight is come, the young lady says to him:
He puts it out, and it lights up again immediately. He puts it out again, and it lights up as soon as he extinguishes it. He spends the whole night like that in his shirt, never able to put out that light. When daylight comes, the young lady says to him:
“You do not know me then? You do not remember how you left your wife to go and fetch a priest?”
“You don’t know me? You don’t remember how you left your wife to go get a priest?”
As soon as she had said that he strikes his head, and says to her:
As soon as she said that, he hit his head and said to her:
“Only now I remember all that—up to this moment I was as if I had never had a wife at all—how sorry I am; [130]but indeed it is not my fault, not at all. I never wished it like that, and it is my old aunt who kissed me twice without my knowing it.”
“Only now do I remember all that—until this moment, it felt like I never had a wife at all—how sorry I am; [__A_TAG_PLACEHOLDER_0__]but honestly, it’s not my fault, not at all. I never wanted it to be like this, and it’s my old aunt who kissed me twice without my knowing.”
“It is all the same now. You are here now. You have done penance enough; your friends have done it too. One passed the whole night getting powder out of his head, and the other in washing his feet, and they have not slept with me any more than you have. At present you must go into your country, and you must get a priest. He shall baptize me, and then we will go into your country.”
“It’s all the same now. You’re here now. You’ve gone through enough penance; your friends have too. One spent the whole night getting powder out of his hair, and the other washing his feet, and they haven’t slept with me any more than you have. Right now, you need to go back to your country and find a priest. He’ll baptize me, and then we’ll head to your country.”
The husband goes off and returns with the priest, and she is baptized, and they set out for his country. When they have arrived there, she touched the earth with her stick, and says to it:
The husband leaves and comes back with the priest, and she gets baptized, and they head to his homeland. When they get there, she touches the ground with her stick and says to it:
“Let there be a beautiful palace, with everything that is needed inside it, and a beautiful garden before the house.”
“Let there be a stunning palace, equipped with everything that's needed inside, and a beautiful garden in front of the house.”
As soon as it is said, it is done. They lived there very rich and very happy with the old mother of the lad, and as they lived well they died well too.
As soon as it's said, it's done. They lived there very wealthy and very happy with the boy's old mother, and since they lived well, they also died well.
Laurentine Kopena.
Laurentine Kopena.
Suggested Explanation of the above Tale (The Lady-Pigeon and her Comb).
This legend seems to us to be one of the best examples in our collection of what may be called atmospherical, or climatological myths.
This legend appears to be one of the best examples in our collection of what could be called atmospheric or climatological myths.
The story opens with man in misery, without the aid of cultivation and agriculture. The old king we take to be a personification of winter; his daughter of spring, warmth, and fertility—of what the French call “la belle saison.” The comb, with which she does her marvels, is the power which draws out her golden hair, the sun’s bright rays. The young man, who, without her aid, can effect nothing, is man in relation to the frozen ground, which needs her aid to quicken it into fertility. It is the old Sun-god, the Cyclops, who tells him where to find, and how to woo, his [131]fairy bride. But spring and earth are as yet both fast bound in winter’s dominions. There he must go, and learn what he must do, if they are to be married. The felling of the forest, the sowing and ripening corn, and the cooked cake, teach him that he can only succeed by her help; and yet he does not see how she does it—man cannot see the corn grow, etc. The summer warmth and fertilizing power, typified by the ring, still lies buried in the frozen waters. The taming of the horses shows the need and help of domestic animals in agriculture. These things are necessary to be known ere spring can free herself from winter’s dominion and marry her chosen lover. Winter would still hold her fast; but even in his own home her influence works secretly against him. He does not suspect that she is in league with her lover. But at length they are joined together; they flee, and the great struggle between winter and spring has fairly set in. She is able to hide her flight a little while; but he discovers it, and pursues and nearly overtakes her. But, by means of her comb, scattering abroad her warm rays, she works wonders. He is stopped by rough, wintry roads. Her path is through fair and pleasant ways; the storms, and hail, and rain of early spring assist her, but it is the mighty inundation of the swollen rivers which finally overwhelms him, and sweeps him for ever away.
The story starts with a man in distress, struggling without farming or agriculture. The old king represents winter; his daughter symbolizes spring, warmth, and fertility—what the French call "la belle saison." The comb, which she uses to work her magic, represents the power that releases her golden hair, the sun's bright rays. The young man, who can't accomplish anything without her help, embodies humanity in relation to the frozen ground, which needs her to bring it back to life. It’s the old Sun-god, the Cyclops, who shows him where to find and how to win his [__A_TAG_PLACEHOLDER_0__] fairy bride. But both spring and the earth are still trapped under winter's control. He needs to go there and learn what he must do for them to get married. The cutting down of trees, sowing and harvesting grain, and baking a cake, teach him that he can only succeed with her support; yet, he cannot see how she does it—humans can't see the corn grow, etc. The summer warmth and nurturing power, symbolized by the ring, remain buried in the frozen waters. The taming of the horses highlights the need for domestic animals in farming. These lessons must be learned before spring can break free from winter’s grasp and marry her chosen partner. Winter still holds her tightly; however, even in his own domain, her influence works secretly against him. He has no idea she’s collaborating with her lover. Eventually, they unite; they escape, and the epic battle between winter and spring begins. She manages to conceal her escape for a little while; but he finds out and chases after her, nearly catching her. But with her comb, scattering her warm rays, she performs miracles. He’s hindered by harsh, wintry paths. Her route is filled with beauty and charm; the storms, hail, and rain of early spring help her, but it’s the mighty flood of the swollen rivers that ultimately overwhelms him and sweeps him away for good.
But their union is not complete yet. She cannot enter the Christians’ land. The natural powers of earth and sky have need of agriculture and civilization for their full expansion. And man, frightened at the toil, is lured back again to the nomad hunter life. He forgets his bride in the pleasures of the chase. He spends the winter thus, but is drawn back by the attraction of his waiting bride in spring. She has food in abundance; he is hungry. Other wooers come; she cheats and deludes them, till her true husband appears, and submits to her once more. Then is the full marriage of earth and husbandry, and man wedded to the summer’s warmth and glow. [132]
But their union isn't complete yet. She can't enter the Christians' land. The natural forces of earth and sky need agriculture and civilization to fully thrive. And man, scared of the hard work, gets lured back into the nomadic hunting life. He forgets his bride in the excitement of the chase. He spends the winter this way, but as spring comes, he’s drawn back by the pull of his waiting bride. She has plenty of food; he is hungry. Other suitors come; she tricks and misleads them until her true husband shows up and submits to her once again. Then comes the full bond of earth and farming, with man united with the warmth and glow of summer. [__A_TAG_PLACEHOLDER_0__]
All parts of the tale are not equally clear, nor do we positively affirm that we have interpreted it aright. But there can be no doubt that we have here a nature allegory; and, told as it is by those who have not the most remote suspicion of its meaning, many things in it must needs be confused; the wonder is that the details are still so clear and so little distorted as they are. And, if this be the interpretation, or even if this kind of interpretation be allowed in this case, then we must consider if it is not to be extended to every case in which the several incidents occur, though they are now mingled and confused with circumstances with which they had no original connection.
Not every part of the story is equally clear, and we can't say for sure that we've interpreted it correctly. However, it's clear that this is a nature allegory; told by those who have no idea what it truly means, many aspects of it are bound to be confusing. The surprising thing is how clear and relatively unaltered the details remain. If this is indeed the interpretation, or even if this type of interpretation is acceptable in this case, we should consider whether it can be applied to every situation with similar events, even though they are now mixed up with unrelated circumstances.
Laur-Cantons.61
There was a man who was very rich. He wished to get married, but the young girls of this country would not marry him, because he had such a bad reputation. One day he sent for a vine-dresser, who had three daughters, and said to him,
There was a man who was very wealthy. He wanted to get married, but the young women in the area wouldn't marry him because of his terrible reputation. One day, he called for a vineyard worker who had three daughters and said to him,
“I want to marry one of your three daughters; if I do not marry them, so much the worse for you—I will have you killed.”
“I want to marry one of your three daughters; if I can’t marry any of them, then you’ll regret it—I will have you killed.”
This vine-dresser goes away home in sadness. He tells his two eldest daughters what Mr. Laur-Cantons had said to him. The daughters tell him that they will not marry; it is useless to ask them. The father stays indoors in his grief, and his youngest daughter comes home. He tells her, too, what has happened, and this one says to her father,
This vine-dresser heads home feeling down. He tells his two eldest daughters what Mr. Laur-Cantons said to him. The daughters respond that they won't marry; it's pointless to ask them. The father stays inside, consumed by his sadness, until his youngest daughter returns home. He shares the news with her as well, and she says to her father,
“Do not be so sad; as for me, I will marry him, and nothing shall happen to you.”
“Don’t be so sad; as for me, I’ll marry him, and nothing will happen to you.”
The father and the daughter go off then. He marries this young girl. And, as Mr. Laur-Cantons was very rich, he had quantities of beautiful dresses made for her. He [133]had gold by hogsheads full, and this young girl was very happy with this gentleman.
The father and daughter leave then. He marries this young girl. And, since Mr. Laur-Cantons was very wealthy, he had a ton of beautiful dresses made for her. He [__A_TAG_PLACEHOLDER_0__]had barrels full of gold, and this young girl was very happy with this man.
After some time the king summoned him to go to the army, and he was obliged to go. He said to his wife, “Amuse yourself well,” and he leaves her plenty of money.
After a while, the king called him to join the army, and he had to go. He told his wife, “Have a good time,” and he left her enough money.
His wife says, “No,” she will remain at home till he comes back, and will not see anybody until his return. Mr. Laur-Cantons set off for the court. When he was there, a merchant attacks him on purpose to vex him and put him in a passion, and tells him that he will get into his wife’s house, and he wagers all that he has in his shop, and Mr. Laur-Cantons bets 100,000 francs that he will not get in. This merchant then goes off to the lady’s house. He knocks at the door, and says that he comes with a letter from her husband, and begs her to open the door. But they do not open it. They tell him to put the letter in the hole; and, after having remained all night at the door in vain, he goes off to the forest in a rage, kicking and stamping about with his feet, because he had lost all that he possessed. An old woman passes by there, and says to him,
His wife says, “No,” she will stay at home until he comes back and won’t see anyone until he returns. Mr. Laur-Cantons heads to the court. Once there, a merchant intentionally provokes him to irritate him and tells him that he will get into his wife's house, wagering everything he has in his shop. Mr. Laur-Cantons bets 100,000 francs that he won’t get in. The merchant then goes to the lady’s house. He knocks on the door and claims he has a letter from her husband, asking her to open the door. But they don’t open it. They tell him to put the letter through the mail slot, and after spending the whole night waiting at the door in vain, he storms off into the forest, furious, kicking and stomping around because he lost everything he owned. An old woman walks by and tells him,
“What is the matter with you, that you are in such great trouble?”
"What’s wrong with you that you’re in such big trouble?"
“Be off with you, quickly, or I will give you two good boxes on the ear.” This woman was a witch. This man was sorry a moment afterwards for not having listened to this old woman, and he goes off after her:
“Get out of here, quickly, or I’ll give you a couple of good smacks.” This woman was a witch. This man regretted not listening to this old woman just a moment later, and he went after her:
“Just now I treated you very badly, but I must now tell you my trouble. I have lost all that I possess in a bet with Mr. Laur-Cantons that I would get into his wife’s house, but I have passed the whole night there, and have not been able to get in.”
“Right now, I treated you really poorly, but I need to share my problem. I lost everything I own in a bet with Mr. Laur-Cantons that I could get into his wife’s house, but I spent the entire night there and still haven't managed to get in.”
“If you have only that it is nothing, and I will arrange that.”
“If you think that’s all there is, it’s nothing, and I’ll handle it.”
She goes with a basket of apples and knocks at the door, and says that she is the lady’s nurse, and asks them to open. They open for her. The young lady shows her her dresses for the marriage day and for the next day too, her gold [134]chain, and all her pretty things. While she is putting by her dresses the witch takes her gold chain, which had the lady’s name on it; and the lady did not observe it, and did not miss anything when she shut up the others, because she had full confidence in her, believing that she was really her nurse, since she said so.
She walks up with a basket of apples and knocks on the door, saying that she’s the lady’s nurse and asks them to let her in. They open the door for her. The young lady shows her the dresses she’ll wear for the wedding day and the next day too, her gold [__A_TAG_PLACEHOLDER_0__]chain, and all her beautiful things. While she’s putting away her dresses, the witch takes her gold chain, which had the lady’s name on it; and the lady doesn’t notice it and doesn’t realize anything is missing when she puts away the others, because she trusts her completely, believing that she is really her nurse, since that’s what she said.
The witch goes off to find the merchant and gives him the gold chain. The merchant gives her as a reward a complete set of new clothes. The merchant goes off joyfully to find Mr. Laur-Cantons, and shows him from a distance the gold chain. Imagine what was the rage of the gentleman. He goes off home immediately. He knocks at the door, saying that it is the master who is there; he enters, and says to his wife, with harsh voice, to go upstairs and put on her wedding dress and her gold ornaments. She comes down without putting it on at all, and he says to her:
The witch sets off to find the merchant and hands him the gold chain. In return, he rewards her with a complete set of new clothes. Happy, he goes off to find Mr. Laur-Cantons and shows him the gold chain from a distance. Just imagine how furious the gentleman was. He immediately heads home, knocking on the door and announcing himself as the master. Once inside, he harshly tells his wife to go upstairs and put on her wedding dress and gold jewelry. She comes down without wearing any of it, and he says to her:
“Where are your gold ornaments?”
“Where are your gold jewelry?”
“Not being able to find them, I have put on those of the next day.”
"Since I couldn't find them, I put on the ones for the next day."
When he has got on horseback he tells her to get up behind him. This young lady, having suspected something, had taken a great deal of money with her. When they had gone a short way he dismounts. He puts his wife into a chest and throws her into the sea. On the sea-shore there are always people looking about, and when the chest was seen they caught hold of it as best they could. They begin to knock it, wishing to open it. She says to them from inside:
When he got on the horse, he told her to climb up behind him. This young lady, suspecting something was off, had brought a lot of money with her. After they had traveled a short distance, he got off the horse. He put his wife into a chest and threw it into the sea. On the shore, there were always people around, and when they spotted the chest, they tried their best to grab it. They started banging on it, wanting to open it. She said to them from inside:
“Gently, gently, there is someone alive inside here.”
“Carefully, carefully, there’s someone alive in here.”
After they had opened it she gave them a handsome present, and goes to an hotel, and dresses herself like a gentleman. She asks if there is anyone seriously ill in the town. They say to her:
After they opened it, she gave them a nice gift, then went to a hotel and dressed herself like a gentleman. She asks if there's anyone seriously ill in town. They tell her:
“For the last seven years the king’s daughter is so.”
“For the last seven years, the king’s daughter has been like this.”
She goes off to seek flowers and herbs in the fields, and she makes acquaintance with the king’s physicians; and one day she goes with them to the king’s house, and as they come out she says to one of them: [135]
She heads out to gather flowers and herbs in the fields, and she meets the king’s doctors; one day she goes with them to the king’s palace, and as they are leaving, she says to one of them: [__A_TAG_PLACEHOLDER_0__]
“I, I could cure that young lady.”
"I, I could help that young woman."
The king hears that, and bids her to come as soon as possible. At the first visit she gives her something to drink. As soon as she has drunk she moves her head. She gives her to drink a second time, and she sits up on the bed. The third time she gives her to drink she leaps right out of bed. Think what rejoicings there were in the house of the king! He did not know what to do to reward her, but she says to him that she wishes nothing, only she would be made governor of this city. She asks the names of the people at the court. They tell her a great many names, and that of Mr. Laur-Cantons among others. When she has got installed in her palace, she has Mr. Laur-Cantons brought up before her between two policemen. She asks him what he has done with his wife. He says to her that he knows nothing about her.
The king hears this and asks her to come as soon as she can. During the first visit, she gives her something to drink. As soon as she drinks, she moves her head. After a second drink, she sits up in bed. When she gets her to drink a third time, she jumps right out of bed. Imagine the celebrations in the king's palace! He doesn’t know how to reward her, but she tells him she wants nothing except to be made governor of the city. She asks for the names of the people at the court. They tell her numerous names, including Mr. Laur-Cantons. Once she’s settled into her palace, she has Mr. Laur-Cantons brought before her between two policemen. She asks him what he has done with his wife. He replies that he knows nothing about her.
She points to the gallows:
She points to the noose:
“If you do not tell the truth, that shall be your reward.”
“If you don’t tell the truth, that will be your reward.”
He tells her then how that a merchant had come to tempt him; how he had made a bet, and that he had come back with her gold chain, and then, having got into a passion, he had thrown her into the sea in a chest. She sends to fetch this merchant. He, too, tells how, in order not to lose all he had, and not being able to get into the house, a woman had brought him the chain. The merchant did not tell the truth at the first questioning—it was after having been threatened that he confessed it. She sends for the witch between eight policemen, and asks her how she had got the gold chain from the lady’s house. She tells the whole truth as it had happened. As the governor had had seven barrels of powder placed one above the other, they put the witch on the top, and set fire to the barrels from below. The witch goes up in the air with the fire, and nobody sees her any more. They hang the merchant as well. Mr. Laur-Cantons was on his knees before the governor, begging pardon of him for his wicked actions. She pardons him, and made him [136]governor and she remained governess. She sent for her father, and they lived very happily.
He then tells her how a merchant tried to tempt him; how he made a bet, returned with her gold chain, and then, in a fit of anger, threw her into the sea in a chest. She calls for this merchant. He also says that, to avoid losing everything he had, and unable to get into the house, a woman brought him the chain. The merchant didn't tell the truth at first—it was only after being threatened that he confessed. She summons the witch with eight police officers and asks her how she got the gold chain from the lady's house. The witch reveals the whole truth as it happened. Since the governor had stacked seven barrels of gunpowder on top of each other, they placed the witch on top and lit the barrels from below. The witch flew into the air with the fire, and nobody saw her again. They hung the merchant as well. Mr. Laur-Cantons was on his knees before the governor, begging for forgiveness for his wicked actions. She forgives him and makes him [__A_TAG_PLACEHOLDER_0__]governor while she remains the governess. She sends for her father, and they lived very happily.
If that is not true, may it happen (to me) like that.
If that isn't true, let it happen to me like that.
Louise Amyot,
more than 70 years old.
Louise Amyot,
over 70 years old.
The Young Schoolboy.
Once upon a time there was a gentleman and lady. They had a child. The father was captain of a ship. The mother regularly sent her son to school, and when the father came back from his voyages he asked his child if he had learnt much at school. The mother answered, “No, no! not much.”
Once upon a time, there was a man and a woman. They had a child. The father was the captain of a ship. The mother regularly sent their son to school, and when the father returned from his trips, he would ask his child if he had learned a lot at school. The mother replied, “No, no! Not really.”
The father went off for another voyage. He comes home the second time. “My child, what have you learnt at school?”
The father left for another trip. He comes home for the second time. “My child, what have you learned at school?”
The child answers his father, “Nothing.”
The kid replies to his dad, “Nothing.”
“You have learnt nothing?”
"Have you learned nothing?"
The captain goes to find the schoolmaster, and asks him if his child does not learn anything.
The captain goes to find the teacher and asks him if his child isn’t learning anything.
“I cannot drive anything into that child’s head.”
“I can’t get anything into that kid’s head.”
The boy comes up, and the father, asks him again what he has learnt at school.
The boy approaches, and the father asks him again what he learned at school.
“This is all. (To understand) the song of the birds.”
“This is everything. (To grasp) the song of the birds.”
“O, my son, the song of the birds! the song of the birds! Come, come on board ship with me.”
“O, my son, the song of the birds! the song of the birds! Come, come aboard the ship with me.”
And he carries him off. While they were on the voyage a bird comes and settles on the end of the ship, singing, “Wirittitti, kirikiriki.”
And he takes him away. While they were sailing, a bird comes and lands at the end of the ship, singing, “Wirittitti, kirikiriki.”
“My son, come, come, instead of beginning by learning the art of a captain you have learned the song of birds. Do you know what this bird sings?”
“My son, come here, instead of starting by learning how to be a captain, you've learned the song of birds. Do you know what this bird is singing?”
“Yes, my father. I know he sings that I am now under your orders, but you shall also be under mine.” [137]
“Yes, my father. I know he sings that I’m now under your orders, but you will also be under mine.” [__A_TAG_PLACEHOLDER_0__]
What does this captain do? He takes a barrel, knocks out the head, and puts his son into it. He closes up the barrel and throws it into the sea, and a storm casts it ashore.
What does this captain do? He takes a barrel, knocks out the head, and puts his son in it. He seals up the barrel and throws it into the ocean, and a storm washes it ashore.
A king was walking there just at that moment, and he finds this barrel and sends for his men. They begin to try and break open the barrel, and the boy cries out from inside:
A king was walking by at that moment, and he discovers this barrel and calls for his men. They start trying to break open the barrel, and the boy shouts from inside:
“Gently, gently, there is someone inside.”
“Carefully, carefully, there’s someone in here.”
They open the barrel, and the boy comes out from inside. The king takes him home, and he marries the king’s daughter.
They open the barrel, and the boy steps out from inside. The king takes him home, and he marries the king’s daughter.
One day the father of this boy was caught in a great storm, and the captain is thrown by the tempest on the sea-shore. He went to the king, and saw his son. The son recognised the father, but the father did not recognise the son at all, and he became his own son’s servant. One day he said to him:
One day, the boy's father got caught in a terrible storm, and the captain was swept ashore by the raging sea. He went to the king and saw his son. The son recognized his father, but the father didn’t recognize his son at all and ended up becoming his own son's servant. One day, he said to him:
“Do you know who I am?”
“Do you know who I am?”
“No, sir.”
“No, thanks.”
“I am such an one, your son. At such a time you threw me into the sea in a barrel, and now the bird’s song has come true.”
“I am that person, your son. At that time, you put me in a barrel and tossed me into the sea, and now the bird’s song has come true.”
And after that the father and the son lived together very happily.
And after that, the father and son lived together very happily.
Estefanella Hirigaray.
Estefanella Hirigaray.
The following seems to be a variation of the same:—
The following appears to be a variation of the same:—
The Son who Heard Voices.
Like many others in the world, there was a gentleman and lady. They had several children. There was one whom they did not love so much as they did the others, because he said that he heard a voice very often. He said also that this voice had told him that a father and a mother [138]would be servants to their son, but without saying that it was they. When the mother heard that she got very angry, taking it for herself. They were very rich, and they had two men-servants. This mother told these servants to go with her son and kill him, and bring his heart back to the house.
Like many others in the world, there was a gentleman and a lady. They had several children. There was one child they didn’t love as much as the others because he claimed he heard a voice often. He also said that this voice had told him that a father and a mother [__A_TAG_PLACEHOLDER_0__]would be servants to their son, without specifying that it was them. When the mother heard this, she became very angry, taking it personally. They were very wealthy and had two male servants. The mother instructed these servants to go with her son, kill him, and bring his heart back to the house.
The next day she said to her son:
The next day she said to her son:
“You must go for a walk to such a place with these servants, and you may stop there till twelve o’clock.”
“You should go for a walk to that place with these servants, and you can stay there until noon.”
The lad goes off quietly with the servants, and when they had gone a little distance, the two servants begin to talk loudly, and to dispute, and get angry. He goes up to them, and sees what they are quarrelling about. The one wished to kill him, and the other did not. They fought, and the one who did not wish to kill him got the better of the other. And they said that they would kill a big dog which they had with them, and that they would carry his heart to their mistress. Before the servants returned the mother had already begun to be sorry.
The boy quietly leaves with the servants, and when they've walked a short distance, the two servants start talking loudly, arguing, and getting upset. He walks over to see what they're fighting about. One wanted to kill him, while the other didn’t. They ended up fighting, and the one who didn’t want to kill him came out on top. They said they would kill a big dog they had with them and take its heart to their mistress. Before the servants came back, the mother had already started to regret it.
Our young man wandered from place to place, and wandering like that, he said to himself that he must go to Rome. He meets with two men who tell him that they are going to Rome too, and they will make the journey together. They loved this young lad very much, because they saw that there was something in him different from the rest. When night came they all go to a house hidden in a thick forest. They ask shelter for the night. They tell them to enter, and give them a good supper. Our young lad hears the voice, and it says to him:
Our young guy roamed from place to place, and while wandering like that, he thought he should head to Rome. He comes across two men who say they're going to Rome too, and they decide to travel together. They really liked this young guy because they noticed something special about him that set him apart from others. When night fell, they all went to a house tucked away in a dense forest. They asked for a place to stay for the night. They were invited in and given a nice dinner. Our young guy hears a voice, and it says to him:
“You are in a very unhappy place here. It would have been better if you had not come here.”
“You’re in a really unhappy place right now. It would have been better if you hadn’t come here.”
The other men said to him, “What is that? What is that?”
The other men asked him, “What is that? What is that?”
“Nothing at all. It would have been better to have gone elsewhere.”
“Nothing at all. It would have been better to go somewhere else.”
When they had finished supper, they show them to bed, but our young gentleman does not go to sleep. He hears in the middle of the night a great noise made by the robbers, [139]who were returning home laden with silver. The woman said to them:
When they finished dinner, they showed them to bed, but our young gentleman couldn’t sleep. In the middle of the night, he heard a loud noise from the robbers, [__A_TAG_PLACEHOLDER_0__] who were coming home loaded with silver. The woman said to them:
“Go gently. We have three men here, and they say that one of them is very rich.”
“Take it easy. We have three guys here, and they say one of them is really wealthy.”
Our young man hears that. He wakes his comrades, and they jump out of the window and escape. They walk on the whole day. When night comes they see a beautiful house, and they ask to be lodged there that night. They said to them:
Our young man hears that. He wakes up his friends, and they jump out of the window and escape. They walk all day. When night falls, they see a beautiful house and ask to stay there for the night. They said to them:
“Certainly, with pleasure, but you will not have much rest; we have a daughter who for seven years shrieks out in pain night and day.”
“Of course, I’d be happy to help, but you won’t get much downtime; we have a daughter who screams in pain day and night for the past seven years.”
These men say to the young man: “Will not you cure her—you?”
These men say to the young man: “Aren't you going to help her?”
He said to them: “I will try.”
He said to them, “I’ll give it a shot.”
(The narrator had forgotten how this was done).
(The narrator had forgotten how this was done).
They were very rich. When he had cured the young girl, this poor father said to him:
They were really wealthy. After he had treated the young girl, her poor father said to him:
“Sir, it is you who are now the master of this house. Give your orders, and whatever you wish shall be done.”
“Sir, you are now the master of this house. Give your orders, and whatever you want will be done.”
Our young gentleman thanks him very much, and tells him that he is going to Rome, but that he cannot say what he will do later after that. This young lady had a beautiful ring on her finger. The father cut this ring in two, and gave him one-half. They depart, and at length they arrive close to Rome, and as they come near all the bells begin to ring of themselves. Everyone comes out:
Our young gentleman thanks him a lot and mentions that he's heading to Rome, but he can't say what he'll do after that. The young lady had a stunning ring on her finger. The father sliced the ring in half and gave him one piece. They leave, and eventually, they get close to Rome, and as they approach, all the bells start ringing on their own. Everyone comes outside:
“Where is he? What is this? It is the Holy Father62 who must be coming!”
“Where is he? What’s going on? It’s the Holy Father62 who must be arriving!”
They take our young gentleman and make him the Holy Father.
They take our young man and make him the Pope.
The mother of this man was growing sadder and sadder, she was slowly languishing away, and they could no longer recognise her. She had never told her husband what she had done, but she asked him to go to Rome; and she ended [140]by telling him what a terrible thing she had done, and that she believes that she will get pardon there, if he would go with her with the two servants who had also sinned. They arrive at Rome. This poor mother had such great grief, and such a weight at her heart that she wished to make her confession aloud in the middle of the church at Rome.63 Chance willed it that her son was in this church. When he hears that he goes opening his arms to the arms of his mother, saying to her:
The mother of this man was becoming increasingly sad, slowly fading away to the point where they could barely recognize her. She had never confessed to her husband about what she had done, but she asked him to travel to Rome with her; she ultimately revealed to him what a terrible thing she had committed and believed she could find forgiveness there, if he would join her along with the two servants who had also sinned. They arrived in Rome. This heartbroken mother felt such profound grief and heaviness in her heart that she wanted to make her confession openly in the middle of the church in Rome. By chance, her son was in that church. When he heard her, he rushed to her with open arms, saying to her:
“I forgive you, I am your son.”
“I forgive you, I’m your son.”
The joy and the happiness kill the father and mother on the spot. He takes the two servants home with him, and gives to him who did not wish to kill him the half of the young lady’s ring, and he married her, and lived happily in the midst of riches. He told the servant who wished to kill him to go to the mountain and to be a charcoal-burner, and he is still there making charcoal; and this charcoal which you see here was brought from his house.
The joy and happiness overwhelm the father and mother instantly. He takes the two servants home with him, giving the one who didn’t want to kill him half of the young lady’s ring. They get married and live happily surrounded by wealth. He tells the servant who wanted to kill him to go to the mountain and become a charcoal burner, and he’s still there making charcoal; the charcoal you see here was brought from his place.
The Mother and her (Idiot) Son; or, the Clever Thief.64
Like many others in the world, there were a mother and her son; they were poor, and the young man, when he grew up, wished to go from home, to see if he could better his position. His mother lets him go with great reluctance. He goes on, and on, and on through terrible forests. He comes to a beautiful house, and asks if they want a servant. They tell him “Yes,” and to come in; and then they tell him how they go at night to rob people, and sometimes to kill them; and they ask if he would go too. He says “Yes,” [141]and in the middle of the night he sees the chief of the robbers arrive, with all his company, laden with gold and silver; and he remained a long time with them.
Like many others in the world, there was a mother and her son. They were poor, and when the young man grew up, he wanted to leave home to see if he could improve his situation. His mother let him go, but she was very reluctant. He traveled through terrible forests for a long time. Eventually, he came across a beautiful house and asked if they needed a servant. They told him “Yes” and invited him in; then they revealed that they went out at night to rob people, and sometimes even to kill them, and they asked if he would join them. He said “Yes,” and in the middle of the night, he saw the chief of the robbers arrive with all his crew, loaded with gold and silver; and he stayed with them for a long time. [__A_TAG_PLACEHOLDER_0__]
One day the chief said to him, “At such an hour a rich gentleman on horseback will pass by such a place, and you must go and rob him; and, if he will not give it up willingly, you must kill him.”
One day the leader said to him, “At this time, a wealthy gentleman on horseback will ride by this spot, and you need to go and rob him; if he doesn’t hand it over willingly, you have to kill him.”
Our lad had had enough of this trade; but he told the chief that he would do it. He stays then, waiting for this gentleman, and at last he sees him coming. He presents himself before him, and says,
Our guy had had enough of this job; but he told the boss that he would do it. He sticks around, waiting for this guy, and finally he sees him coming. He steps in front of him and says,
“Your purse or your life!”
“Your bag or your life!”
The gentleman gives him his purse and all the money that he had, and he had a great deal. He said to him, “It is not enough yet. You must give me your fine clothes too, and your horse.”
The man hands him his wallet and all the cash he had, which was a lot. He said to him, “That's still not enough. You have to give me your nice clothes as well as your horse.”
They exchange clothes, and the gentleman goes off, very glad, although he had old clothes on, because he had spared him his life. Instead of returning to the robbers’ house, what does our lad do? He goes off on horseback with his money to his mother’s house. Everyone was astonished at his arrival, and that he had made his fortune so quickly. He goes to his mother, and judge of her joy! He tells her how it is that he has become so rich, and that it all happened far, far away. His mother told it to others, and at last this news comes to the ears of the mayor, who sends his servant to this young man to tell him to come to his house on the morrow without fault.
They swap clothes, and the gentleman leaves, feeling very happy, even though he’s wearing old clothes, because he saved his life. Instead of going back to the robbers’ place, what does our young man do? He rides off on horseback with his money to his mother’s house. Everyone is shocked by his arrival and how quickly he became wealthy. He goes to his mom, and just imagine her joy! He explains how he got rich and that it all happened far away. His mom shares the news with others, and eventually, it reaches the mayor, who sends his servant to this young man to tell him to come to his house tomorrow without fail.
He goes then, leaving his mother in tears. His mother told him to tell the mayor how he had made his fortune so quickly. He tells him what business he had pursued, but that it was very far away, and that he had never killed anybody. The mayor said to him,
He leaves, with his mother in tears. His mother asked him to explain to the mayor how he made his fortune so quickly. He tells the mayor about the business he was in, but mentions it was very far away, and that he had never harmed anyone. The mayor said to him,
“If you do not steal my finest horse from my stable this very night, I will have you killed to-morrow.”65 [142]
“If you don’t steal my best horse from my stable tonight, I’ll have you killed tomorrow.”65 [__A_TAG_PLACEHOLDER_0__]
This mayor was very rich, and he had a great many servants and a great many horses. There were three of them finer and more valuable than the others. Our lad goes home and consoles his mother. He asks her to give him his old clothes which he wore formerly, and, putting them over the others, he takes a big stick, and goes off to the mayor’s, crawling along like an old man. He knocks at the door, and asks shelter for the night. A lad comes to him, and says—
This mayor was really wealthy, and he had a lot of servants and horses. Three of those horses were much finer and more valuable than the rest. Our kid goes home and comforts his mom. He asks her for his old clothes that he used to wear, and putting them over his current outfit, he grabs a big stick and heads to the mayor’s, walking slowly like an old man. He knocks on the door and asks for a place to stay for the night. A boy comes to him and says—
“We shall not give you shelter in this house to-night. You may go on farther.”
“We're not going to give you shelter in this house tonight. You can keep going.”
But he begs so much, and asks him to give him at least a corner of the stable—that he does not know where to go to—that at last they let him enter, and give him a little straw (to lie down on). Our lad hears what they say to each other. Three lads were to stop till midnight on the three finest horses, and at midnight three other servants were to take their places. What does our lad do? They were asleep on their horses. As soon as he hears midnight, he goes and gives one of them a knock, and says to him,
But he begs so much and asks him to at least give him a spot in the stable—since he has nowhere else to go—that they finally let him in and give him a bit of straw to lie on. Our guy hears what they’re saying to each other. Three guys were supposed to stay until midnight on the three best horses, and at midnight, three other servants were supposed to take over. So what does our guy do? They were sleeping on their horses. As soon as he hears it’s midnight, he goes and gives one of them a tap and says to him,
“It is midnight; go to bed.”
"It's midnight; time to sleep."
Half asleep, the lad goes off to bed; the others were still asleep on their horses. He mounts on the horse—he had chosen the finest—and opens the doors very gently, and goes off at a trot, without looking behind him. He goes home, and his mother is very delighted to see her son.
Half asleep, the boy heads to bed; the others are still sleeping on their horses. He gets on the horse—he picked the best one—and quietly opens the doors, then rides off at a trot without looking back. He arrives home, and his mother is very happy to see her son.
The next day he goes to market to sell his horse. When the mayor gets up he goes to the stable, and sees that his finest horse is missing. The servants were sleeping on their horses, and the others in bed. He gets into a rage, and does not know what to do. He sends to the mother’s to ask her where her son is. She replies that he is gone to sell a horse. They tell her that the mayor summons him immediately. The mother grows sad again, and tells her son what they have said to her, and off he goes.
The next day he goes to the market to sell his horse. When the mayor wakes up, he goes to the stable and sees that his best horse is gone. The servants were asleep on their horses, and the others were in bed. He gets really angry and doesn't know what to do. He sends a message to the mother to ask where her son is. She replies that he has gone to sell a horse. They tell her that the mayor legal notice him right away. The mother becomes sad again and tells her son what they said to her, and off he goes.
The mayor says to him, “What a fellow you are! You won the game yesterday, but if you do not steal from our [143]oven to-night all the bread that is in it, it shall be all over with you.”
The mayor says to him, “What a guy you are! You won the game yesterday, but if you don't steal all the bread from our [__A_TAG_PLACEHOLDER_0__]oven tonight, it’s going to be the end for you.”
The mayor assembles all the municipal council and all his friends, thinking he would have some fun while guarding his oven. They had dances, and music, and games, and brilliant lights, and all sorts of amusements, and all this in front of the oven. What does our lad do? He takes a little hammer, and goes behind the oven. He makes a hole, and by that takes out all the loaves, and puts them in his basket, and goes home.
The mayor gathers the entire city council and all his friends, thinking he could have some fun while watching over his oven. They enjoy dancing, music, games, dazzling lights, and all kinds of entertainment right in front of the oven. What does our guy do? He grabs a small hammer and sneaks behind the oven. He makes a hole, pulls out all the loaves, places them in his basket, and heads home.
The next day the mayor was proud because they had not stolen his loaves, and because they had so well guarded the door of the oven, and he sends his servant to fetch a loaf for breakfast. When she opens the door of the oven, she sees the sun through the other end of the oven. Judge of their astonishment! The mayor was in a red-hot passion. He sends to fetch the lad. They go and ask his mother where her son is. She answers, “Selling bread.” And they tell the mayor. He sends to tell her to tell her son to come to him as soon as he comes home. The poor mother is again in great distress. When her son arrives, she tells him the message, and off he goes.
The next day, the mayor felt proud because no one had stolen his loaves, and because they had done a great job guarding the oven door. He sends his servant to get a loaf for breakfast. When she opens the oven door, she sees the sunlight shining through the other end of the oven. Imagine their shock! The mayor was furious. He sends someone to find the boy. They ask his mother where her son is. She replies, “Selling bread.” They inform the mayor, who then tells her to have her son come see him as soon as he gets home. The poor mother is once again very distressed. When her son arrives, she relays the message, and off he goes.
The mayor says to him, “Yesterday, too, you have hit the mark; but you have not finished yet. This very night you must steal the sheets which we have under us in our bed, otherwise your life shall be put an end to.”66
The mayor says to him, “You hit the target yesterday too; but you’re not done yet. Tonight, you have to steal the sheets from our bed, or else your life will be over.”66
He goes home, and he makes an image of himself from his old clothes; and, when night is come, he goes off dragging it to the mayor’s. The mayor had placed guards at all the windows and doors, with arms. Our lad ties his image to a long stick, and, by drawing a cord, he hoists it against the wall. When the guards see a man climbing up the wall near a window, they fire, and all begin to cry out “Hurrah!” At this noise the mayor leaps out of bed, [144]thinking that they have killed him, and that he must go and see him too. Our lad takes advantage of this moment to enter the house, and he goes to the mayor’s bed, and says—
He goes home and makes a dummy of himself out of his old clothes. When night falls, he drags it over to the mayor's place. The mayor had stationed guards at all the windows and doors, armed and ready. Our guy ties the dummy to a long stick and, by pulling on a cord, he props it up against the wall. When the guards see a man climbing up the wall near a window, they fire and all start shouting “Hurrah!” At this commotion, the mayor jumps out of bed, thinking they’ve killed someone and that he needs to check it out. Our guy takes this chance to slip inside the house, goes to the mayor's bed, and says— [__A_TAG_PLACEHOLDER_0__]
“It is cold, it is cold;” and keeps pulling and pulling all the bed-clothes to his side. When he has all, he says to the lady:
“It’s cold, it’s cold;” and keeps tugging and tugging at all the blankets to his side. When he finally has them all, he says to the lady:
“I must go and look again, to be quite sure, and to see if they have buried him.”
“I need to go and check again, to be completely sure, and to see if they’ve buried him.”
The wife said to him, “Stop here then; you will come back dead of cold.”
The wife said to him, “Stop here then; you’ll come back frozen.”
He goes off, and escapes very quickly, as well as he can, with the sheets. The others are out-doing each other, one beating, the other stabbing, the other pulling about (the image). At last they go in-doors, quite out of breath. All are pleased, and proud that they have their lad at last down there.
He takes off and escapes as fast as he can with the sheets. The others are trying to outdo each other—one is hitting, another is stabbing, and someone else is pulling at the image. Eventually, they go inside, completely out of breath. Everyone is happy and proud that they finally have their guy down there.
The mayor goes to bed, and his wife says to him:
The mayor goes to bed, and his wife says to him:
“Now, at least, you will remain here without any more of this going and coming down there, and making me all cold.”
“Now, at least, you can stay here without all that back and forth down there, and making me feel so cold.”
“I have not been going and coming. I!”
“I haven't been coming and going. Me!”
“Yes, yes; you were certainly here just now, you too.”
“Yes, yes; you were definitely just here, you as well.”
He gets into bed, and he keeps turning and moving about, not being able to find the sheets. At last, getting impatient, he lights the candle, and he sees that the sheets are not there. Judge of their anger; they did not know what to do. The wife said to him:
He gets into bed and keeps tossing and turning, unable to find the sheets. Finally, getting fed up, he lights the candle and realizes that the sheets aren't there. Just imagine their frustration; they didn't know what to do. The wife said to him:
“You had better leave that man alone, or some misfortune will happen to us.”
“You should stay away from that guy, or something bad will happen to us.”
He will not listen to anything, and goes off. He sends to fetch him as soon as daylight comes. They find his mother, and ask her where her son is. She answers:
He won't listen to anything and just leaves. He sends someone to get him as soon as the sun comes up. They find his mom and ask her where her son is. She replies:
“He has gone to sell some sheets.”
“He has gone to sell some bedsheets.”
They say to her, “You will send him to the mayor’s when he comes home.” And this poor woman is again in great trouble, for at last (she thinks) they will make an end [145]of her son. She sends him again to the mayor’s, who says to him:
They say to her, “You’ll send him to the mayor’s when he gets home.” And this poor woman is once again in deep trouble, because she finally thinks they will put an end [__A_TAG_PLACEHOLDER_0__]to her son. She sends him back to the mayor's, who tells him:
“This time you shall not escape me. If you do not steal all the money of my brother the priest, you are done for.”67
“This time, you won’t get away. If you don’t take all the money from my brother the priest, you’re finished.”67
The brother of the mayor was rector of this town. When evening came our lad hides himself in the church, and dresses himself in the finest of the church robes, (used only) for the highest festivals. He lights all the candles and the lamps, and at midnight he begins to ring all the bells at full swing—dilin, don; dilin, don, don; dilin, don. The rector comes running with his servant to see what is happening in the church, and they see on the high altar someone, who says to them:
The mayor's brother was the rector of this town. When evening arrived, our young friend hid in the church and put on the finest robes, which were only used for the biggest festivals. He lit all the candles and lamps, and at midnight, he started ringing all the bells loudly—dilin, don; dilin, don, don; dilin, don. The rector came running with his servant to find out what was going on in the church, and they saw someone at the high altar who said to them:
“Prostrate yourselves. I am the good God. I am come to fetch you. You must die; but before dying you must bring here all the money, and all the riches that you have in your houses.”
“Bow down. I am the good God. I’ve come to get you. You must die; but before you do, you need to bring here all the money and riches you have in your homes.”
The priest goes and brings everything. He makes the priest go to the top of the tower, and says to him:
The priest goes and brings everything. He makes the priest go to the top of the tower and says to him:
“You are now going into purgatory, but afterwards you will go to heaven.”
“You're about to enter purgatory, but after that, you'll go to heaven.”
He makes him get into a sack, takes hold of one end, and drags him down the stairs, bumping, zimpi eta zampa, on all the steps. He cried, “Ay! ay!” and he says to him:
He forces him into a sack, grabs one end, and drags him down the stairs, hitting every step along the way, zimpi eta zampa. He shouted, “Ouch! Ouch!” and says to him:
“This is nothing; soon you will be in heaven.”
"This is nothing; soon you'll be in heaven."
And he carries him like that to his brother’s chicken-house, and leaves him there. The next morning the maid goes to feed the fowls. She sees a sack, and touches it, and the sack moves. The girl goes off running to tell her mistress what she has seen. Her mistress goes and touches it, and the sack does the same thing. She is frozen with fright, and goes to her husband, and says:
And he takes him like that to his brother’s chicken coop and leaves him there. The next morning, the maid goes to feed the chickens. She sees a sack and touches it, and the sack moves. The girl runs off to tell her mistress what she’s seen. Her mistress comes over and touches it, and the sack does the same thing. She’s frozen with fear and goes to her husband, saying:
“You see that I told you right to let that man alone. At present, what will become of us? What can there be in that sack?” [146]
“You see, I told you to leave that guy alone. Right now, what’s going to happen to us? What could possibly be in that bag?” [__A_TAG_PLACEHOLDER_0__]
The gentleman immediately sends someone to fetch this lad. He was just at that moment at home, and they tell him that the mayor orders him to come directly. They tell him to open the sack. He touches it, and the sack gives a leap; and he says that he will not open it, not for ten thousand francs.
The guy instantly sends someone to get this kid. He just happens to be at home at that moment, and they inform him that the mayor is asking him to come right away. They tell him to open the sack. He touches it, and the sack jumps; he says he won't open it, not even for ten thousand bucks.
“I will give you ten thousand francs.”
“I will give you 10,000 francs.”
“No! not for twenty thousand.”
“No! not for $20,000.”
“I will give them you.”
"I'll give them to you."
“No, no, no! not even for forty thousand.”
“No, no, no! Not even for forty thousand.”
“I will give you thirty thousand.”
"I'll give you $30,000."
“No, no, no, no! not even for forty thousand.”
“No, no, no, no! Not even for forty thousand.”
“And for fifty thousand?”
"And for 50,000?"
He agreed to open it, and he hands them their brother, the priest, whom he had left without a sou. After having got his fifty thousand francs, our lad went off well satisfied to his home, and lived there rich with his mother; and the mayor lived with his brother, the priest, poorer than he was before. And if they had lived well, they would have died well too.
He agreed to open it and handed over their brother, the priest, whom he had left without a penny. After getting his fifty thousand francs, the young man went home feeling satisfied and lived there comfortably with his mother; meanwhile, the mayor lived with his brother, the priest, poorer than ever. If they had lived well, they would have died well too.
Juan Dekos,68 the Blockhead (Tontua).
Like many others in the world, there was a gentleman and lady who had a son. When he was grown up his father found that (his intellect) was not awakened, although he had finished his education. What does he do? He buys [147]a ship for him, and takes a captain and a crew, and loads the ship with sand, and sends his son in it as master.69 They all set off, and go very, very far away, and they come to a country where there was no sand. They sell theirs very dear, and our Juan Dekos went to take a walk in that place.
Like many others in the world, there was a man and a woman who had a son. When he grew up, his father realized that his intelligence wasn’t developed, even though he had completed his education. What did he do? He bought [__A_TAG_PLACEHOLDER_0__]a ship for him, hired a captain and a crew, loaded the ship with sand, and sent his son off to command it.69 They all set sail and traveled very far, arriving in a country where there was no sand. They sold it for a high price, and our Juan Dekos went out for a stroll in that place.
One day, passing before the door of the church, he sees that all passers-by used to spit on something; he goes up and asks why they do that. They say to him:
One day, as he walked past the church door, he noticed that everyone passing by was spitting on something. He approached and asked why they did that. They told him:
“It is a dead man who is there, and if no one pays his debts, he will remain there until he rots away.”70
“It is a dead man who is there, and if no one pays his debts, he will stay there until he rots away.”70
What does Juan Dekos do? With all the money that he had he pays this man’s debts. The whole crew and the officers were in a red-hot rage, because they had all their money there. He goes back again with his ship, and they arrived in their own city. The father from a distance had recognised his son’s ship, and comes to meet him. The sailors from a long way off shout out to him what he had done with the money. The father was not pleased, but he sends the ship off again loaded with iron. They go on, and at length arrive at a place where he sells his iron for a great deal of money. When they were walking about in this city, he sees Christians being sold by the savages in the market-place. There were eight of them for sale; and he buys all the eight, and employs all the money which he had made with his iron in buying them. He sends seven of them to their own homes, and keeps with him a young girl whose name was Marie Louise. She was very beautiful. He returns home with his ship, and his crew, and Marie Louise. The father comes to meet him, and the sailors tell him before Juan Dekos what he had done with the money. His father was very angry, and will not give anything more to his son; he may do what he likes. [148]
What does Juan Dekos do? With all the money he had, he pays off this man's debts. The entire crew and the officers were furious because they had all their money tied up in that. He goes back with his ship, and they arrive in their hometown. The father, spotting his son's ship from a distance, comes out to meet him. The sailors shout to him from far away about what he did with the money. The father is not happy, but he sends the ship out again loaded with iron. They continue on and eventually reach a place where he sells his iron for a lot of money. While walking around the city, he sees Christians being sold by the savages in the marketplace. There were eight of them for sale; he buys all eight and spends all the money he made from his iron on them. He sends seven of them back home and keeps a young girl named Marie Louise with him. She was very beautiful. He returns home with his ship, his crew, and Marie Louise. The father comes out to greet him, and the sailors tell him in front of Juan Dekos what he did with the money. His father is very angry and refuses to give his son any more money; he can do whatever he wants. [__A_TAG_PLACEHOLDER_0__]
Juan Dekos had a portrait of Marie Louise made for the figure-head of his ship; and the men agree to go to the country of Marie Louise. They set out then. The second in command of the ship was lame, and he was very jealous of Juan Dekos and of Marie Louise. He did not know what to do.
Juan Dekos had a portrait of Marie Louise created for the figurehead of his ship, and the crew decided to travel to the land of Marie Louise. So, they set off. The ship's second-in-command was lame and felt very jealous of both Juan Dekos and Marie Louise. He was unsure of what to do.
One day he sent for Juan Dekos on deck, saying that he wished to show him a strange fish that was in the water. When he had got him quite close to him, he throws him into the sea. Nobody was there when he did that. When the meal-time comes they all asked where Juan Dekos was, and nobody knew what was become of him. The lame man was delighted, thinking that Marie Louise would be his. He pays her all sorts of attention.
One day, he called Juan Dekos to the deck, saying he wanted to show him a strange fish in the water. When Juan got close, he pushed him into the sea. Nobody was around when that happened. At mealtime, everyone asked where Juan Dekos was, and no one knew what had happened to him. The lame man was thrilled, thinking that Marie Louise would now be his. He showered her with all kinds of attention.
Juan Dekos was taken by an angel and placed upon a rock, and he brought him there every day what was necessary for his maintenance. The ship at length arrived in the country of Marie Louise. As she was the king’s daughter everybody recognised her, and that easily, from a distance by her portrait. The king was quickly told of it, and goes to meet his daughter, and you may imagine what rejoicings he made. He has all the men conducted to his house and treats them all well. Marie Louise tells how she had been bought by Juan Dekos, and how good he had been to her, and that she does not know what had become of him. She said also that the second officer had taken very great care of her. This second officer wished beyond all things to marry her, and the father wished it too, to show his gratitude, because it was he who had brought his daughter back to him, and because he had not known Juan Dekos. They tormented Marie Louise so much that she promised that, at the end of a year and a day, if Juan Dekos did not make his appearance, she would marry him.
Juan Dekos was taken by an angel and placed on a rock, and the angel brought him what he needed to survive every day. Eventually, the ship arrived in the country of Marie Louise. Since she was the king’s daughter, everyone recognized her easily from a distance by her portrait. The king was quickly informed, and he went to meet his daughter, and you can imagine the celebrations that followed. He had all the men brought to his house and treated them well. Marie Louise explained how she had been bought by Juan Dekos, how kind he had been to her, and that she didn't know what had happened to him. She also mentioned that the second officer had taken great care of her. This second officer desperately wanted to marry her, and the king wanted it too, to show his gratitude since he was the one who had brought his daughter back to him, and because he hadn’t known Juan Dekos. They pressured Marie Louise so much that she promised that, at the end of a year and a day, if Juan Dekos did not show up, she would marry him.
A year and a day passed, and there was no news of Juan Dekos. They were to be married then, and Juan Dekos was still upon his rock. The sea-weed was growing upon [149]his clothes, and he had a monstrous beard. And the angel71 said to him:
A year and a day went by, and there was still no news of Juan Dekos. They were supposed to get married, and Juan Dekos was still on his rock. Seaweed was growing on [__A_TAG_PLACEHOLDER_0__]his clothes, and he had a huge beard. And the angel71 said to him:
“Marie Louise is married to-day. Would you like to be there?”
“Marie Louise is getting married today. Would you like to be there?”
He says, “Yes.”
He says, "Yeah."
“You must give me your word of honour that, at the end of a year, you will give me half the child that Marie Louise will bear to you.”
“You have to promise me that, after a year, you will give me half of the child that Marie Louise will have with you.”
He promises it, and he takes him and carries him to the door of Marie Louise’s house. This angel was the soul which he had saved of the man who was lying at the gates of the church for his debts. He asks for alms. Marie Louise’s father was very charitable; they therefore give him something. He asks again if they would not let him go in to warm himself at the fire. They tell him “No,” that he would be in the way on that day. They go and ask the master, and the master bids them to let him come in and to give him a good dinner.
He promises it and takes him, carrying him to the door of Marie Louise’s house. This angel was the soul he had saved from the man who lay at the church gates because of his debts. He asks for some help. Marie Louise’s father was very charitable, so they give him something. He asks again if they could let him come in to warm up by the fire. They tell him “No,” saying he would be in the way that day. They go and ask the master, and the master tells them to let him in and give him a good dinner.
Marie Louise was already married when Juan Dekos arrived. He had a handsome handkerchief which Marie Louise had given him, and when she passed he showed it in such a way that she could not help seeing it. She saw it clearly, and after looking closely at him she recognises Juan Dekos. Marie Louise goes to find her father, and says to him:
Marie Louise was already married when Juan Dekos arrived. He had a nice handkerchief that Marie Louise had given him, and as she walked by, he displayed it in a way that she couldn't miss it. She noticed it clearly, and after taking a good look at him, she recognized Juan Dekos. Marie Louise went to find her father and said to him:
“Papa, you must do me a pleasure.”
“Dad, you have to do me a favor.”
“Yes, yes, if I can do so.”
“Yes, yes, if I’m able to.”
“You see that poor man? I wish to have him to dine with us to-day.”
“You see that poor guy? I’d like to have him join us for dinner today.”
The father says, “That cannot be; he is filthy and disgusting.”
The father says, “That can’t be; he’s dirty and repulsive.”
“I will wash him, and I will put him some of your new clothes on.” [150]
“I'll wash him, and I'll put some of your new clothes on him.” [__A_TAG_PLACEHOLDER_0__]
The father then says, “Yes,” and he makes them do as Marie Louise wished. They place him at table, but Marie Louise alone recognised him. After dinner they asked Juan Dekos to tell a story in his turn like the rest.
The father then says, “Yes,” and he makes them do what Marie Louise wanted. They sit him at the table, but only Marie Louise recognized him. After dinner, they asked Juan Dekos to tell a story like everyone else.
He says, “Yes, but if you wish to hear my story you must shut all the doors and give me all the keys.”
He says, “Yes, but if you want to hear my story, you need to close all the doors and give me all the keys.”
They give them to him.
They give them to him.
He begins: “There was a father and a mother who had a son who was not very bright, and they decide that they must send him to sea. They load a ship with sand for him. He sells this sand very well, and pays the heavy debts of a dead man whom they were keeping at the church doors (without burial).”
He starts: “There was a dad and a mom who had a son who wasn't very smart, and they decided they had to send him to sea. They loaded a ship with sand for him. He sells this sand really well and pays off the big debts of a dead man they had been keeping at the church doors (without a burial).”
When the second officer saw and heard that, he perceived that his life was in danger, and that it was all up with him, and he begs the king for the key of the door, saying that he must go out; but he could not give it him, so he was forced to remain, and not at all at his ease. Juan Dekos begins again:
When the second officer saw and heard that, he realized that his life was in danger and that it was all over for him. He begged the king for the key to the door, saying that he needed to go out; but the king couldn’t give it to him, so he was stuck there and not at all comfortable. Juan Dekos starts again:
“His father loaded the ship again with iron, and he sells it and bought with this money seven Christians, and,” pointing to the king’s daughter, “there is the eighth.”
“His father loaded the ship again with iron, and he sold it and used the money to buy seven Christians, and,” pointing to the king’s daughter, “there is the eighth.”
The king knew this story already from his daughter. What do they do then? When they see how wicked the second officer had been, they had a cartload of faggots brought into the middle of the market-place, they put a shirt of sulphur upon him, and burn him in the midst of the place.
The king already heard this story from his daughter. So what do they do? When they see how evil the second officer had been, they bring a cartload of firewood into the middle of the marketplace, put a shirt soaked in sulfur on him, and burn him right there in the public square.
Juan Dekos and Marie Louise marry and are very happy. They had a child, and at the end of a year an angel comes to fetch the half of it. Juan Dekos was very sorry, but as he had given his word he was going to cut it in half. The angel seizes him by the arm, and says to him:
Juan Dekos and Marie Louise get married and are very happy. They have a child, and at the end of a year, an angel comes to take half of it. Juan Dekos is very upset, but since he had promised, he plans to cut it in half. The angel grabs him by the arm and says to him:
“I see your obedience; I leave you your child.”
“I recognize your obedience; I'm leaving you with your child.”
If they lived well, they died well too. [151]
If they lived a good life, they also died a good death. [__A_TAG_PLACEHOLDER_0__]
Variation of the above.
Juan de Kalais.72
As there are many in the world, and as there will be, there was a mother and her son. They had a small fortune. Nothing would please the boy but that he should go and learn to be a sailor. The mother allows him to do so, and when he was passed as captain she gives him a ship with a valuable cargo. The lad starts off and comes to a city. While he was there he sees a crowd of men on a dung-heap, who were dragging an object, some on one side and others on the other. He approaches and sees that they have a dead man there. He asks what they are doing like that for, and why they do not bury him. They tell him that he has left debts, and that they will not bury him, even though he should fall to pieces.
As there are many in the world, and as there will be, there was a mother and her son. They had a small fortune. Nothing would make the boy happier than going to learn to be a sailor. The mother agrees to let him do this, and when he becomes a captain, she gives him a ship with a valuable cargo. The young man sets off and arrives in a city. While he's there, he sees a crowd of people around a dung heap, pulling on something, with some on one side and others on the other. He goes closer and sees that they have a dead man there. He asks what they are doing and why they aren’t burying him. They tell him that he left behind debts, and they won’t bury him, even if he starts to decompose.
Juan de Kalais asks, “And if anyone should pay his debts, would you bury him then?” They say, “Yes.”
Juan de Kalais asks, “And if someone pays off their debts, would you bury him then?” They say, “Yes.”
Juan de Kalais has it cried throughout the city that whoever has to receive anything of that man should show himself. As you may suppose, many came forward, even those who had nothing to receive. Our Juan de Kalais sold his cargo, and still, not having enough, he sold his ship too.
Juan de Kalais announced throughout the city that anyone who had to receive something from that man should come forward. As you can imagine, many stepped up, even those who had nothing to claim. Our Juan de Kalais sold his cargo, and still short on funds, he sold his ship as well.
He returns home and tells his mother what he has done. His mother was very angry, and said that he would never grow rich if he acted like that. But, as he wished much to go again, his mother bought for him a wretched little ship and loads it with oakum, and tar, and resin, and he goes on his voyage. He meets with a large man-of-war, and the captain tells him that he must buy of him a charming young lady. Juan de Kalais tells him that he has no money, but the other captain (he was an Englishman) tells him to give him his cargo at least. Juan de Kalais says to him:
He goes home and tells his mother what he did. His mother is really upset and tells him that he won't ever get rich if he keeps acting this way. But since he really wants to go again, his mother buys him a shabby little ship and loads it with oakum, tar, and resin, and he sets off on his journey. He encounters a large warship, and the captain tells him he must buy a beautiful young lady from him. Juan de Kalais tells him he has no money, but the other captain (who's English) tells him to at least give him his cargo. Juan de Kalais replies:
“That is not worth much.” [152]
"That's not worth much." [__A_TAG_PLACEHOLDER_0__]
But the English captain says to him that it is, that it just happens to be most valuable to him, and they make the exchange. Our Juan de Kalais goes to his mother’s house, and his mother was more angry than before, saying she had nothing now with which to load his ship. She had nothing, and would give him nothing; that instead of getting rich they had become poor, and that it would have been better if he had stopped at home. After some days he married the young lady whom the captain had given him, and as Juan de Kalais was in poverty and distress, not having any cargo, his wife told him that he had no need of cargo—that she will give him a flag and a handkerchief, and she gave him her ring and told him to go to the roadstead of Portugal and to fire three rounds of cannon; and, when people came, to tell them that he must see the king. (She added) that she was called Marie Madeleine. Our Juan de Kalais sets off and arrives in the roadstead of Portugal, and fires his three rounds of cannon. Everybody is astonished at hearing this noise. The king himself comes on board the ship and asks how they dared to fire, and that everyone is a prisoner.73 He answers that he brings news of Marie Madeleine, and he shows him the flag with her portrait and the handkerchief. The king did not know where he was with joy, and he tells him that he must go directly and fetch her.
But the English captain tells him that it really is valuable to him, and they make the trade. Our Juan de Kalais goes to his mother’s house, and she is even angrier than before, saying she has nothing left to load his ship. She has nothing, and won’t give him anything; that instead of getting rich, they have become poor, and it would have been better if he had just stayed home. After a few days, he marries the young lady the captain gave him, and since Juan de Kalais is in poverty and distress without any cargo, his wife tells him he doesn't need cargo—that she will give him a flag and a handkerchief. She gives him her ring and tells him to go to the roadstead of Portugal and fire three cannon shots; and when people come, to tell them he must see the king. (She added) that her name was Marie Madeleine. Our Juan de Kalais sets off and reaches the roadstead of Portugal, firing his three cannon shots. Everyone is astonished by the noise. The king himself comes on board the ship and asks how they dared to fire, and that everyone is a prisoner.73 He replies that he brings news of Marie Madeleine, showing the king the flag with her portrait and the handkerchief. The king is overwhelmed with joy and tells him he must go right away to fetch her.
The king had with him an old general74 who had wished to marry Marie Madeleine, but she would not; and he asks the king if he might not go too with him—that he would do it quicker. The king told him to go then if he wished, and they set out.
The king had an old general with him74 who had wanted to marry Marie Madeleine, but she refused; and he asked the king if he could join him—that he could do it faster. The king told him he could go if he wanted, and they set off.
When they were at sea the old general said to Juan de Kalais one day:
When they were at sea, the old general said to Juan de Kalais one day:
“Look, Juan de Kalais, what a fine fish there is here!”
“Look, Juan de Kalais, what a nice fish we have here!”
He looks and does not see anything. The old general says to him again: [153]
He looks but doesn’t see anything. The old general says to him again: [__A_TAG_PLACEHOLDER_0__]
“Stoop down your head, and look here.”
“Bend down your head and take a look here.”
And at the same time he throws him into the sea. The old general goes on his voyage, and takes the young lady and goes back to the king, and makes him believe that Juan de Kalais was drowned, and he still wished to marry Marie Madeleine; but she would by no means consent, (saying) that she had been married to Juan de Kalais, and that she was so deeply sorry for him that she would remain seven years without going out of her room. As her father wished her to marry this general she decided to do so then.
And at the same time, he throws him into the sea. The old general continues on his journey, takes the young lady, and returns to the king, convincing him that Juan de Kalais was drowned. He still wanted to marry Marie Madeleine, but she absolutely refused, saying that she had been married to Juan de Kalais and that she felt so sorry for him that she would stay in her room for seven years without going out. Since her father wanted her to marry this general, she eventually decided to go through with it.
Let us now go to the poor Juan de Kalais. He remained seven years on a rock, eating sea-weed and drinking the sea-water. There came to him a fox,75 who said to him:
Let’s now talk about the poor Juan de Kalais. He spent seven years on a rock, eating seaweed and drinking seawater. A fox came to him, who said to him:
“You do not know, Juan de Kalais, the daughter of the King of Portugal is going to be married to-morrow. What would you give to go there?”
“You don’t know, Juan de Kalais, the daughter of the King of Portugal is getting married tomorrow. What would you give to be there?”
“The half of what I have at present, and the half of what I shall have later on.”
“The half of what I have now, and the half of what I will have later on.”
The fox takes him and carries him to the door of the house of the King of Portugal, and leaves him there. Juan de Kalais asks if they want a servant. They tell him that they will have work for him too—that they will have a wedding in the house to-morrow. The lady’s maid recognised Juan de Kalais, and goes running to tell it to the queen, who will not believe it—(she says) that he was drowned. The servant, after having looked at him again, assures her that it is he; and the princess, to put an end to the dispute, goes off to see him, and quickly assures herself that it is he, seeing the ring that she had given him. She throws herself into his arms, and makes him come with her to the king. The king said to her that they would have the wedding feast just the same. While they were at table the king asked Juan de Kalais to tell them some story. Juan de Kalais says “Yes,” and takes out his sword, and puts it on the table, saying, “Whoever speaks shall have news of my sword.” He begins to tell how he had saved a man by selling all [154]that he had and paying his debts; how afterwards he had made an exchange for a young lady—that in order to save her he had given all his cargo; then how he had been betrayed by one of his friends and thrown into the water, and that he had lived on sea-weed and sea-water.
The fox takes him and brings him to the door of the house of the King of Portugal, then leaves him there. Juan de Kalais asks if they need a servant. They tell him that they will have work for him too—that they will have a wedding in the house tomorrow. The lady’s maid recognizes Juan de Kalais and runs to tell the queen, who won't believe it—she says he was drowned. The servant, after looking at him again, assures her that it is him; and the princess, to settle the argument, goes to see him and quickly confirms that it is him, noticing the ring that she had given him. She throws herself into his arms and brings him to the king. The king tells her that they will go ahead with the wedding feast anyway. While they are at the table, the king asks Juan de Kalais to share a story. Juan de Kalais replies "Yes," pulls out his sword, and places it on the table, saying, "Whoever speaks shall hear news of my sword." He begins to tell how he saved a man by selling everything he had and paying off his debts; how afterward he made a trade for a young lady—saying that to save her, he had given up all his cargo; then how he was betrayed by one of his friends and thrown into the water, and how he survived on seaweed and seawater.
When the king had heard that he ordered the old general to be arrested, and has him burnt immediately in the midst of the market-place.
When the king heard this, he ordered the old general to be arrested and had him burned right there in the middle of the marketplace.
The king gives Juan de Kalais all his riches, and they lived very happily. At the end of a year they had a fine boy, and lo! the fox comes and tells him that he has come to look for what he has promised him, and he begins to make a division. If there were two gold chains he put one aside, and of all that there was the same thing. When they had finished the division the fox said to him that there was still something—that he had told him it was to be the half of all he might possess. He remembers then his child, and takes out his sword to cut it in half, when the fox with his paw knocks the sword out of his hand, saying that it is enough; that he sees what a sterling good man he is, and that he wants nothing; that he (the fox) is the soul which he had saved by paying his debts, and that he is now in Heaven, thanks to him, and that he will keep his place and that of all his family ready there; and having said that he flew away, taking the form of a pigeon.
The king gives Juan de Kalais all his wealth, and they live happily ever after. After a year, they have a beautiful baby boy, and then the fox shows up, saying he’s come for what he promised. He starts dividing everything up. If there are two gold chains, he sets one aside, and does the same with all the rest. Once they finish dividing, the fox tells him there’s still something left—he had promised him half of all he might own. Juan remembers his child and pulls out his sword to cut the baby in half, but the fox bats the sword out of his hand, saying that's enough; he sees what a genuinely good person he is and wants nothing more. The fox tells him he is the soul that Juan saved by settling his debts, and now he’s in Heaven, thanks to him. He says he will make sure his spot and all his family’s spots are ready there, and after saying that, he flies away in the form of a pigeon.
Laurentine,
Learnt it from her mother.
Laurentine,
Learned it from her mom.
The Duped Priest.76
Like many others in the world, there was a man and his wife. The man’s name was Petarillo. He was fond of sporting. One day he caught two leverets, and the parish [155]priest came to see him. The husband said to his wife—“If the priest comes again you will let one of the hares go, as if to meet me, tying, at the same time, a letter round its neck, and I will tie another letter to the other hare.”
Like many people around the world, there was a man and his wife. The man's name was Petarillo. He enjoyed hunting. One day, he caught two young hares, and the parish [__A_TAG_PLACEHOLDER_0__]priest came to visit him. The husband said to his wife, “If the priest comes back, you will let one of the hares go, as if to meet me, while also tying a letter around its neck, and I will tie another letter to the other hare.”
The priest goes to the house one day, and asks where the husband is. The woman says:
The priest goes to the house one day and asks where the husband is. The woman says:
“I will send one of the hares with a letter to fetch him. No matter where he is, she will find him; he has trained them so well.”
“I’ll send one of the hares with a letter to get him. No matter where he is, she’ll find him; he’s trained them so well.”
And she lets one of the hares loose. They grew impatient at the long delay, and had given it up, when at last the husband came. His wife says to him, “I sent the hare.”
And she releases one of the hares. They had become impatient with the long wait and were ready to give up when finally the husband arrived. His wife says to him, “I sent the hare.”
He answers, “I have it here.”
He replies, "I've got it right here."
The astonished priest says to him, “You must sell me that hare, I beg you; you have trained it so well.”
The amazed priest says to him, “You have to sell me that hare, please; you've trained it so well.”
A second time he says, “You must sell it me.”
A second time he says, “You have to sell it to me.”
And the man said to him, “I will not give it you for less than five hundred francs.”
And the man said to him, “I won’t sell it for less than five hundred francs.”
“Oh! you will give it me for three hundred?”
“Oh! You're really going to sell it to me for three hundred?”
“No, no.”
“Nope.”
At last he gives it him for four hundred. The priest tells his housekeeper:
At last, he sells it to him for four hundred. The priest tells his housekeeper:
“If any one comes, you will let the hare loose; she will find me, no matter where I may be.”
“If anyone comes, let the hare go; she’ll find me, no matter where I am.”
A man comes to the parsonage to say that a sick person is asking for the priest. She immediately lets the hare loose, being quite sure that that would be enough. But the priest did not return. The man got tired of waiting, and went off. The housekeeper told the priest that she had let the hare loose, and that she had seen nothing more of it. [156]
A man arrives at the parsonage to say that a sick person is requesting the priest. She quickly lets the hare go, believing that would be sufficient. However, the priest never came back. The man grew tired of waiting and left. The housekeeper informed the priest that she had released the hare and hadn't seen it since. [__A_TAG_PLACEHOLDER_0__]
In a rage, he goes to the huntsman’s house. But Petarillo, seeing him coming in a rage, gives a wine-skin to his wife, and says to her:
In a fit of anger, he heads to the huntsman's house. But Petarillo, noticing him approaching angrily, hands a wine-skin to his wife and says to her:
“Put this under your jacket. When the priest is here, I will plunge a knife into you in a rage, and you will fall as if you were dead; and when I shall begin to play the flute, you will get up as if yon were alive.”
“Hide this under your jacket. When the priest arrives, I will stab you in anger, and you will collapse as if you were dead; and when I start playing the flute, you will get up as if you were alive.”
The priest arrives in a great rage, (they all three dispute), and the man stabs his wife. She falls on the ground, and the priest says to him:
The priest arrives in a fit of rage, (they all three argue), and the man stabs his wife. She collapses on the ground, and the priest says to him:
“Do you know what you have done?”
“Do you know what you've done?”
He replies, “It is nothing; I will soon put it to rights.”
He responds, “It’s nothing; I’ll fix it soon.”
And he takes his flute, and begins to play. She gets up all alive again, and the priest says to him:
And he picks up his flute and starts to play. She springs back to life, and the priest says to him:
“Do sell me that flute, I beg you.”
“Please sell me that flute, I’m begging you.”
He answers that it is of great value, and that he will not sell it.
He replies that it's very valuable and that he won't sell it.
“But you must sell it me. How much do you want for it? I will give you all you ask.”
“But you have to sell it to me. How much do you want for it? I’ll give you whatever you ask.”
“Five hundred francs.” And he gives it him.
“Five hundred francs.” And he hands it over.
The priest’s housekeeper used sometimes to laugh at him. So when he came home he wanted to frighten her a little; and, as usual, she begins to make fun of him; and he stabs her with the large carving-knife. His sister says to him,
The priest’s housekeeper would sometimes laugh at him. So when he got home, he wanted to scare her a bit; and, as usual, she starts teasing him; and he stabs her with the big carving knife. His sister says to him,
“Do you know what you have done? You have killed your housekeeper!”
“Do you know what you’ve done? You’ve killed your housekeeper!”
“No, no! I can put that to rights.”
“No, no! I can fix that.”
He begins to play on the flute, but it does no good at all. He rushes off in a rage to the huntsman’s house, and he ties the huntsman in a sack, and hauls him off to throw him into the sea. As he passes near the church, the bell begins to ring for Mass, and he leaves the man there till he has said Mass. Meanwhile a shepherd passes. He asks him what he is doing there. He says to him, “The priest is going to throw me into the sea because I will not marry the king’s daughter.”
He starts playing the flute, but it doesn't help at all. In a fit of rage, he storms off to the huntsman's place, ties him up in a sack, and drags him off to throw him into the sea. As he walks past the church, the bell starts ringing for Mass, so he leaves the man there until the service is over. Meanwhile, a shepherd walks by and asks what he's doing. He replies, “The priest is going to throw me into the sea because I refuse to marry the king's daughter.”
The other said to him, “I will put myself in your place, [157]and I will deliver you. When you have tied me up, go away with my flock.”
The other replied, “I’ll take your place, [__A_TAG_PLACEHOLDER_0__] and I will save you. Once you’ve tied me up, leave with my flock.”
When the priest returned, after having said Mass, he takes up the sack, and the man says,
When the priest got back after saying Mass, he picked up the sack, and the man said,
“I will marry the king’s daughter.”
“I’m going to marry the king’s daughter.”
“I will marry you presently.”
“I will marry you soon.”
And he throws him into the sea.
And he throws him into the ocean.
The good priest was returning home, when he sees the man with the sheep, and says to him,
The good priest was on his way home when he saw the man with the sheep and said to him,
“Where did you get that flock from?”
“Where did you get that group from?”
“From the bottom of the sea. There are plenty there. Don’t you see that white head, how it lifts itself above the sea?”
“From the bottom of the sea. There’s a lot down there. Don’t you see that white head, how it rises above the water?”
“Yes; and I, too, must have a flock like that.”
“Yes, I want a flock like that too.”
“Come close to the edge, then.”
“Come closer to the edge, then.”
And our huntsman pushes him into the sea.
And our hunter shoves him into the sea.
Gagna-haurra Hirigaray.
Gagna-haurra Hirigaray.
We have other tales about priests, all in the same spirit as this. The Basques are a deeply religious people, and are generally on the best terms with the clergy; but they will not be dominated by them. Any attempt at undue interference in their national games or customs is sure to be resented; of this we have known several instances—some rather amusing ones. G. H., the narrator of the above tale, did not know a word of French.
We have other stories about priests, all in the same spirit as this one. The Basques are a very religious people and typically have a good relationship with the clergy, but they won't be controlled by them. Any attempts to interfere with their national games or traditions are definitely going to be met with resistance; we've seen several instances of this—some quite amusing. G. H., the storyteller of the above tale, didn't know a word of French.
Some of Campbell’s stories begin a little like these, e.g., Vol. I., p. 95, Macdonald’s tale—“There was a king and a knight, as there was and will be, and as grows the fir tree, some of it crooked and some of it straight, and he was King of Eirinn.” The ending, “If they had lived well, they would have died well too,” recals a Latin inscription still occasionally to be seen on Basque houses:—
Some of Campbell’s stories start off a bit like this, e.g., Vol. I., p. 95, Macdonald’s tale—“There was a king and a knight, just as there have been and always will be, like the fir tree, some of it crooked and some of it straight, and he was King of Eirinn.” The ending, “If they had lived well, they would have died well too,” reminds me of a Latin inscription still sometimes seen on Basque houses:—
“Memento tua novissima,
"Remember your last things,"
Et non peccabis in æternum.”
And you will not sin forever.”
This is on two houses in Baigorry, and on one at Ascarrat, and probably on many others. [158]
This is about two houses in Baigorry, one in Ascarrat, and likely many others. [__A_TAG_PLACEHOLDER_0__]
(B.)—Fairy Tales, derived directly from the French.
We do not suppose that the tales here given are the only ones in our collection which are derived more or less directly from or through the French. Several of those previously given under different heads we believe to have been so. The question, however, still remains: Whence did Madame d’Aulnoy, Perrault, and the other writers of the charming “Contes des Fées,” derive their materials? Place their talent as high as we may, we still believe them to have been incapable of inventing them. Combine, transpose, dress up, refine—all this they did in an incomparable manner. Some portions they may have culled, directly or indirectly, from Eastern stories; their own imagination may have filled up many a blank, expanded many a hint, clothed many a half-dressed body in the habit of their own times—as heraldic painters formed grotesque monsters by selecting and putting together parts from many diverse animals; but to create, even in fancy, was beyond their line, if it is not altogether beyond the power of man. Therefore, when we hear these tales related by peasants ignorant of French, we may still ask how far they have learnt them at second or third hand from the printed works, and how far they are reciting the crude materials out of which those works were originally composed? This is a question which can only be fully answered when all the legends in all the languages and patois of France shall have been collected and compared. Meanwhile, we beg our readers to accept these few tales as a small and not very valuable stone contributed towards the erection of so vast an edifice.
We don’t think that the stories given here are the only ones in our collection that come from or through the French. We believe several of those mentioned earlier under different titles do as well. The question still remains: Where did Madame d’Aulnoy, Perrault, and the other writers of the delightful “Fairy Tales” get their material? No matter how highly we regard their talent, we still think they were incapable of inventing these stories. They were incredible at combining, rearranging, enhancing, and polishing—though they may have borrowed some parts directly or indirectly from Eastern tales; their own imagination likely filled in many gaps, elaborated on suggestions, and dressed up many vague ideas in the clothing of their own time—similar to how heraldic painters created strange creatures by mixing parts from various animals. However, to truly create, even in fiction, seems to be beyond their abilities, if it isn’t entirely beyond human capability. So, when we hear these stories told by peasants who are unfamiliar with French, we can still question how much they’ve learned from printed works and how much they are recounting the raw material from which those works were initially made. This is a question that can only be fully answered when all the legends in every language and dialect of France have been gathered and compared. In the meantime, we ask our readers to accept these few tales as a small, not particularly valuable contribution toward the construction of such a grand structure.
Ass’-Skin.77
Like many others in the world, there was a king and a queen. One day there came to them a young girl who [159]wished for a situation. They asked her her name, and she said “Faithful.”78 The king said to her, “Are you like your name?” and she said “Yes.”
Like many others in the world, there was a king and a queen. One day, a young girl came to them who [__A_TAG_PLACEHOLDER_0__]wanted a job. They asked her name, and she replied, “Faithful.” 78 The king asked her, “Are you like your name?” and she said, “Yes.”
She stopped there seven years. Her master gave her all the keys, even that of the treasure. One day, when the king and queen were out, Faithful goes to the fountain, and she sees seven robbers coming out of the house. Judge what a state this poor girl was in! She runs straight to the treasury, and sees that more than half the treasure is missing. She did not know what would become of her—she was all of a tremble. When the king and queen came home she told them what had happened, but they would not believe her, and they put her in prison. She stays there a year. She kept saying that she was not in fault, but they would not believe her. The king condemns her to death, and sends her with four men to the forest to kill her, telling them to bring him her heart.
She stayed there for seven years. Her master gave her all the keys, even the one to the treasure. One day, when the king and queen were out, Faithful went to the fountain and saw seven robbers coming out of the house. Imagine how frightened this poor girl was! She ran straight to the treasury and发现 that more than half of the treasure was gone. She had no idea what would happen to her—she was shaking all over. When the king and queen came home, she told them what had happened, but they didn't believe her, and they sent her to prison. She stayed there for a year. She kept insisting that she was innocent, but they wouldn’t believe her. The king sentenced her to death and sent four men to the forest to kill her, telling them to bring him her heart.
They go off, but these men thought it a pity to kill this young girl, for she was very pretty, and she told them that she was innocent of this robbery; and they say to her:
They leave, but these men felt it was a shame to kill this young girl, since she was very beautiful, and she told them she was innocent of this robbery; and they say to her:
“If you will not come any more into this land, we will spare your life.”
“If you won't come back to this land, we'll let you live.”
She promises them that she will not be seen again in those parts. The men see an ass, and they tell her that they will carry its heart to the king. The young girl said to them:
She promises them that she won't be seen in that area again. The men spot a donkey and tell her they'll take its heart to the king. The young girl said to them:
“Flay this ass, I pray you; and, in order that no one may know me, I will never take this skin off me.”
“Please whip this guy, I ask you; and, so that no one will recognize me, I will never take this skin off.”
The men (do so), and go off to the king, and the young girl goes to look for some shelter. At nightfall she finds a beautiful house. She asks if they want some one to keep the geese. They tell her, “Yes, yes, yes.” They put her along with the geese, and tell her that she must go with them every day to such a field. She went out very early in the morning and came back late. It was the king’s house, and it was the queen-mother and her son who lived there. [160]
The men leave for the king, and the young girl goes off in search of shelter. At nightfall, she discovers a lovely house. She asks if they need someone to take care of the geese. They respond, "Yes, yes, yes." They place her with the geese and tell her she needs to take them to a specific field each day. She wakes up very early in the morning and returns late. It turns out this is the king's house, where the queen mother and her son reside. [__A_TAG_PLACEHOLDER_0__]
After some time there appeared to her one day an old woman, who called to her:
After a while, an old woman appeared to her one day and called out to her:
“Faithful, you have done penance enough. The son of the king is going to give some grand feasts, and you must go to them. This evening you will ask madame permission, and you will tell her that you will give her all the news of the ball if she will let you go for a little while. And, see, here is a nut. All the dresses and things you want will come out of that. You will break it as you go to the place of the festival.”79
“Faithful, you've done enough penance. The king's son is hosting some grand feasts, and you need to attend them. This evening, you will ask Madame for permission and tell her you'll share all the details of the ball if she lets you go for a bit. And look, here's a nut. All the dresses and things you want will come from that. You’ll crack it on your way to the festival.”79
That evening she asked permission of her mistress to go and see the festival which the king is going to give, for a short time only, and that she will return directly and tell her all that she has seen there. Her mistress said, “Yes.” That evening she goes then. On her way she breaks the nut, and there comes out of it a silver robe. She puts it on, and goes there, and immediately she enters all the world looks at her. The king is bewitched, he does not quit her for an instant, and they always dance together. He pays no attention at all to the other young ladies. They enjoy the refreshments very much. Some friends of the king call him, and he has to go there; and in this interval Faithful makes her escape to the house.
That evening, she asked her mistress for permission to go see the festival that the king was hosting, promising to return right away and share everything she had seen. Her mistress agreed. So that evening, she set off. On her way, she cracked open a nut, and a silver robe appeared. She put it on and went to the festival, where everyone immediately noticed her. The king was captivated; he couldn’t take his eyes off her, and they danced together the whole time. He completely ignored the other young ladies. They all enjoyed the refreshments a lot. Some of the king’s friends called for him, and while he was away, Faithful made her escape back home.
She tells the queen how that a young girl had come to the ball, how she had dazzled everybody, and especially the king, who paid attention to her alone, but that she had escaped.
She tells the queen how a young girl had come to the ball, how she had dazzled everyone, especially the king, who focused on her alone, but that she had managed to escape.
When the son comes to the house, his mother says to him:
When the son arrives home, his mother says to him:
“She escaped from you then, your young lady? She did not care for you, doubtless.”
"She got away from you then, did she? Your young lady didn't care about you, obviously."
He says to his mother, “Who told you that?”
He asks his mom, “Who told you that?”
“Ass’-skin; she wished to go and see it.” [161]
“Donkey skin; she wanted to go and see it.” [__A_TAG_PLACEHOLDER_0__]
The king goes to where Faithful was and gives her two blows with his slipper, saying to her:
The king goes to where Faithful is and smacks her twice with his slipper, saying to her:
“If you return there again I will kill you on the spot.”
“If you go back there again, I’ll kill you right on the spot.”
The next day Ass’-skin goes with her geese, and there appears to her again the old woman. She tells her that she ought to go to the ball again this evening—that her mistress would give her permission. “Here is a walnut; you have there all that is necessary to dress yourself with. The king will ask you your name—Braf-le-mandoufle.”80
The next day, Ass’-skin takes her geese with her, and the old woman shows up again. She tells her that she should go to the ball that evening—that her mistress would allow it. “Here’s a walnut; everything you need to get ready is inside. The king will ask you your name—Braf-le-mandoufle.”80
In the evening she asks permission of her mistress, but she is astonished (at her asking), and says to her:
In the evening, she asks her mistress for permission, but her mistress is surprised by the request and replies to her:
“You do not know what the king has said—that if he catches you he will kill you on the spot?”
“You don’t know what the king said—that if he catches you, he’ll kill you right then and there?”
“I am not afraid. He will be sure not to catch me.”
“I’m not scared. He definitely won’t catch me.”
“Go, then.”
“Go ahead.”
She goes off, and on the way she breaks the walnut, and there comes out of it a golden robe. She goes in. The king comes with a thousand compliments, and asks her how she had escaped the evening before without saying anything to him, and that he had been very much hurt at it.
She leaves, and on her way, she breaks the walnut, and out comes a golden robe. She goes inside. The king arrives with a thousand compliments and asks her how she managed to escape the night before without saying anything to him, mentioning that he was quite hurt by it.
They amuse themselves thoroughly. The king has eyes for her alone. He asks her her name. She tells him, “Braf-le-mandoufle.” They feast themselves well, and some friends having called to him he goes to them, and the young lady escapes.
They have a great time. The king only has eyes for her. He asks her name. She replies, “Braf-le-mandoufle.” They eat and drink heartily, and when some friends call to him, he goes over to them, and the young lady slips away.
Ass’-skin goes to tell the queen that yesterday evening’s young lady had come, but still more beautiful—that she had escaped in the very middle of the ball. She goes off to her geese. The king comes to his house. His mother says to him:
Ass’-skin goes to tell the queen that the young lady from last night had come, and she was even more beautiful—that she had slipped away right in the middle of the ball. She heads off to her geese. The king returns to his house. His mother says to him:
“She came then, the young lady you love? but she only loves you so-so, since she has gone off in this fashion.”
“She came then, the young lady you love? But she only loves you a little, since she's acted this way.”
“Who told you that?” [162]
“Who said that?” [__A_TAG_PLACEHOLDER_0__]
“Ass’-skin.”
“Donkey skin.”
He goes off to her and gives her two kicks with his slipper, and says to her:
He goes over to her and gives her two kicks with his slipper, and says to her:
“Woe to you if you go there again; I will kill you on the very spot.”
“Watch out if you go there again; I’ll take you out right on the spot.”
She goes off to her geese, and the old woman comes to her again and tells her to ask permission again for this evening—that she must go to the dance. She gives her a peach, and tells her that she will have there all that is necessary to dress herself with. She goes then to ask her mistress if she will give her permission, like last night, to go to the ball. She says to her:
She heads over to her geese, and the old woman approaches her again, reminding her to ask for permission once more for that evening—she needs to attend the dance. The old woman hands her a peach and tells her that she will have everything she needs to get ready there. She then goes to ask her mistress if she will allow her, just like last night, to go to the ball. She says to her:
“Yes, yes, I will give you leave. But are you not afraid lest the king should catch you? He has said that he will kill you if you go there.”
“Yes, yes, I’ll let you go. But aren’t you worried the king might catch you? He’s said he will kill you if you go there.”
“I am not afraid, because I am sure that he will not catch me. Yesterday he looked for me again, but he could not catch me.”
“I’m not scared because I know he won’t catch me. Yesterday, he tried to find me again, but he couldn’t catch me.”
She goes off then. On the way she opens her peach, and finds there a dress entirely of diamonds, and if she was beautiful before, judge what she is now! She shone like the sun. The king was plunged into joy when he saw her. He was in an ecstasy. He did not wish to dance, but they sat down at their ease on beautiful arm-chairs, and with their refreshments before them they passed such a long time together. The king asked her to give him her promise of marriage. The young lady gives him her word, and the king takes his diamond ring off his finger and gives it to her. His friends call him away to come quickly to see something very rare, and off he goes, leaving his lady. She takes advantage of this opportunity to escape.81 She tells her mistress all that has passed—how that this young lady had come with a dress of diamonds, that all the world was dazzled by her beauty, that they could not even look at her she shone so brightly, that the king did not know where he [163]was for happiness, that they had given each other their promise of marriage, and that the king had given her his diamond ring, but that the best thing of all was that to-day again she has escaped him.
She leaves then. On the way, she opens her peach and discovers a dress made entirely of diamonds, and if she was beautiful before, just imagine how stunning she is now! She sparkled like the sun. The king was overjoyed when he saw her. He was in ecstasy. He didn’t feel like dancing, so they settled comfortably in beautiful armchairs, and with refreshments in front of them, they spent a long time together. The king asked her for her promise of marriage. The young lady agreed, and the king took off his diamond ring and gave it to her. His friends called him away to see something very rare, and he left, abandoning his lady. She seized the chance to escape. She tells her mistress everything that happened—how this young lady arrived in a dress of diamonds, how everyone was dazzled by her beauty, how they couldn’t even look at her because she shone so brightly, how the king was so happy he didn’t know where he was, how they exchanged promises of marriage, and how the king had given her his diamond ring, but the best part of all was that today she had escaped him again.
The king comes in at that very instant. His mother says to him:
The king walks in right at that moment. His mother says to him:
“She has not, she certainly has not, any wish for you. She has gone off with your diamond ring. Where will you go and look for her? You do not know where she lives. Where will you ask for a young lady who has such a name as ‘Braf-le-mandoufle!’ She has given you her promise of marriage too; but she does not wish to have you, since she has acted like that.”
“She definitely doesn’t want you. She left with your diamond ring. Where are you going to search for her? You don’t even know where she lives. Who are you going to ask about a young lady with a name like ‘Braf-le-mandoufle!’ She even promised to marry you, but she doesn’t want to be with you, considering how she’s behaved.”
Our king did not even ask his mother who has told her that. He went straight to bed thoroughly ill, and so Ass’-skin did not have her two kicks that evening.
Our king didn’t even ask his mother who told her that. He went straight to bed feeling really sick, so Ass'-skin didn’t get her two kicks that evening.
The queen was in great trouble at seeing her son ill like that. She was continually turning over in her head who this young lady might be. She said to her son, “Is this young lady our Ass’-skin? How else could she have known that you had given your promise to one another, and that you had given her the ring too? She must have been very close to you. Did you see her?”
The queen was deeply worried to see her son so sick. She couldn't stop thinking about who this young lady could be. She asked her son, “Is this girl our Ass’-skin? How else would she know that you two had made a promise to each other and that you gave her the ring too? She must have been really close to you. Did you see her?”
He says, “No,” but remains buried in thought.
He says, “No,” but stays lost in thought.
His mother says, “She has a very pretty face under her ass’-skin.”
His mother says, “She has a really pretty face under her skin.”
And she says that she must send for her, and that he must have a good look at her too; that he shall have some broth brought up by her.
And she says that she needs to send for her, and that he should take a good look at her too; that he’ll have some broth brought up by her.
She sends for Ass’-skin to the kitchen, has the broth made for her son, and Ass’-skin puts in the middle of the bread the ring which the king had given her. The lady had her well dressed, and she goes to the king. The king, after having seen her, was still doubtful. He drank his broth; but when he puts the bread into his mouth he finds something (hard), and is very much astonished at seeing his ring. He was ill no longer. He goes and runs to his [164]mother to tell her his joy that he has found his lady. He wishes to marry directly, and all the kings of the neighbourhood are invited to the feast; and, while they were dining, everyone had some fine news to relate. They ask the bride, too, if she had not something to tell them. She says “Yes,” but that she cannot tell what she knows—that it would not please all at the table. Her husband tells her to speak out boldly; he draws his sword, and says,
She calls for Ass’-skin to come to the kitchen, has broth made for her son, and Ass’-skin places the ring the king had given her in the middle of the bread. The lady dresses nicely and goes to see the king. The king, after looking at her, is still uncertain. He drinks his broth, but when he bites into the bread, he finds something hard and is shocked to see his ring. He is no longer ill. He rushes to his [__A_TAG_PLACEHOLDER_0__]mother to share his joy of finding his lady. He wants to marry right away, and all the neighboring kings are invited to the feast. While they are dining, everyone has some exciting news to share. They ask the bride if she has something to tell them, too. She replies “Yes,” but says she can’t share what she knows—it wouldn’t please everyone at the table. Her husband tells her to speak freely; he draws his sword and says,
“Whosoever shall speak a word shall be run through with this sword.”
“Whoever speaks a word will be run through with this sword.”
She then tells how a poor girl was servant at a king’s house; how she remained there seven years; that they liked her very much, and treated her with confidence, even to giving her the keys of the treasure. One day, when the king and his wife were out, robbers entered, and stole almost all the treasure. The king would not believe that robbers had come. He puts the young girl in prison for a whole year, and at the end of that time he sends her to execution, telling the executioners to bring her heart to the house. The executioners were better than the king; they believed in her innocence, and, after having killed an ass, they carried its heart to the king; “and for the proof, it is I who was servant to this king.”
She then tells the story of a poor girl who worked as a servant in a king’s house; how she stayed there for seven years; that they really liked her and treated her with trust, even giving her the keys to the treasure. One day, while the king and his wife were away, robbers broke in and stole almost all the treasure. The king refused to believe that robbers had come. He imprisoned the young girl for a whole year, and at the end of that time, he sent her to be executed, instructing the executioners to bring her heart back to the palace. The executioners were more compassionate than the king; they believed in her innocence, and after killing a donkey, they brought its heart to the king; “and to prove it, I was the servant to this king.”
The bridegroom says to her, “Who can this king be? Is it my uncle?”
The groom asks her, “Who could this king be? Is it my uncle?”
The lady says, “I do not know if he is your uncle, but it is that gentleman there.”
The lady says, “I’m not sure if he’s your uncle, but it’s that guy over there.”
The bridegroom takes his sword and kills him on the spot, saying to his wife,
The groom draws his sword and kills him right there, saying to his wife,
“You shall not be afraid of him any more.”
“You won't be afraid of him anymore.”
They lived very happily. Some time afterwards they had two children, a boy and a girl. When the elder was seven years old he died, telling his father and mother that he was going to Heaven to get a place there ready for them. At the end of a week the other child dies too, and she says to them that she, too, is going to Heaven, and that she will keep their place ready; that they, too, would quickly go to them. [165]And, as she had said, at the end of a year, at exactly the very same time, both the gentleman and lady died, and they both went to Heaven.
They lived very happily. Some time later, they had two children, a boy and a girl. When the boy turned seven, he died, telling his parents that he was going to Heaven to prepare a place for them. A week later, the girl also passed away, saying that she, too, was going to Heaven and would keep their place ready; that they would soon join her. [__A_TAG_PLACEHOLDER_0__] And, just as she had said, exactly a year later, both the man and woman died, and they went to Heaven together.
Laurentine.
Laurentine.
We have four other variations of the above story, written down, with others, that we heard, but did not copy out. One, which much resembles the above, excepting in the commencement, opens with the proposal of a king’s son to marry one of the three daughters of another king. This king asks his three daughters (like King Lear) how much they love him. The eldest says, “As much as I do my little finger.” That did not please him. The second says, “As much as my middle finger.” The youngest says, “As much as the bread loves the salt.” In a rage the father sends her into the forest, with two servants, to be killed. They spare her, and carry the horse’s heart to the king, and the girl lives in the forest “on the plants which the birds brought her, and on the flowers which the bees brought her.” The king’s son finds her there while hunting, takes her home, and marries her. At the wedding feast she gives her father bread without salt, and then discovers herself, and all is made right, and they live all happily, except the two sisters, who remain old maids.
We have four other versions of the story above, written down, along with others we heard but didn't transcribe. One, which is quite similar to the one above except for the beginning, starts with a prince proposing to marry one of the three daughters of another king. This king asks his three daughters (like King Lear) how much they love him. The eldest replies, “As much as I love my little finger.” That doesn't satisfy him. The second daughter says, “As much as my middle finger.” The youngest says, “As much as bread loves salt.” Furious, the father sends her into the woods with two servants to have her killed. They spare her and take a horse's heart to the king, while the girl survives in the forest “on the plants that the birds brought her and on the flowers that the bees brought her.” The prince finds her while hunting, brings her home, and marries her. At the wedding feast, she serves her father bread without salt, then reveals her identity, everything gets resolved, and they all live happily ever after, except for the two sisters, who remain single.
Two others open like Campbell’s “The King who Wished to Marry his Daughter.” A king loses his wife, who on her deathbed makes him promise only to marry some one just like her. This is, of course, her daughter. The daughter will not, and takes counsel of her godmother. She bids her ask for a wedding dress made of the wings of flies; but this impossibility is performed. Then the daughter escapes—in the one tale in a ship, in the other on foot—and takes a place as servant. The king has a ball; the old woman appears, and gives her the nut with the dresses, etc. But in one of these tales, on the wedding-day she was more handsomely dressed than ever before, “and think! they had their dresses made for each other”—i.e., they dress each [166]other! “I don’t understand how it is,” said the narrator, “but the story says so.”
Two others begin like Campbell’s “The King Who Wanted to Marry His Daughter.” A king loses his wife, who, on her deathbed, makes him promise to marry someone just like her. This is, of course, her daughter. The daughter refuses and seeks advice from her godmother. She tells her to ask for a wedding dress made from the wings of flies; but this impossible request is granted. Then the daughter escapes—in one version by ship, in the other on foot—and takes a job as a servant. The king throws a ball; the old woman shows up and gives her the nut with the dresses, etc. But in one of these tales, on the wedding day, she is dressed more beautifully than ever before, “and guess what! They had their dresses made for each other”—i.e., they dress each [__A_TAG_PLACEHOLDER_0__]other! “I don’t get how this works,” said the storyteller, “but the story says that’s how it is.”
Our fifth version is short, and, as it puts the step-mother in an unusual light, we give it entire:—
Our fifth version is brief, and since it presents the step-mother in a unique way, we include it in full:—
The Step-Mother and the Step-Daughter.
A father and his daughter were living together. The daughter told her father to marry again. The father said, “Why? you will be unhappy.” “It is all the same to me; I prefer to see you happy.” And after some time he marries again. This lady asked her husband to give her full power over this young girl to do what she will with her. The husband consents, and does not think any more about her; he did not even see her again. This lady says to the young girl, “If you do all I tell you, you will be the better for it.” The king lived near their house, and one day her step-mother gave her the keys of the king’s house and told her to go at such an hour of the night into the king’s bed-room, “and without waking him you will bring me back his sash.” The daughter did not like it at all, but in spite of that she goes off, and without any person seeing her, she returns home with the king’s girdle. The next day the step-mother says to her step-daughter, “You must go again, and you must bring the king’s watch chain.” While she was taking it, the king moved in his bed, and the young girl is so frightened that she runs off, and loses her shoe at the door of the king’s room. At the end of some days they hear that the king has made a proclamation that he will go from house to house with a shoe, and that she whom it fits perfectly shall be his wife. The king goes looking and looking, first of all, in the houses of the rich; but he had said that he would go into all the houses. He goes then to this gentleman’s who had married again, because it was close at hand. The persons of his suite asked him why he went there, for they [167]were only poor people. The king will go all the same. He finds this lady, who says that they are poor, and that she is ashamed to receive the king in her bed-room; but it was there she had her step-daughter very nicely dressed, with only one shoe on her feet. She was dazzling with beauty, and the king finds her very much to his taste. They are married immediately; he takes the father and step-mother to his house, and they all live happily, and this step-daughter owed her good fortune to her step-mother.
A father and his daughter were living together. The daughter encouraged her father to remarry. The father asked, “Why? You’ll be unhappy.” “It doesn’t matter to me; I want you to be happy.” After some time, he marries again. This new wife asks her husband to give her complete control over the young girl to do as she wishes. The husband agrees and doesn’t think about her anymore; he doesn’t even see her again. The wife tells the young girl, “If you do everything I say, you’ll benefit from it.” The king lived nearby, and one night her stepmother gives her the keys to the king’s house and instructs her to sneak into the king’s bedroom at a certain hour, “and without waking him, you will bring me back his sash.” The daughter is very uncomfortable with this, but regardless, she leaves and returns home unseen with the king’s girdle. The next day, the stepmother tells her stepdaughter, “You have to go again, and this time you must bring the king’s watch chain.” While she’s taking it, the king moves in his sleep, and the girl is so frightened that she bolts, losing her shoe at the king’s door. After a few days, news spreads that the king has announced he will go from house to house with a shoe, and whoever it fits perfectly will become his wife. The king searches everywhere, starting with the homes of the wealthy; however, he had declared he would visit all houses. He then stops at the home of the man who remarried since it was nearby. His attendants question why he’s going there since they are just poor people. The king insists on going anyway. He meets the wife, who claims they are poor and that she feels embarrassed to host the king in her bedroom; but it’s there that she has her stepdaughter, beautifully dressed, wearing just one shoe. She is stunningly beautiful, and the king finds her very appealing. They marry immediately; he brings the father and stepmother to his palace, and they all live happily together, with the stepdaughter's good fortune coming from her stepmother.
Louise Lanusse.
Louise Lanusse.
There are two curious versions of these tales in Bladé’s “Contes Populaires Recueillis en Agenais” (Paris, Baer, 1874), Nos. I. and VIII. Those who wish to compare others may follow up the references there given by Reinhold Köhler, on pp. 145 and 153; also those given at pp. 44 and 47 of Brueyre’s “Contes Populaires de la Grande Bretagne” (Paris, Hachette, 1875).
There are two interesting versions of these stories in Bladé’s “Contes Populaires Recueillis en Agenais” (Paris, Baer, 1874), Nos. I and VIII. Those who want to compare more can check the references provided by Reinhold Köhler on pp. 145 and 153; as well as those found on pp. 44 and 47 of Brueyre’s “Contes Populaires de la Grande Bretagne” (Paris, Hachette, 1875).
Beauty and the Beast.82
As there are many in the world in its state now, there was a king who had three daughters. He used continually to bring handsome presents to his two elder daughters, but did not pay any attention at all to his youngest daughter, and yet she was the prettiest and most amiable.
As there are many in the world now, there was a king who had three daughters. He constantly brought beautiful gifts for his two older daughters but completely ignored his youngest daughter, even though she was the prettiest and most charming.
The king kept going from fair to fair, and from feast to feast, and from everywhere he used to bring something for the two eldest daughters. One day, when he was going to a feast, he said to his youngest daughter:
The king went from fair to fair, and from feast to feast, and from everywhere he brought something for his two eldest daughters. One day, as he was heading to a feast, he said to his youngest daughter:
“I never bring anything home for you; tell me then what you want and you shall have it.”
“I never bring anything home for you; so tell me what you want, and you'll get it.”
She said to her father: “And I do not want anything.”
She said to her father, "I don’t want anything."
“Yes, yes, I am going to bring you something.” [168]
“Yes, yes, I'm going to bring you something.” [__A_TAG_PLACEHOLDER_0__]
“Very well then, bring me a flower.”
“Alright then, bring me a flower.”
He goes off, and is busy buying and buying; for one a hat, for the other a beautiful piece of stuff for a dress, and for the first again a shawl; and he was returning home, when in passing before a beautiful castle, he sees a garden quite full of flowers, and he says to himself:
He leaves and gets caught up in shopping; first a hat, then a lovely piece of fabric for a dress, and then another shawl. On his way home, he walks past a stunning castle and sees a garden overflowing with flowers, and he thinks to himself:
“What! I was going home without a flower for my daughter; here I shall have plenty of them.”
“What! I was going home without a flower for my daughter; now I’ll have plenty of them.”
He takes some then, and as soon as he has done so, a voice says to him:
He takes some, and as soon as he’s finished, a voice says to him:
“Who gave you permission to take that flower? As you have three daughters, if you do not bring me one of them before the year be finished, you shall be burnt wherever you are—you, and your whole kingdom.”
“Who gave you the right to pick that flower? Since you have three daughters, if you don’t bring me one of them before the year is up, you will be burned wherever you are—you and your entire kingdom.”
The king goes off home. He gives his elder daughters their presents, and her nosegay to the youngest. She thanks her father. After a certain time this king became sad. His eldest daughter said to him:
The king goes home. He gives his older daughters their gifts, and a nosegay to the youngest. She thanks her father. After a while, the king became sad. His oldest daughter said to him:
“What is the matter with you?”
"What's wrong with you?"
He says to her: “If one of my daughters will not go to such a spot before the end of the year, I shall be burned.”
He says to her, “If one of my daughters doesn’t go to that place before the end of the year, I’ll be burned.”
His eldest daughter answers him, “Be burned if you like; as for me, I shall not go. I have no wish at all to go there. Settle it with the others.”
His oldest daughter replies, “Go ahead and get burned if that's what you want; as for me, I’m not going. I have no interest in going there at all. Deal with it with the others.”
The second also asks him, “You seem very sad, papa; what is the matter with you?”
The second one asks him, “You look really sad, dad; what’s going on with you?”
He told her how he is bound to send one of his daughters to such a place before the end of the year, otherwise he should be burned.
He told her that he has to send one of his daughters to that place before the end of the year, or else he will be in big trouble.
This one too says to him, “Manage your own business as you like, but do not reckon upon me.”
This one also says to him, “Do whatever you want with your own business, but don’t count on me.”
The youngest, after some days, said to him, “What is the matter with you, my father, that you are so sad? Has someone done you some hurt?”
The youngest, after a few days, said to him, “What’s wrong, Dad? Why are you so sad? Did someone hurt you?”
He said to her, “When I went to get your nosegay, a voice said to me, ‘I must have one of your daughters [169]before the year be completed,’83 and now I do not know what I must do. It told me that I shall be burned.”
He said to her, “When I went to get your bouquet, a voice told me, ‘I need one of your daughters [__A_TAG_PLACEHOLDER_0__]before the year is up,’83 and now I don’t know what to do. It said that I will be burned.”
This daughter said to him, “My father, do not be troubled about it. I will go.”
This daughter said to him, “Dad, don’t worry about it. I’ll go.”
And she sets out immediately in a carriage. She arrives at the castle and goes in, and she hears music and sounds of rejoicing everywhere, and yet she did not see anyone. She finds her chocolate ready (in the morning), and her dinner the same. She goes to bed, and still she does not see anyone. The next morning a voice says to her:
And she heads out right away in a carriage. She gets to the castle and goes inside, hearing music and sounds of celebration all around, yet she can't see anyone. Her chocolate is ready (in the morning), and so is her dinner. She goes to bed, and still doesn't see anyone. The next morning, a voice calls out to her:
“Shut your eyes; I wish to place my head on your knees for a moment.”
“Close your eyes; I want to rest my head on your lap for a moment.”
“Come, come; I am not afraid.”
“Come on; I’m not afraid.”
There appears then an enormous serpent. Without intending it, the young lady could not help giving a little shudder. An instant after the serpent went away; and the young lady lived very happily, without lacking anything. One day the voice asked her if she did not wish to go home.
There suddenly appeared a huge serpent. Without meaning to, the young lady couldn't help but shudder slightly. A moment later, the serpent disappeared, and the young lady lived very happily, wanting for nothing. One day, a voice asked her if she wanted to go home.
She answers, “I am very happy here. I have no longing for it.”
She replies, “I’m really happy here. I don’t miss it at all.”
“Yes, if you like, you may go for three days.”
“Sure, if you want, you can go for three days.”
He gives her a ring, and says to her, “If that changes colour, I shall be ill, and if it turns to blood, I shall be in great misery.”84
He gives her a ring and says, “If it changes color, I’ll be sick, and if it turns to blood, I’ll be really miserable.”84
The young lady sets out for her father’s house. Her father was very glad (to see her). Her sisters said to her:
The young woman heads out to her father’s house. Her father was really happy to see her. Her sisters said to her:
“You must be happy there. You are prettier than you were before. With whom do you live there?”
"You must be happy there. You look prettier than you did before. Who do you live with there?"
She told them, “With a serpent.” They would not believe her. The three days flew by like a dream, and she forgot her serpent. The fourth day she looked at her ring, and she saw that it was changed. She rubs it with her finger, and it begins to bleed. Seeing that she goes running [170]to her father, and says to him that she is going. She arrives at the castle, and finds everything sad. The music will not play—everything was shut up. She called the serpent (his name was Azor, and hers Fifine). She kept on calling and crying out to him, but Azor appeared nowhere. After having searched the whole house, after having taken off her shoes, she goes to the garden, and there too she cries out. She finds a corner of the earth in the garden quite frozen, and immediately she makes a great fire over this spot, and there Azor comes out, and he says to her:85
She told them, “With a serpent.” They wouldn’t believe her. The three days flew by like a dream, and she forgot about her serpent. On the fourth day, she looked at her ring and noticed that it had changed. She rubbed it with her finger, and it started to bleed. Upon seeing this, she ran to her father and told him she was leaving. She reached the castle, only to find everything gloomy. The music wouldn’t play—everything was closed off. She called for the serpent (his name was Azor, and hers was Fifine). She kept calling and crying out for him, but Azor didn't show up. After searching the whole house and taking off her shoes, she went to the garden and cried out there too. She found a patch of ground in the garden that was completely frozen, and immediately she made a big fire over that spot, and Azor appeared, saying to her:85
“You had forgotten me, then. If you had not made this fire, it would have been all up with me.”
“You forgot about me, then. If you hadn’t started this fire, I wouldn’t have made it.”
Fifine said to him, “Yes, I had forgotten you, but the ring made me think of you.”
Fifine said to him, “Yeah, I forgot about you, but the ring reminded me of you.”
Azor said to her, “I knew what was going to happen; that is why I gave you the ring.”
Azor said to her, “I knew what was going to happen; that’s why I gave you the ring.”
And coming into the house, she finds it as before, all full of rejoicings—the music was playing on all sides. Some days after that Azor said to her:
And when she walked into the house, it was just like before, filled with celebrations—the music was playing everywhere. A few days later, Azor said to her:
“You must marry me.”
“You have to marry me.”
Fifine gives no answer. He asks her again like that three times, and still she remained silent, silent. The whole house becomes sad again. She has no more her meals ready. Again Azor asks her if she will marry him. Still she does not answer, and she remains like that in darkness several days without eating anything, and she said to herself, “Whatever it shall cost me I must say, Yes.”
Fifine doesn't respond. He asks her again like that three times, and she still stays silent. The whole house feels sad again. She no longer has her meals prepared. Again, Azor asks her if she will marry him. She still doesn’t answer, and she stays in the dark for several days without eating anything, telling herself, “No matter what it takes, I have to say yes.”
When the serpent asks her again, “Will you marry me?” she answers, “Not with the serpent, but with the man.”
When the serpent asks her again, "Will you marry me?" she replies, "Not with the serpent, but with the man."
As soon as she had said that the music begins as before. Azor says to her that she must go to her father’s house and get all things ready that are necessary, and they will marry the next day. The young lady goes as he had told her. She says to her father that she is going to be married to the serpent to-morrow, (and asks him) if he will prepare everything for that. The father consents, but he is vexed. Her [171]sisters, too, ask her whom she is going to marry, and they are astounded at hearing that it is with a serpent. Fifine goes back again, and Azor says to her:
As soon as she finishes speaking, the music starts up again as before. Azor tells her that she needs to go to her father's house and get everything ready for their wedding the next day. The young woman does as he instructed. She tells her father that she is going to marry the serpent tomorrow and asks him to prepare everything for it. The father agrees, but he is upset. Her [__A_TAG_PLACEHOLDER_0__] sisters also ask her who she is marrying, and they are shocked to learn it’s a serpent. Fifine returns, and Azor says to her:
“Which would you prefer, from the house to the church, serpent, or from the church to the house, (serpent)?”
“Which would you prefer, going from the house to the church, serpent, or from the church to the house, (serpent)?”
Fifine says to him, “From the house to the church, serpent.”
Fifine says to him, “From the house to the church, snake.”
Azor says to her, “I, too.”
Azor says to her, “Me too.”
A beautiful carriage comes to the door. The serpent gets in, and Fifine places herself at his side, and when they arrive at the king’s house the serpent says to her:
A beautiful carriage arrives at the door. The serpent gets in, and Fifine sits next to him. When they reach the king’s house, the serpent says to her:
“Shut the doors and the curtains, that nobody may see.”
“Close the doors and the curtains so that no one can see.”
Fifine says to him, “But they will see you as you get down.”
Fifine says to him, “But they'll see you when you get down.”
“No matter; shut them all the same.”
“No matter; close them all the same.”
She goes to her father. Her father comes with all his court to fetch the serpent. He opens the door, and who is astonished? Why, everybody. Instead of a serpent there is a charming young man; and they all go to the church. When they come out there is a grand dinner at the king’s, but the bridegroom says to his wife:
She goes to her dad. Her dad comes with all his court to get the serpent. He opens the door, and who is shocked? Everyone. Instead of a serpent, there is a handsome young man; and they all head to the church. When they come out, there’s an elaborate dinner at the king’s, but the groom says to his wife:
“To-day we must not make a feast at all. We have a great business to do in the house; we will come another day for the feast.”
“Today we can’t have a feast at all. We have a lot to take care of in the house; we’ll come back another day for the feast.”
She told that to her father, and they go on to their house. When they are come there her husband brings her in a large basket a serpent’s skin, and says to her:
She told her father about it, and they went back to their house. When they got there, her husband brought her a large basket containing a serpent’s skin and said to her:
“You will make a great fire, and when you hear the first stroke of midnight you will throw this serpent’s skin into the fire. That must be burnt up, and you must throw the ashes out of window before the last stroke of twelve has ceased striking. If you do not do that I shall be wretched for ever.”
“You will build a big fire, and when you hear the first chime of midnight, you will throw this serpent’s skin into the fire. It has to be burned completely, and you need to throw the ashes out the window before the last chime of twelve finishes. If you don’t do that, I will be miserable forever.”
The lady says to him, “Certainly; I will do everything that I can to succeed.”
The lady says to him, “Of course; I'll do everything I can to succeed.”
She begins before midnight to make the fire. As soon as she heard the first stroke she throws the serpent’s skin [172](on the fire), and takes two spits and stirs the fire, and moves about the skin and burns it, till ten strokes have gone. Then she takes a shovel, and throws the ashes outside as the last twelfth stroke is ending. Then a terrible voice says:
She starts before midnight to build the fire. As soon as she hears the first stroke, she throws the serpent’s skin [__A_TAG_PLACEHOLDER_0__] (onto the fire), takes two spits and stirs the flames, moving the skin around as it burns until the tenth stroke has sounded. Then she grabs a shovel and tosses the ashes outside just as the final twelfth stroke finishes. Then a terrifying voice says:
“I curse your cleverness, and what you have just done.”
“I curse your cleverness and what you just did.”
At the same time her husband comes in. He did not know where he was for joy. He kisses her, and does not know how to tell his wife what great good she has done him.
At the same time, her husband walked in. He was so overjoyed that he didn't even know where he was. He kissed her and struggled to find the words to tell his wife how much she had blessed his life.
“Now I do not fear anything. If you had not done as I told you, I should have been enchanted for twenty-one years more. Now it is all over, and we will go at our ease to-morrow to your father’s house for the wedding feast.”
“Now I’m not afraid of anything. If you hadn’t done what I asked, I would have been under a spell for another twenty-one years. But now it’s all over, and we can go at our own pace to your dad’s house for the wedding feast tomorrow.”
They go the next day and enjoy themselves very much. They return to their palace to take away the handsomest things, because they did not wish to stop any more in that corner of the mountain. They load all their valuable things in carts and waggons, and go to live with the king. This young lady has four children, two boys and two girls, and as her sisters were very jealous of her, their father sent them out of the house. The king gave his crown to his son-in-law, who was already a son of a king. As they had lived well, they died well too.
They went the next day and had a great time. They returned to their palace to take the most beautiful things because they didn't want to stay any longer in that part of the mountain. They loaded all their valuables into carts and wagons and moved in with the king. This young woman had four kids, two boys and two girls, and since her sisters were very jealous of her, their father sent them away from the house. The king gave his crown to his son-in-law, who was already a prince. They lived well, and they died well too.
Laurentine.
Laurentine.
We have another version of this tale, which is a little more like its prototype, the “Cupid and Psyche” of Apuleius. In this the monster comes only at night. At first she is horribly frightened at it, but little by little she becomes accustomed to it, and loves it. At last, after having been left alone for some days, a magnificent young man appears to her, a king’s son, who had been bewitched into the monster until some one should love him. Of course they marry and are happy.
We have another version of this story, which is a bit closer to its original, “Cupid and Psyche” by Apuleius. In this one, the monster only comes at night. At first, she is terrified of it, but gradually she gets used to it and falls in love. Finally, after being alone for a few days, a handsome young man shows up—he’s a prince who had been cursed into the monster form until someone loved him. Naturally, they get married and live happily ever after.
Estefanella Hirigaray. [173]
Estefanella Hirigaray. [__A_TAG_PLACEHOLDER_0__]
In a third version, which was not taken down, the father was a sailor instead of a king.
In a third version, which was not removed, the father was a sailor instead of a king.
The Cobbler and his Three Daughters (Blue Beard).
Like many others in the world, there was a cobbler who had three daughters. They were very poor. He only earned enough just to feed his children. He did not know what would become of him. He went about in his grief, walking, walking sadly on, and he meets a gentleman, who asks him where he is going, melancholy like that. He answers him,
Like many others in the world, there was a shoemaker who had three daughters. They were very poor. He only earned enough to feed his children. He didn’t know what would happen to him. He wandered around in his sadness, walking slowly, when he encountered a gentleman who asked him why he looked so down. He replied,
“Even if I shall tell you, I shall get no relief.”
“Even if I tell you, I won’t feel any better.”
“Yes, yes; who knows? Tell it.”
“Yes, yes; who knows? Go ahead and say it.”
“I have three daughters, and I have not work enough to maintain them. I have famine in the house.”
“I have three daughters, and I haven't worked enough to support them. We are struggling to get by.”
“If it is only that, we will manage it. You will give me one of your daughters, and I will give you so much money.”
“If that’s all there is to it, we can handle it. You’ll give me one of your daughters, and I’ll give you this amount of money.”
The father was very grieved to make any such bargain; but at last he comes down to that. He gives him his eldest daughter. This gentleman takes her to his palace, and, after having passed some time there, he said to her that he has a short journey to make—that he will leave her all the keys, that she might see everything, but that there is one key that she must not make use of—that it would bring misfortune on her. He locks the door on the young lady. This young girl goes into all the rooms, and finds them very beautiful, and she was curious to see what there was in that which was forbidden. She goes in, and sees heaps of dead bodies. Judge of her fright! With her trembling she lets the key fall upon the ground. She trembles for the coming of her husband. He arrives, and asks her if she has entered the forbidden chamber. She tells him “Yes.” He takes her and puts her into an underground dungeon; hardly, [174]hardly did he give her enough to eat (to live on), and that was human flesh.
The father was very upset about making such a deal, but eventually, he agreed. He gave his eldest daughter to the gentleman. This guy took her to his palace, and after spending some time there, he told her he had a short trip to make. He would leave her all the keys so she could explore everything, but there was one key she mustn't use because it would bring her bad luck. He then locked the door behind her. The young woman explored all the rooms and found them to be beautiful, but she was curious about what was behind the forbidden door. She opened it and discovered piles of dead bodies. Just imagine her horror! In her shock, she dropped the key on the ground. She panicked, waiting for her husband to return. When he arrived, he asked if she had entered the forbidden chamber. She replied, “Yes.” He took her and threw her into an underground dungeon; he barely gave her enough food to survive, and that was human flesh.
This cobbler had finished his money, and he was again melancholy. The gentleman meets him again, and says to him,
This cobbler had run out of money, and he was feeling down again. The gentleman encounters him once more and says to him,
“Your other daughter is not happy alone; you must give me another daughter. When she is happy, I will send her back; and I will give you so much money.”
“Your other daughter isn’t happy on her own; you need to give me another daughter. Once she’s happy, I’ll send her back, and I’ll give you a lot of money.”
The father did not like it; but he was so poor that, in order to have a little money, he gives him his daughter. The gentleman takes her home with him, like the other. After some days he said to her too,
The father didn't approve, but he was so poor that, to have a little money, he gave his daughter to the gentleman. The man took her home with him, just like the others. A few days later, he said to her too,
“I must take a short journey. I will give you all the keys of the house, but do not touch such a key of such a room.”
“I need to make a quick trip. I’ll give you all the keys to the house, but don’t use the key to that room.”
He locks the house-door, and goes off, after having left her the food she needed. This young girl goes into all the rooms, and, as she was curious, she went to look into the forbidden chamber. She was so terribly frightened at the sight of so many dead bodies in this room, that she lets the key fall, and it gets stained. Our young girl was trembling as to what should become of her when the master should come back. He arrives, and the first thing he asks—
He locks the front door and leaves after giving her the food she needed. The young girl explores all the rooms, and out of curiosity, she decides to check the forbidden chamber. She becomes so scared at the sight of so many dead bodies in that room that she drops the key and it gets stained. The young girl is shaking, worried about what will happen to her when the master returns. He comes back, and the first thing he asks—
“Have you been in that room?”
“Have you been in that room?”
She told him “Yes.” He takes her underground, like her other sister.
She told him, "Yes." He takes her underground, just like her other sister.
This cobbler had finished his money, and he was in misery; when the gentleman comes to him again, and says to him,
This cobbler was out of money and feeling miserable when the gentleman came to him again and said,
“I will give you a great deal of money if you will let your daughter come to my house for a few days; the three will be happier together, and I will send you the two back again together.”
"I'll give you a lot of money if you let your daughter stay at my house for a few days; the three of us will be happier together, and I’ll send both of them back to you."
The father believes it, and gives him his third daughter. The gentleman gives him the money, and he takes this young girl, like the others. At the end of some days he leaves her, saying that he is going to make a short journey. [175]He gives her all the keys of the house, saying to her—
The father believes it and gives him his third daughter. The man hands him the money, and he takes this young girl, just like he did with the others. After a few days, he leaves her, claiming he's going on a short trip. [__A_TAG_PLACEHOLDER_0__] He gives her all the keys to the house and tells her—
“You will go into all the rooms except this one,” pointing out the key to her. He locks the outside door, and goes off. This young girl goes straight, straight to the forbidden chamber; she opens it, and think of her horror at seeing so many dead people. She thought that he would kill her too, and, as there were all kinds of arms in this chamber, she takes a sabre with her, and hides it under her dress. She goes a little further on, and sees her two sisters almost dying with hunger, and a young man in the same condition. She takes care of them as well as she can till the gentleman comes home. On his arrival, he asks her—
"You can go into all the rooms except this one," he said, pointing out the key to her. He locked the outside door and left. The young girl went straight to the forbidden room; she opened it and was horrified to see so many dead bodies. She feared he would kill her too, and since there were all kinds of weapons in the room, she grabbed a saber and hid it under her dress. She went a little further and saw her two sisters nearly starving, along with a young man in the same situation. She took care of them as best as she could until the gentleman returned home. When he arrived, he asked her—
“Have you been in that room?”
“Have you been in that room?”
She says, “Yes;” and, in giving him back the keys, she lets them fall on the ground, on purpose, and at the instant that this gentleman stoops to pick them up, the young lady cuts off his head (with her sword). Oh, how glad she was! Quickly she runs to deliver her sisters and that young man, who was the son of a king. She sends for her father, the cobbler, and leaves him there with his two daughters, and the youngest daughter goes away with her young gentleman, after being married to him. If they lived well, they died well too.
She says, “Yes;” and as she hands him back the keys, she deliberately lets them fall to the ground. The moment this gentleman bends down to pick them up, the young lady beheads him (with her sword). Oh, how happy she was! She quickly runs to rescue her sisters and the young man, who happened to be the son of a king. She calls for her father, the cobbler, and leaves him there with his two daughters, while the youngest daughter goes off with her young gentleman after marrying him. If they lived well, they also died well.
In another version, by Estefanella Hirigaray, we have the more ordinary tale of “Blue Beard”—that of a widower who has killed twenty wives, and marries a twenty-first, who has two brothers. She drops the key in the forbidden chamber, and is detected by the blood on it. She manages to write to her brothers, and the dialogue by which she endeavours to gain time is rather spirited. She is allowed to put on her wedding-dress, etc., to die in. She goes to get ready, and she hears the cries of her husband, “Are you ready?” “I am putting on my dress.” He bawls out again, “Are you ready?” “Give me a moment more.” “Are you ready?” “I am fastening my dress.” “Are you ready yet?” “I [176]am putting on my stockings.” And she kept constantly looking out of window to see if her brothers were coming. “Are you ready?” “Stop one moment; I am putting on my shoes.” “Are you ready?” “I am brushing my hair.” “Are you ready?” “Let me put on my wreath.” And she sees her brothers coming on horseback in the forest, but a very long way off. She hears again, “Are you ready?” “I am coming in an instant.” “You are coming? I’ll come, if you do not come down.” “Don’t come; I will come down myself, without you.” He seizes her on the stairs to kill her; but the brothers rush in just in time to prevent her death, and they put him in prison.
In another version by Estefanella Hirigaray, we have the more familiar story of “Blue Beard”—the tale of a widower who has killed twenty wives and marries a twenty-first, who has two brothers. She accidentally drops the key in the forbidden room and is discovered by the blood on it. She manages to write to her brothers, and her attempts to buy time are quite lively. She is allowed to put on her wedding dress, etc., before she is to die. She goes to get ready and hears her husband asking, “Are you ready?” “I’m putting on my dress.” He calls out again, “Are you ready?” “Give me just a moment.” “Are you ready?” “I’m fastening my dress.” “Are you ready yet?” “I’m putting on my stockings.” And she keeps looking out the window to see if her brothers are coming. “Are you ready?” “Hold on a second; I’m putting on my shoes.” “Are you ready?” “I’m brushing my hair.” “Are you ready?” “Let me put on my wreath.” She spots her brothers riding through the forest, but they're still quite far away. She hears again, “Are you ready?” “I’ll be there in a second.” “You’re coming? I’ll come if you don’t come down.” “Don’t come; I’ll come down myself, without you.” He grabs her on the stairs to kill her, but the brothers rush in just in time to save her and take him to prison.
We heard, also, another version, which, unfortunately, we did not take down. It had something about a horse in it, and was like “The Widow and her Daughters,” in Campbell, Vol. II., Tale xli., p. 265.
We also heard another version, which, unfortunately, we didn't record. It had something about a horse in it and was similar to "The Widow and her Daughters" in Campbell, Vol. II., Tale xli., p. 265.
The Singing Tree, the Bird which tells the Truth, and the Water that makes Young.
Like many others in the world, there were three young girls. They were spinning together, and as girls must always talk about something while they are spinning, the eldest said:
Like many others in the world, there were three young girls. They were spinning together, and since girls always seem to chat about something while they spin, the eldest said:
“You will not guess what I am thinking about?”
“You can’t guess what I’m thinking?”
“Tell it us, tell it us,” (said the other two).
“Tell us, tell us,” said the other two.
“That I should like to be married to the king’s valet.”
“That I would like to marry the king’s valet.”
“And I with his son-in-law,” said the second.
“And I with his son-in-law,” said the second.
And the third said: “And I with the king himself.”
And the third said, “And I with the king himself.”
Now, the king lived not far from these girls, and just at that moment he was passing before the door of their house, and heard what they said. The next day the king asked the eldest:
Now, the king lived not far from these girls, and at that moment he was walking past their house when he heard what they were saying. The next day, the king asked the eldest:
“What were you saying yesterday at such a time?” [177]
"What were you saying yesterday at that time?" [__A_TAG_PLACEHOLDER_0__]
And she was ashamed to tell him, but the king pressed her so much that at last she told it:
And she felt embarrassed to tell him, but the king insisted so much that finally she revealed it:
“I said that I wished to be married to your servant.”
“I said that I wanted to marry your servant.”
He made the second come, and asked her the same question: “What were you talking about yesterday?”
He came a second time and asked her the same question: “What were you talking about yesterday?”
She would not tell; but the king pressed her so much that she said:
She wouldn’t say anything; but the king insisted so much that she finally spoke up:
“I—I was saying that I wished to marry your son-in-law.”
“I—I was saying that I want to marry your son-in-law.”
He sends them back home, and sends for the third, and asks her what she said the evening before. She never dared to tell it, because that would have been too great an impudence, but at the last she told it him; and the king told her that they must really be married together, because she was so very pretty. This young girl goes running off home. She told her sisters that she is to marry the king, and all three go to live in the king’s house. The two sisters were very jealous. The princess became in the family-way; and the king was obliged to go to another kingdom. His poor wife was confined of a fine girl. But her sisters made the queen believe that she had given birth to a cat, and they wrote this too to the king. The king wrote back to them:
He sends them back home, then calls for the third sister and asks her what she said the night before. She never dared to tell him because that would have been too bold, but in the end, she told him everything; and the king said they really must get married since she was so beautiful. This young girl ran home. She told her sisters that she was going to marry the king, and all three moved into the king’s palace. The two sisters were very jealous. The princess became pregnant, and the king had to travel to another kingdom. His poor wife gave birth to a beautiful girl. But her sisters convinced the queen that she had given birth to a cat, and they also wrote this to the king. The king responded to them:
When the king returned he did not mention the cat at all. She became pregnant a second time, and the king was obliged to go to another kingdom, and when the princess was confined her sisters made her believe that she had given birth to a dog. Think what grief and pain this poor queen suffered. Her sisters wrote to the king that his wife had given birth to a dog, and that without doubt she had something to do with animals. He wrote again: “If it be a dog, take all possible care of it.” But they said that they had already thrown it into the water, as they had done with the cat.
When the king returned, he didn't mention the cat at all. She got pregnant again, and the king had to travel to another kingdom. When the princess gave birth, her sisters convinced her that she had delivered a dog. Just think of the sorrow and pain this poor queen felt. Her sisters wrote to the king, claiming that his wife had given birth to a dog and that she must be involved with animals. He responded again: “If it really is a dog, take good care of it.” But they said that they had already tossed it into the water, just like they had with the cat.
Fortunately a gardener was there, the same that had been there the first time. He caught hold of the basket, and [178]finds a beautiful child inside. He is very glad, and carries the child to his wife, who puts the infant out to nurse.
Fortunately, a gardener was present, the same one who had been there the first time. He picked up the basket and [__A_TAG_PLACEHOLDER_0__] found a beautiful child inside. He was very happy and took the child to his wife, who arranged for the baby to be nursed.
The princess became pregnant the third time. The king had intended to stop at home; but at the moment of the confinement he was obliged to go away somewhere, and the sisters wrote to the king that she had been confined of a bear. The king flew into a great rage, and ordered her to be put into a dungeon underground. They gave her a little food through a hole, so that she might not die of starvation; and nevertheless she had given birth to a handsome boy. The same gardener found this basket too, which they had thrown into the water. He carries it to his wife, and she gave it to the same nurse. They were very happy with it, and said that Heaven had sent them these three children, and they loved their father and mother very much; but when they were very old they both died.
The princess got pregnant for the third time. The king planned to stay home, but when it was time for her to give birth, he had to leave. The sisters informed the king that she had given birth to a bear. The king got extremely angry and ordered her to be locked up in an underground dungeon. They provided her with a little food through a hole so she wouldn’t starve, and despite everything, she gave birth to a beautiful boy. The same gardener found the basket they had thrown in the water. He took it to his wife, and she handed it to the same nurse. They were very happy about it and said that Heaven had sent them these three children, and they loved their mother and father very much; but when they grew very old, both of them passed away.
The two brothers and their sister got on very well together. They loved each other very much. The boys used to go out hunting and shooting, and they were so well off that they had something to give to the poor. One day there came an old woman begging, and she said to them:
The two brothers and their sister got along really well. They cared for each other a lot. The boys would often go hunting and shooting, and they were well-off enough to help the poor. One day, an old woman came by asking for help, and she said to them:
“You cannot be happy.”
“You can't be happy.”
“Yes, yes, we certainly are,” they answered.
“Yes, yes, we definitely are,” they replied.
And the woman said to them: “No, no, you want three things before you can be happy—the tree which sings, the bird which tells the truth, and the water which makes young again.”
And the woman said to them: “No, no, you need three things before you can be happy—the tree that sings, the bird that speaks the truth, and the water that makes you young again.”
The young girl grows sad at that. Her brothers remarked it immediately, and they asked her what was the matter with her. But she would not tell them. At last they forced her to tell it to them. She told them what this woman had told her.
The young girl felt sad about that. Her brothers noticed right away and asked her what was wrong. But she didn't want to tell them. Eventually, they made her share it with them. She told them what this woman had said to her.
The elder of the brothers sets out immediately, taking with him a horse and a little money. He gives an apple to his sister, saying to her:87 [179]
The older brother heads out right away, taking a horse and a bit of cash with him. He gives an apple to his sister, telling her:87 [__A_TAG_PLACEHOLDER_0__]
“If this apple changes I shall be in some trouble, and if it turns rotten I shall be dead.”
“If this apple changes, I’m going to be in trouble, and if it goes bad, I’ll be dead.”
And he starts off, and travels on, and on, and on. He finds a monk who tells him to retrace his steps, that there are great dangers before him; but he will go on notwithstanding. He meets again another monk, who tells him that he will never return. He confesses himself and prepares for death, such great dangers will he have to pass through. He said to him:
And he sets off, traveling on and on. He meets a monk who advises him to turn back, warning him of the great dangers ahead; but he continues anyway. He encounters another monk, who tells him that he will never come back. He confesses and gets ready for death, knowing he will face immense dangers. He said to him:
“You will hear terrible cries. It will seem to you as if they will pull you by your clothes, but never turn your head round.”88
“You will hear awful screams. It will feel like they're tugging on your clothes, but don't ever look back.”88
But our lad grew frightened and turned his head round, and was changed into stone.
But the young man got scared and looked back, and he turned to stone.
After some days the apple begins to get bad, and they fall into great sorrow because something must have happened to their brother, and the second brother said that he must go off too; and off he goes with a horse and a little money. Like the other brother he meets a monk, who wishes to stop him; but he said to him that it was all the same to him. He goes on till he meets another monk. This one also said to him:
After a few days, the apple starts to spoil, and they become very upset because something must have happened to their brother. The second brother said he had to leave too, so he sets off with a horse and a little money. Like the first brother, he encounters a monk who tries to stop him, but he tells the monk it doesn’t matter to him. He continues on until he meets another monk. This monk also says to him:
“Return on your steps. You will not be able to pass; you will hear cries and see horrors and terrible things—you will never be able to pass through.”
“Go back the way you came. You won’t be able to get through; you’ll hear screams and see horrifying and awful things—you’ll never be able to get past.”
But he prepares himself to go forward. He warned him well not to look round. He leaves his horse and sets out. When he has gone a short distance he hears frightful cries, and (sees) terrible things; and after having gone some distance further he looks on one side, and is changed into stone.
But he gets ready to move ahead. He strongly advised him not to look back. He leaves his horse behind and sets off. After walking a short way, he hears horrifying screams and sees dreadful sights; and after going a bit farther, he glances to the side and turns to stone.
The apple which he had left with his sister first changes, then goes quite rotten. You may judge of the sorrow and the grief of this poor girl. She says to herself that she [180]must dress herself like a man. She locks the door (of their house), and sets out on horseback. The same monk wishes to prevent her going on. But she has a still greater desire to do so, and, notwithstanding all she hears, she will go on. She arrives at the last monk, who was a great saint. He did not recognise that it was a young girl. For a hundred years past he had been on the same spot, until someone should get to the end of the mountain, and he hoped that this young girl might pass. He gives her a bottle into which she might put the water that makes young again, and says to her:
The apple he left with his sister first changes and then becomes completely rotten. You can imagine the sorrow and grief of this poor girl. She tells herself that she [__A_TAG_PLACEHOLDER_0__]must dress like a man. She locks the door of their house and sets off on horseback. The same monk tries to stop her from going further. But she has an even stronger desire to continue, and despite everything she hears, she pushes on. She reaches the last monk, who was a great saint. He doesn’t realize she’s a young girl. For a hundred years, he has been waiting in the same spot, hoping that someone might reach the end of the mountain, and he thinks that this young girl might be the one. He gives her a bottle to hold the water that brings youth, and says to her:
“You will sprinkle one drop on each stone, and they will live.”
“You'll put a drop on each stone, and they'll come to life.”
She sets off. The horrible cries did not frighten her. All kinds of things were said to her. She goes on and on, constantly running, and gets to the top of the mountain, and she is saved.
She sets off. The terrible screams didn’t scare her. People said all sorts of things to her. She keeps going and going, always running, and reaches the top of the mountain, and she is saved.
At the same instant she hears a thrilling song from a tree, which was warbling like a bird. A bird, too, flies on to her shoulder, and tells her so many things that she is quite astounded. But she does not lose her time—she takes out her bottle and fills it with water. She pours a drop on each stone, and finds her brothers at last. Think, think how they all three rejoiced together! They take their horses (they too had been changed into stones) and go home with their tree, and the bird, and the water.
At the same moment, she hears a beautiful song coming from a tree, like a bird singing. A bird also lands on her shoulder and tells her so many things that she is completely amazed. But she doesn’t waste any time—she pulls out her bottle and fills it with water. She pours a drop on each stone and finally finds her brothers. Just think about how happy they all were to be together! They take their horses (which had also turned into stones) and head home with their tree, the bird, and the water.
They lived very happily. The brothers went out hunting every day, and sometimes they met the king. One day the king invited them to dine with him, but they said that they must first ask permission of their sister. When they came home they asked her, and the bird answered immediately:
They lived very happily. The brothers went out hunting every day, and sometimes they ran into the king. One day the king invited them to dinner, but they said they needed to ask their sister for permission first. When they got home, they asked her, and the bird answered right away:
“On condition that the king will come here to-morrow.”
“Provided that the king arrives here tomorrow.”
They go with this answer to the king, and he says, “Yes.”
They take this answer to the king, and he says, “Yes.”
They dine very well with the king, but their sister was not at all pleased; she did not know how to receive the king. The bird says to her:
They have dinner with the king regularly, but their sister was really unhappy; she didn't know how to welcome the king. The bird tells her:
“Lay the table with a fine cloth, and three dishes; put [181]lentils into one, parched peas into the other, and haricot beans into the other.”
“Set the table with a nice cloth and three dishes; put [__A_TAG_PLACEHOLDER_0__]lentils in one, roasted peas in the second, and green beans in the third.”
Next day the king comes with his two brothers. The king is astonished to hear this beautiful tree and this fine singing. He had never heard anything so wonderful. He was surprised to see these three dishes, and he said to them:
Next day, the king arrives with his two brothers. The king is amazed to hear this beautiful tree and the lovely singing. He had never heard anything so incredible. He was taken aback to see these three dishes and said to them:
“Is it not strange to receive a king like this?”
“Isn’t it odd to welcome a king like this?”
And the bird, hopping out of its cage, begins, “It is not more strange than to see this young woman pass for a cat. Is she a cat?”
And the bird, hopping out of its cage, starts, “It’s no stranger than seeing this young woman acting like a cat. Is she a cat?”
In the same way it points to the elder brother, “Is this a dog, this young man? Is not this a thing more astonishing?”
In the same way it points to the older brother, “Is this a dog, this young man? Is this not something more incredible?”
The king is confounded. And the same thing for the third time, pointing to the second son, “Is this a bear, this one? Is this not an astonishing thing?”
The king is baffled. And for the third time, pointing to the second son, “Is this a bear, this one? Isn't this amazing?”
The king, in his amazement, does not know what to answer to the bird; but it continues:
The king, amazed, doesn't know how to respond to the bird; but it keeps going:
“Is it not a shame to leave one’s wife, and make her live eighteen years in a dungeon underground?”
“Isn’t it a shame to leave your wife and make her live eighteen years in a dungeon underground?”
The king is terribly frightened, and off he goes with his sons and his daughter, intending to free their mother; but they did not forget the precious water, and they wash this princess in it, and she becomes as young as at eighteen years old. Judge of the joy of the king, of the queen, and of their children! The king fell into a great rage, and condemns the queen’s sisters to be burnt alive in the midst of the market-place, with shirts of sulphur on them.
The king is extremely scared, so he heads out with his sons and daughter, determined to rescue their mother. They remember the precious water, use it to wash the princess, and she becomes as young as she was at eighteen. Imagine the joy of the king, the queen, and their children! However, the king becomes furious and sentences the queen’s sisters to be burned alive in the middle of the marketplace, wearing shirts soaked in sulfur.
Catherine Elizondo.
Catherine Elizondo.
We have also the more common version of this story—of an aged king with three sons. He reads of this water, and the three sons successively set out to fetch it. The two first fail, and stop, drinking, &c., in a certain city. The youngest meets an old woman, who tells him how to charm all the beasts in a forest he has to pass through, and how [182]to get the water, but he is not to take anything else. But he steals the bird, and the magic horse as well, and when he gets to the forest finds all the animals awake. The old woman appears again, and gives him a magic stick, with the aid of which he passes. He finds his brothers against the advice of the old lady, and they throw him into a pit and take away the water, the horse, and the bird; but the water has no effect in their hands. The old woman appears, and sends a fox to help him out of the pit. He comes home, the horse neighs, the bird sings, he gives the water to his father, and from one hundred years old he becomes twenty.
We also have the more common version of this story—about an old king with three sons. He hears about this magical water, and the three sons set out to get it one after the other. The first two fail and get distracted, hanging out in a certain city. The youngest meets an old woman who tells him how to charm all the animals in the forest he needs to pass through and how [__A_TAG_PLACEHOLDER_0__]to retrieve the water, but he’s not supposed to take anything else. However, he steals the bird and the magic horse as well, and when he reaches the forest, he finds all the animals awake. The old woman appears again and gives him a magic stick to help him get through. He finds his brothers despite the old lady's warning, and they throw him into a pit and take the water, the horse, and the bird; but the water has no effect in their hands. The old woman appears and sends a fox to help him out of the pit. He returns home, the horse neighs, the bird sings, he gives the water to his father, and he goes from being a hundred years old to twenty.
E. Hirigaray.
E. Hirigaray.
The White Blackbird.
Like many others in the world, there was a king who had three sons. This king was blind, and he had heard one day that there was a king who had a white blackbird, which gave sight to the blind. When his eldest son heard that, he said to his father that he would go and fetch this white blackbird as quickly as possible.
Like many others in the world, there was a king who had three sons. This king was blind, and one day he learned about another king who had a white blackbird that could restore sight to the blind. When his eldest son heard this, he told his father that he would go and get this white blackbird as quickly as he could.
The father said to him, “I prefer to remain blind rather than to separate myself from you, my child.”
The father said to him, “I’d rather stay blind than be apart from you, my child.”
The son says to him, “Have no fear for me; with a horse laden with money I will find it and bring it to you.”
The son says to him, “Don’t worry about me; I’ll find it with a horse loaded with money and bring it back to you.”
He goes off then, far, far, far away. When night came he stopped. One evening he stopped at an inn where there were three very beautiful young ladies. They said to him that they must have a game of cards together. He refuses; but after many prayers and much pressing they begin. He loses all his money, his horse, and also has a large debt against his word of honour. In this country it was the custom for persons who did not pay their debts to be put in prison, and if they did not pay after a given time they were put to death, and then afterwards they were left [183]at the church doors until someone should pay their debts.89 They therefore put this king’s son in prison.
He sets off then, far, far away. When night fell, he stopped. One evening he arrived at an inn where three stunning young ladies were. They insisted that they play cards together. He declined, but after a lot of persuading, they started the game. He lost all his money, his horse, and ended up with a huge debt as well. In this place, it was the custom for people who didn’t pay their debts to be imprisoned, and if they still didn’t pay after a certain time, they would be executed, and then their bodies would be left [__A_TAG_PLACEHOLDER_0__] at the church doors until someone paid off their debts.89 So they threw this prince into prison.
The second son, seeing that his brother did not return, said to his father that he wished to go off, (and asked him) to give him a horse and plenty of money, and that certainly he would not lose his time. He sets off, and, as was fated to occur, he goes to the inn where his brother had been ruined. After supper these young ladies say to him:
The second son, noticing that his brother hadn't come back, told his father he wanted to leave and asked for a horse and some money, promising he wouldn't waste his time. He set off and, as fate would have it, ended up at the inn where his brother had met his downfall. After dinner, the young ladies said to him:
“You must have a game of cards with us.”
“You have to play a game of cards with us.”
He refuses, but these young ladies cajole him so well, and turn him round their fingers, that he ends by consenting. They begin then, and he also loses all his money, his horse, and makes a great many debts besides. They put him in prison like his brother.
He refuses, but these young women charm him so effortlessly and wrap him around their fingers that he eventually agrees. They start then, and he ends up losing all his money, his horse, and racks up a lot of debt on top of that. They throw him in jail just like his brother.
After some time the king and his youngest son are in deep grief because some misfortune must have happened to them, and the youngest asks leave to set out.
After a while, the king and his youngest son are in deep sorrow because something unfortunate must have happened to them, and the youngest asks for permission to leave.
“I assure you that I will do something. Have no anxiety on my account.”
“I promise you that I will do something. Don't worry about me.”
This poor father lets him go off, but not with a good will. He kept saying to him that he would prefer to be always blind; but the son would set off. His father gives him a beautiful horse, and as much gold as his horse could carry, and his crown. He goes off far, far, far away. They rested every night, and he happened, like his brothers, to go to the same inn. After supper these young ladies say to him:
This poor father lets him leave, but he doesn’t do it willingly. He kept telling him that he would rather be blind forever; but the son is determined to go. His father gives him a beautiful horse, as much gold as the horse can carry, and his crown. The son sets off, traveling far, far away. They rest every night, and he ends up at the same inn as his brothers. After dinner, these young ladies say to him:
“It is the custom for everyone to play at cards here.”
"It’s a tradition for everyone to play cards here."
He says that it is not for him, and that he will not play. The young ladies beg him ever so much, but they do not succeed with this one in any fashion whatever. They cannot make him play. The next morning he gets up early, takes his horse, and goes off. He sees that they are leading [184]two men to death. He asks what they have done, and recognises his two brothers. They tell him that they have not paid their debts within the appointed time, and that they must be put to death. But he pays the debts of both, and goes on. Passing before the church he sees that they are doing something. He asks what it is. They tell him that it is a man who has left some debts, and that until someone pays them he will be left there still. He pays the debts again.
He says it’s not for him and that he won’t play. The young ladies plead with him, but they can’t get him to change his mind. He won’t play. The next morning, he wakes up early, takes his horse, and rides off. He sees that they’re bringing [__A_TAG_PLACEHOLDER_0__] two men to their execution. He asks what they did and recognizes his two brothers. They tell him they didn’t pay their debts on time and must be killed. But he pays off both their debts and continues on. As he passes by the church, he sees some commotion. He asks what’s happening. They tell him it’s a man who left behind some debts, and he’ll stay there until someone pays them. He pays the debts again.
He goes on his journey, and arrives at last at the king’s house where the blackbird was. Our king’s son asks if they have not a white blackbird which restores sight. They tell him, “Yes.” Our young gentleman relates how that his father is blind, and that he has come such a long way to fetch it to him.
He continues on his journey and finally arrives at the king’s house where the blackbird is. The king's son asks if they have a white blackbird that can restore sight. They respond, “Yes.” The young man explains that his father is blind and he has traveled a long way to get it for him.
The king says to him, “I will give you this white blackbird, when you shall have brought me from the house of such a king a young lady who is there.”
The king says to him, “I will give you this white blackbird when you bring me a young lady from the house of that king.”
Our young man goes off far, far, far away. When he is near the king’s house a fox90 comes out and says to him, “Where are you going to?”
Our young man travels far, far away. As he approaches the king’s house, a fox90 appears and asks him, “Where are you headed?”
He answers, “I want a young lady from the king’s house.”
He replies, “I want a young woman from the king’s house.”
He gives his horse to the fox to take care of, and the fox says to him:
He hands his horse over to the fox for safekeeping, and the fox says to him:
“You will go to such a room; there will be the young lady whom you need. You will not recognise her because she has old clothes on, but there are beautiful dresses hanging up in the room. You will make her put on one of those. As soon as she shall have it on, she will begin to sing and will wake up everybody in the house.”
"You will go to a room where the young lady you need is. You won’t recognize her because she's wearing old clothes, but there are beautiful dresses hanging in the room. You will get her to try one of those on. As soon as she puts it on, she will start singing and will wake everyone in the house."
He goes inside as the fox had told him. He finds the young lady. He makes her put on the beautiful dresses, and as soon as she has them on she begins to sing and to [185]carol. Everyone rushes into this young lady’s room. The king in a rage wished to put him in prison, but the king’s son shows his crown, and tells how such a king sent him to fetch this young lady, and when once he has brought her he promises him the white blackbird to open his father’s eyes.
He goes inside just like the fox told him. He finds the young woman. He makes her put on the beautiful dresses, and as soon as she wears them, she starts to sing and to [__A_TAG_PLACEHOLDER_0__]carol. Everyone rushes into this young woman’s room. The king, infuriated, wants to throw him in jail, but the king’s son shows his crown and explains how that king sent him to bring this young woman, and once he delivers her, he promises the white blackbird to open his father's eyes.
The king then says to him, “You must go to the house of such a king, and you must bring me from there a white horse, which is very, very beautiful.”
The king then says to him, “You need to go to the house of that king, and you have to bring me back a very beautiful white horse from there.”
Our young man sets out, and goes on, and on, and on. As he comes near the house of the king, the fox appears to him and says to him:
Our young man sets off and keeps going and going. When he gets close to the king's house, the fox shows up and says to him:
“The horse which you want is in such a place, but he has a bad saddle on. You will put on him that which is hanging up, and which is handsome and brilliant. As soon as he shall have it on he will begin to neigh, so much as not to be able to stop.91 All the king’s people will come to see what is happening, but with your crown you will always get off scot free.”
“The horse you want is in a specific place, but he has a bad saddle on. You’ll put on the nice, shiny one that’s hanging up. As soon as he has it on, he’ll start neighing so loudly that he won’t be able to stop.91 All the king’s people will come to see what’s going on, but with your crown, you’ll always get away without trouble.”
He goes off as the fox had said to him. He finds the horse with the bad saddle, and puts on him the fine one, and then the horse begins to neigh and cannot stop himself. People arrive, and they wish to put the young man in prison, but he shows them his crown, and relates what king had sent him to fetch this horse in order to get a young lady. They give him the horse, and he sets off.
He leaves just like the fox told him to. He finds the horse with the bad saddle, puts the nice one on, and then the horse starts neighing uncontrollably. People come over and try to put the young man in jail, but he shows them his crown and tells them which king sent him to get this horse so he could win over a young lady. They give him the horse, and he takes off.
He comes to the house of the king where the young lady was. He shows his horse with its beautiful saddle, and asks the king if he would not like to see the young lady take a few turns on this beautiful horse in the courtyard. The king says, “Yes.” As the young lady was very handsomely dressed when she mounted the horse, our young man gives the horse a little touch with his stick, and they set off like the lightning. The king’s son follows them, and [186]they go both together to the king who had the white blackbird. They ask him for the blackbird, and the bird goes of itself on to the knees of the young lady, who was still on horseback. The king’s son gives him a blow, and they set off at full gallop; he also escapes in order to rejoin them. They journey a long, long time, and approach their city.
He arrives at the king's house where the young lady is. He shows off his horse with its beautiful saddle and asks the king if he'd like to see the young lady take a few laps on this stunning horse in the courtyard. The king replies, “Yes.” Since the young lady is dressed very elegantly when she mounts the horse, our young man gives the horse a gentle tap with his stick, and they take off like lightning. The king’s son follows them, and [__A_TAG_PLACEHOLDER_0__] they both head to the king who has the white blackbird. They ask him for the blackbird, and the bird hops onto the knees of the young lady, who is still on horseback. The king’s son strikes the bird, and they take off at full gallop; he also rushes to catch up with them. They travel for quite a while and near their city.
His brothers had heard the news how that their brother was coming with the white blackbird. These two brothers had come back at last to their father’s house, and they had told their father a hundred falsehoods; how that robbers had taken away their money, and many things like that. The two brothers plotted together, and said that they must hinder their brother from reaching the house, and that they must rob him of the blackbird.
His brothers had heard the news that their brother was coming with the white blackbird. These two brothers had finally returned to their father’s house, and they had told their father a hundred lies; how robbers had stolen their money and many other things like that. The two brothers schemed together, saying that they needed to stop their brother from getting to the house and that they had to take the blackbird from him.
They keep expecting him always. One day they saw him coming, and they say that they must throw him into a cistern,92 and they do as they say. They take the blackbird and throw him and the lady into the water, and leave the horse outside. The fox comes to them on the brink of the cistern, and says to them:
They always expect him to show up. One day they saw him coming, and they said they needed to throw him into a cistern,92 and that's what they did. They took the blackbird and tossed him and the lady into the water, leaving the horse outside. The fox approached them at the edge of the cistern and said to them:
“I will leap in there; you will take hold of my tail one by one, and I will save you.”
“I'll jump in there; you each hold on to my tail, and I'll pull you out.”
The two wicked brothers had taken the blackbird, but he escaped from them as they entered the house, and went on to the white horse. Judge of the joy of the youngest brother when he sees that nothing is wanting to them! They go to the king. As soon as they enter the young lady begins to carol and to sing, the bird too, and the horse to neigh. The blackbird of its own accord goes on to the king’s knees, and there by its songs restored him to sight. The son relates to his father what labours he underwent until he had found these three things, and he told him how he had saved two men condemned to death by paying their debts, and that they were his two brothers; that he had also paid the [187]debts of a dead man, and that his soul (the fox was his soul) had saved him from the cistern into which his brothers had thrown him.
The two wicked brothers had captured the blackbird, but he managed to escape just as they entered the house, and went on to join the white horse. Imagine the youngest brother’s joy when he saw that they were all safe! They went to the king. As soon as they walked in, the young lady started singing, the bird began to chirp, and the horse started neighing. The blackbird flew onto the king's lap, and with its songs, it restored his sight. The son explained to his father the challenges he faced to find these three things, mentioning how he saved two men who were sentenced to death by paying off their debts, which turned out to be his two brothers; he also talked about how he had settled the debts of a deceased man, and that his soul (the fox was his soul) saved him from the well where his brothers had tossed him.
Think of the joy of the father, and his sorrow at the same time, when he saw how wisely this young son had always behaved, and how wicked his two brothers had been. As he had well earned her, he was married to the young lady whom he had brought away with him, and they lived happily and joyfully. The father sent the two brothers into the desert to do penance. If they had lived well, they would have died well.
Think about the father's joy, mixed with his sorrow, when he saw how wisely this young son had always acted, and how wicked his two brothers had been. He had earned it, so he married the young lady he had brought with him, and they lived happily together. The father sent the two brothers into the desert to atone for their sins. If they had lived well, they would have died well.
The Sister and her Seven Brothers.
There was a man and a woman very poor, and over-burdened with children. They had seven boys. When they had grown up a little, they said to their mother that it would be better that they should go on their own way—that they would get on better like that. The mother let them go with great regret. After their departure she gave birth to a little girl, and when this little girl was grown up a little she went one day to a neighbor’s to amuse herself, and having played some childish trick the neighbor said to her:
There was a man and a woman who were very poor and overwhelmed with kids. They had seven boys. As the boys grew a bit older, they told their mom that it would be better for them to go their own way and that they would do better that way. The mom let them go with a heavy heart. After they left, she had a little girl, and when this girl got a bit older, she went one day to a neighbor's to have some fun, and after playing a childish prank, the neighbor said to her:
“You will be a good one, you too, as your brothers have been.”93
“You're going to be great, just like your brothers have been.”93
The child goes home and says to her mother, “Mother, have I some brothers?”93
The child goes home and says to her mom, “Mom, do I have any brothers?”93
The mother says, “Yes.”
The mom says, “Yes.”
“Where are they?”
“Where are they at?”
“Oh, gone off somewhere.”
“Oh, disappeared somewhere.”
The daughter said to her, “I must go too, then. Give me a piece of linen enough to make seven shirts.”
The daughter said to her, “I need to go too. Please give me enough linen to make seven shirts.”
And she would go off at once. The mother was very sorry for it, having already seven children away from home, and the only one she had wished to go away. She let her go then. [188]
And she would leave right away. The mother felt really sad about it, having already seven kids away from home, and the only one she actually wanted to leave. So, she let her go. [__A_TAG_PLACEHOLDER_0__]
This young girl went off, far, far, far away. She asks in a town if they know seven brothers who work together. They tell her “No.” She goes off to a mountain and asks there too, and they tell her in what house they live. She goes to this house, and sees that all the household work is to be done, and that there is nobody at home. She makes the beds, and cleans the whole house, and puts it in order. She prepares the dinner, and then hides herself in the dust-hole. Her brothers come home, and are astonished to see all the household work done and the dinner ready. They begin to look if there is anyone in the house, but they never think of looking in the dust-hole, and they go off again to their work. Before night this young girl does all the rest of the work, and had the supper ready against the return of her brothers, and hides herself again in the dust-hole. Her brothers are astonished, and again search the house, but find nothing.
This young girl went far, far away. In a town, she asks if anyone knows seven brothers who work together. They tell her, "No." She then goes to a mountain and asks there too, and they tell her which house they live in. She goes to that house and sees that all the household chores need to be done and that no one is home. She makes the beds, cleans the whole house, and tidies up. She prepares dinner and then hides in the dust-hole. Her brothers come home and are amazed to see all the chores done and dinner ready. They start looking for anyone in the house but never think to check the dust-hole, so they leave for work again. By night, this young girl finishes the rest of the work and has supper ready for her brothers' return, hiding herself in the dust-hole once more. Her brothers are astonished and search the house again but find nothing.
They go to bed, and this young girl takes to sewing and sews a whole shirt. She gives it to her eldest brother, and in the same way she made a shirt every night, and took it to one of her brothers. They could not understand how that all happened. They always said that they would not go to sleep, but they fell asleep as soon as they were in bed. When the turn of the youngest came to have the shirt, he said to them, “Certainly I will not fall asleep.” After he is in bed the young girl goes and says to him, thinking that he is asleep:
They go to bed, and the young girl starts sewing and makes a whole shirt. She gives it to her oldest brother, and she continues making a shirt every night, giving it to one of her brothers. They couldn't figure out how it all happened. They always claimed they wouldn't fall asleep, but they would doze off as soon as they were in bed. When it was the youngest brother's turn to get the shirt, he told them, “I definitely won’t fall asleep.” Once he was in bed, the young girl went over and said to him, thinking he was asleep:
“Your turn has come now at last, my dearly loved brother.”
“Your time has finally come now, my beloved brother.”
And she begins to put the shirt on him on the bed, when her brother says to her:
And she starts to put the shirt on him while he’s lying on the bed, when her brother says to her:
“You are then my sister, you?”
"Are you my sister?"
And he kisses her. She tells him then how she had heard that she had brothers, and how she had wished to go to them to help them. The other brothers get up and rejoice, learning that it was their sister who had done all the household work. [189]
And he kisses her. She then tells him how she heard that she had brothers and how she wished to go help them. The other brothers get up and celebrate, realizing that their sister had done all the housework. [__A_TAG_PLACEHOLDER_0__]
The brothers forbad her ever to go to such a neighbour’s, whatever might happen. But one day, without thinking about it, when she was behindhand with her work, she went running to the house to ask for some fire,94 in order to make the supper ready quicker. She was very well received; the woman offered to give her everything she wanted, but she said she was satisfied with a little fire. This woman was a witch, and gives her a parcel of herbs, telling her to put them as they were into the footbath—that they relieved the fatigue very much.95 Every evening the seven brothers washed their feet at the same time in a large copper. She therefore put these herbs into the copper, and as soon as they had dipped their feet in they became six cows, and the seventh a Breton cow.96 This poor girl was in such trouble as cannot be told. The poor cows all used to kiss their sister, but the young girl always loved much best the Breton one. Every day she took them to the field, and stopped with them to guard them.
The brothers forbade her from ever going to that neighbor's house, no matter what. But one day, not thinking about it, she rushed over to ask for some fire to help her get dinner ready faster since she was behind with her chores. She was warmly welcomed; the woman offered her anything she wanted, but she said she was fine with just a little fire. This woman was a witch and gave her a bundle of herbs, telling her to put them directly into the footbath, claiming they would relieve her fatigue a lot. Every evening, the seven brothers would wash their feet together in a large copper tub. So, she added the herbs to the copper, and as soon as they dipped their feet in, they turned into six cows, with the seventh being a Breton cow. This poor girl was in a terrible situation. The cows would often nuzzle their sister, but she especially loved the Breton cow the most. Every day, she took them out to the fields and stayed with them to keep watch.
One day when she was there the son of a king passes by, and is quite astonished to see so beautiful a girl there. He speaks to her, and tells her that he wishes to marry her. The young girl says to him that she is very poor, and that that cannot be. The king says, “Yes, yes, yes, that makes no difference.”
One day while she was there, the son of a king walked by and was amazed to see such a beautiful girl. He talked to her and said he wanted to marry her. The girl replied that she was very poor and that it wasn't possible. The prince said, “Yes, yes, yes, that doesn't matter.”
The young girl makes as conditions that, if she marries him, he must never kill these cows, and especially this little Breton one.97 The king promises it her, and they are married. [190]
The young girl insists that if she marries him, he must never kill these cows, especially this little Breton one.97 The king promises her this, and they get married. [__A_TAG_PLACEHOLDER_0__]
The princess takes these cows home with her; they were always well treated. The princess became pregnant, and was confined while the king was absent. The witch comes, and takes her out of her bed, and throws her down a precipice that there was in the king’s grounds, and the witch puts herself into the princess’ bed. When the king comes home, he finds her very much changed, and tells her that he would not have recognised her. The princess tells him that it was her sufferings that had made her thus, and, in order to cure her more quickly, he must have the Breton cow killed.
The princess brings the cows home with her; they were always treated well. She becomes pregnant and gives birth while the king is away. The witch comes and drags her out of bed, tossing her down a cliff that was on the king's property, then climbs into the princess's bed. When the king returns, he finds her looking very different and says he wouldn’t have recognized her. The princess explains that her suffering has changed her, and to help her recover faster, he needs to have the Breton cow killed.
The king says to her—
The king tells her—
“What! Did you not make me promise that she should never be killed? How is it you ask me that?”
“What! Didn’t you make me promise that she would never be killed? Why are you asking me that?”
The witch considered that one her greatest enemy; and, as she left him no peace, he sent a servant to fetch the cows. He finds them all seven by the precipice; they were lowing, and he tried to drive them to the house, but he could not do it in any way; and he hears a voice, which says,
The witch saw him as one of her biggest enemies; and because she gave him no peace, he sent a servant to get the cows. The servant found all seven by the cliff; they were mooing, and he tried to herd them back to the house, but he couldn't manage to do it at all; then he heard a voice that said,
“It is not for myself that I grieve so much, but for my child, and for my husband, and for my dearly-loved cows. Who will take care of them?”
“It’s not just for myself that I’m so upset, but for my child, my husband, and my beloved cows. Who will look after them?”
The lad could not succeed (in driving them), and goes and tells to the king what is taking place. The king himself goes to the precipice, and hears this voice. He quickly throws a long cord down, and, when he thinks that she has had time to take hold of it, he pulls it up, and sees that they have got the princess there. Judge of the joy of the king! She relates to her husband all that the witch had done to her, both formerly and now. The king goes to the witch’s bed, and says to her,
The young man couldn't manage to drive them away, so he goes and tells the king what’s happening. The king himself approaches the cliff and hears the voice. He quickly throws down a long rope, and when he thinks she’s had enough time to grab it, he pulls it up and finds that they have rescued the princess. Imagine the king's joy! She tells her husband everything the witch had done to her, both in the past and currently. The king goes to the witch’s bed and says to her,
“I know your villanies now; and, if you do not immediately change these cows, as they were before, into fine boys, I will put you into a red-hot oven.”
“I know what you’ve done now; and if you don’t turn these cows back into fine boys right away, I’m going to throw you into a red-hot oven.”
The witch makes them fine men, and, notwithstanding that, the king had her burnt in a red-hot oven, and threw her ashes into the air. The king lived happily with his [191]wife, and her seven brothers married ladies of the court, and sent for their mother, and they all lived happily together.
The witch turned them into fine men, but still, the king had her burned in a red-hot oven and scattered her ashes in the wind. The king lived happily with his [__A_TAG_PLACEHOLDER_0__]wife, and her seven brothers married ladies from the court, and they invited their mother to join them, and they all lived happily together.
Louise Lanusse.
Louise Lanusse.
We have also, in Basque, a version of Madame d’Aulnoy’s “Abenan.” It seems to be a mixture of various legends strung together by this fanciful writer; but we do not think it worth either our own or our readers’ while to try to disentangle its separate parts. The pretty little tale of “The Faded Roses” has been told us from two quite different sources. This tale, though without doubt derived from the French, we can trace up in Basque further than any other. It was told us by a lady of between seventy and eighty, who heard it as a child from an old nurse, whom she distinctly remembers to have told her that she learnt it as a child from her mother. It must thus have existed in Basque over a century.
We also have a Basque version of Madame d’Aulnoy’s “Abenan.” It appears to be a blend of various legends woven together by this imaginative writer; however, we don’t think it's worthwhile for us or our readers to try to untangle its individual parts. The charming little tale of “The Faded Roses” has come to us from two very different sources. This tale, although undoubtedly originating from the French, can be traced back in Basque further than any other. A lady, who is now between seventy and eighty, told us this story; she heard it as a child from an old nurse, who she vividly recalls saying that she learned it as a child from her mother. Therefore, it must have existed in Basque for over a century.
We have also two versions of Tom Thumb, who is called in the one “Ukhailtcho,” or “Baratchuri”—“a clove of garlic;”98 in the other, “Mundua-mila-pes,” both containing the episode of his being swallowed by an ox; in the last, he himself is swallowed, as they are washing out the ox’ entrails, by “a thief of a dog”—“Ohoñ chakhurra.” It is singular that the same episode is preserved in the Gaelic; cf. Campbell, Vol. III., p. 114.
We also have two versions of Tom Thumb, who is called in one “Ukhailtcho,” or “Baratchuri”—“a clove of garlic;”98 in the other, “Mundua-mila-pes,” both including the part where he gets swallowed by an ox; in the last version, he is swallowed himself while they are cleaning out the ox’s entrails, by “a sneaky dog”—“Ohoñ chakhurra.” It’s interesting that the same episode is found in Gaelic; cf. Campbell, Vol. III., p. 114.
We have in MS. a long Rabelesian legend, which opens like Cenac-Moncaut’s tale of “Le Coffret de la Princesse,” in his “Littérature Populaire de la Gascogne” (Paris, 1868). A king will give one of his daughters to whoever can guess what the skin of a certain animal is. It is the devil who guesses it, and who marries the princess. She is saved by the “white mare,” which appears in so many of our tales. She then dresses as a man, but, nevertheless, a prince falls in love with her; and then follow a lot of scenes, the converse of the adventure of Achilles in Scyros. They marry; [192]but, after seven years, the devil-husband reappears. After strange adventures, they are again succoured and united by the “white mare,” who binds the devil for ever, and then flies to heaven as a white pigeon, and the rest live happily ever after. This legend is from “Laurentine, Sister of Toutou,” and may be mingled with Cascarrot legends. We have given it as derived from the French, partly because the heroine’s name is Fifine, and because this, and “Petit Perroquet and the Tartaro,” are the only tales in our collection in which the term “prince” is employed in the Basque instead of “the king’s son.” Cf. Campbell’s “Highland Tales,” passim.
We have a long Rabelesian legend in manuscript that starts like Cenac-Moncaut’s story “Le Coffret de la Princesse,” from his “Littérature Populaire de la Gascogne” (Paris, 1868). A king promises to give one of his daughters to whoever can guess the skin of a certain animal. The devil is the one who guesses it correctly and marries the princess. She is rescued by the “white mare,” which appears in many of our tales. She then disguises herself as a man, but a prince falls in love with her anyway. This leads to a series of events that are the opposite of Achilles’s adventure in Scyros. They get married; [__A_TAG_PLACEHOLDER_0__]but after seven years, the devil-husband comes back. After some strange adventures, they are once again helped and reunited by the “white mare,” who binds the devil forever and then soars to heaven as a white pigeon, while the others live happily ever after. This legend is from “Laurentine, Sister of Toutou,” and may be mixed with Cascarrot legends. We've presented it as coming from the French, partly because the heroine’s name is Fifine, and also because this, along with “Petit Perroquet and the Tartaro,” are the only stories in our collection where the term “prince” is used in Basque instead of “the king’s son.” Cf. Campbell’s “Highland Tales,” passim.
We owe the following notes to the kindness of M. H. Vinson, Judge at La Réole, Gironde. They may be of assistance to some of our readers in the endeavour to trace out the length of time which is required for the translations of exotic legends to become popular traditions among a people who know the language of the translation only by “social contact.”
We owe the following notes to the generosity of M. H. Vinson, a judge in La Réole, Gironde. They might help some of our readers in their effort to figure out how long it takes for translations of foreign legends to turn into popular traditions among people who only know the language of the translation through “social contact.”
Premières Editions de la Première Traduction en Français des Mille et une Nuits. | |
Les Mille et une Nuits, Contes Arabes, trad. par Galland. Paris, 12 vols. in 12mo. | 1704–1717 |
Les Mille et une Nuits, Contes Arabes, trad. par Galland. Paris, 6 vols. in 12mo. | 1774 |
Les Mille et une Nuits, Revues et Corrigées par M. Caussin de Percival. Paris, Lenormant, 9 vols. 8vo. | 1806 |
Première Traduction de Bidpai et Loqman. | |
Contes et Fables Indiennes de Bidpai et de Loqman, trad. (posth.) par Ante Galland. Paris, 2 vols. in 12mo. | 1724 |
Contes et Fables Indiennes, Traduction d’après la Version Turque d’Ali-Tchelebt-ben-Salet, par Galland, terminée et publiée par D. Gardonne. Paris, 3 vols. 12mo. | 1778 [__A_TAG_PLACEHOLDER_0__] |
Fables de Loqman, Édition Arabe, accomp. d’une Traduction Franc: (par M. Mariel) au Caire, de l’imp. Nation, au VII. 8vo.99 | 1799 |
Contes de Grimm. | |
Contes de la Famille, par les Frères Grimm, traduit de l’Allemand, par M. Martin et Pitre-Chevalier. Paris, Renouard, 12mo. | 1846 |
Edition Originale, Kinder und Hausmärchen. Berlin, 2 vols. 16mo. | 1812–14 |
Les Plus Anciens Recueils de Contes en Français. | |
Les Cent Nouvelles Nouvelles. Paris, Ant. Verard, pet. in fol. Goth. | 1486 |
Le Parangon de Nouvelles Honnestes. Lyon, in 8vo. | 1531 |
Les Nouvelles Récreations de Bonaventure des Periers. Lyon, in 4to. | 1558 |
L’Heptameron de Margaret de Valois. Paris, 8vo. | 1559 |
Baliverneries ou Contes Nouveaux d’Entrapel, publ. par Noel Du Fail. Paris, 16mo. | 1548 |
Les Serées de Guillaume Bouchet. Poitiers, 4to. Paris, 3 vols. 12mo. | 1584, 1608 |
Nouvelles Choisies, par Ch. Sorel. Paris, 2 vols. 8vo. | 1645 |
Contes des Fées, par Madame d’Aulnoy. | 1630–1705 |
Contes des Fées, par Ch. Perrault. | 1697 |

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2 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.”
2 I believe this word appears in some "Chanson de Gestes" and in the Basque "Pastorales," as a Muslim devil. If not, it’s likely our own "Duke of Marlborough" changed into this form. See the song, "Malbrouk goes off to war."
4 Cf. Campbell, “The Tale of Connal,” Vol. I., p. 142.
4 See. Campbell, “The Tale of Connal,” Vol. I., p. 142.
5 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.”
5 This seems oddly similar to “Ho, you!” but Salaberry attributes it to a Basque call, “Call out with a loud cry, by raising your voice.” The term “Play,” used as a shout to start ball games, has no meaning in Basque and is thought to originate from English. We’ve also borrowed “Jingo” and “by Jingo” from “Jinkoa,” which means “the deity.”
6 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.
6 In Campbell’s first story, “The Young King of Easaidh Ruadh,” the hero gets help from a dog, a falcon, and an otter. See the notes in the translation of this story in Brueyre’s “Tales from Great Britain;” also see “The Sea-Maiden,” pp. 73 and 94, for an even closer similarity.
7 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.
7 See “Tabakiera,” p. 94, and “Old Deccan Days,” pp. 83–91. It's interesting to hear about the Red Sea from storytellers who are so far apart, on opposite sides, like the Lingaets of the Deccan and the Basques, neither of whom probably had the slightest clue about its geographical location; certainly, our Basque storytellers did not.
8 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.
8 In Campbell’s “Sea-Maiden,” the hero just has to think about the animals, and they are right there with him; but he doesn’t become one of them.
9 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.”
9 Campbell mentions “The Giant who had no Heart in his Body,” in “Norse Tales,” 1859. Check out his references, along with those in the “Contes Populaires de la Grande Bretagne,” mentioned earlier. M. d’Abbadie has also shared with us the basic storyline of a wild Tartaro tale, told in Basque, where the hero “fights with a body without a soul.”
10 Cf. Campbell’s “Tales,” before quoted, and “Old Deccan Days” (“Punchkin”), pp. 14, 15, for the whole of this incident.
10 See. Campbell’s “Tales,” mentioned earlier, and “Old Deccan Days” (“Punchkin”), pages 14, 15, for the complete account of this incident.
11 Malbrouk seems now to assume the character of “Hermes, the clever thief.” If we mistake not, this cow appears also in Indian mythology.
11 Malbrouk now seems to take on the role of “Hermes, the clever thief.” If I'm not mistaken, this cow also appears in Indian mythology.
12 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.
12 For the entire story, refer to Campbell’s “Sea-Maiden,” Vol. I., p. 71. The sea-maiden replaces the fish. In addition to the three sons, there are three foals and three puppies, and three trees grow behind the house, serving as a sign like the boiling well. Bladé’s “The Two Twins,” in his “Agen Stories,” is the same as this; cf. also Köhler’s notes, p. 148.
13 Much more is made of the sword in the Gaelic tales. In them it is always a magic or a mystic weapon.
13 The sword plays a much bigger role in Gaelic stories. It is always depicted as a magical or mystical weapon.
14 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.
14 This episode of the battle with the seven-headed monster is presented similarly in the Gaelic—“The Sea-Maiden,” pp. 76, 77. See also “Red Etin,” in Brueyre.
16 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.
16 This happens not on the wedding night, but sometime later in the “Sea-Maiden,” p. 82. The image of the wife in prayer and the husband standing by, indifferent, is sadly too accurate, we fear.
17 The “Sea-Maiden,” p. 82—“Go not, go not,” said she, “there never went man to this castle that returned.” See below.
17 The “Sea-Maiden,” p. 82—“Don’t go, don’t go,” she said, “no man has ever gone to this castle and come back.” See below.
19 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?”
19 We were also told, in Basque, “The Powerful Lantern,” which was the story of Aladdin’s lamp, with only one incident left out. The current version is much closer to the Gaelic, but there (Campbell, Vol. II., 297–9) it’s a woman who presents the snuff-box, which says, “Eege gu djeege,” when opened. Campbell’s note is:—“The explanation of these sounds was that it was ‘as if they were asking.’ The sounds mean nothing, as far as I know, in any language.” “What do you want?” is pure Spanish—“What do you want?”
20 Cf. MacCraw’s variation in Campbell, note, Vol. II., p. 301, for the rest of the story.
20 See. MacCraw’s version in Campbell, note, Vol. II., p. 301, for the rest of the story.
21 “Power” in these tales, in the Basque, seems always to mean “magic power,” some wonder-working gift or charm.
21 “Power” in these stories, in the Basque culture, always seems to refer to “magical power,” some kind of extraordinary gift or charm.
22 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.
22 In Campbell’s versions, it’s “the kingdom of the king beneath the waves,” or “the kingdom of the rats;” but a journey has to be undertaken to reach that, and a rat replaces the servant in stealing the box again for the hero. “The Deccan Tales” refer to the Red Sea.
23 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.
23 The south wind is the most feared local wind in the Pays Basque. It’s always hot and can sometimes be extremely strong. After two or three days, it typically leads to a fierce thunderstorm and rain.
24 The lad here calls his snuff-box affectionately “Que quieres,” as if that were its name.
24 The guy here affectionately calls his snuff-box “What do you want?,” as if that were its name.
25 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.
25 The similarity and differences between this story and Campbell’s Gaelic tale, “The Widow’s Son,” etc., Vol. II., pp. 293–303, show that both are likely independent versions of some original story like Aladdin’s lamp, rather than just being copies of it.
26 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.
26 This doubling of the price is to get something done faster—in half the usual time. At least, that was what the narrator said.
27 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.
27 These three clever men can be 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 other works. See also Brueyre, pp. 113–120, and notes.
28 Cf. The tale from the Servian, in Naaké’s “Slavonic Fairy Tales,” p. 7.
28 See. The story from the Servian, in Naaké’s “Slavonic Fairy Tales,” p. 7.
29 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.
29 i.e., the chunk of "braise," or glowing ember from the wood fire, which is usually almost at floor level in a Basque house.
30 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.
30 Throughout Southern Europe, in Greece, Italy, Spain, Portugal, and so on, the sounds of guns, pistols, and firecrackers are everywhere during all sorts of celebrations, especially religious ones; the nearly deafened foreigner often wishes for a law against it like the one violated by “Mahistruba;” but cf. “Juan de Kalais,” p. 151.
32 This tale is somewhat like Campbell’s “Three Soldiers,” with the variations, Vol. I., p. 176. It is said to be very widely spread.
32 This story is kind of like Campbell’s “Three Soldiers,” with some differences, Vol. I., p. 176. It’s said to be quite popular.
34 At Bayonne one part of the town is called “Les Cinq Cantons.”
34 In Bayonne, one area of the town is called “The Five Towns.”
35 For like involuntary sleep, where the lady cannot awaken her lover, cf. Campbell, “The Widow’s Son,” Vol. II., p. 296.
35 For like an involuntary sleep, where the woman cannot wake her partner, cf. Campbell, “The Widow’s Son,” Vol. II., p. 296.
36 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.”
36 Regarding the eagle incident, see Campbell, “The King of Lochlin’s Three Daughters,” Vol. I., pp. 238–9:—“When they reached the entrance of the cave, the supplies were running low, and she was about to head back; but he cut a piece from his own thigh, gave it to the eagle, and with one leap she was on the ground.”
37 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.
37 See. the horse in Naaké’s “Slavonic Fairy Tales,” “Ivan Kruchina” (from the Russian), p. 117, and “the shaggy dun filly,” in Campbell’s “The Young King of Easaidh Ruadh,” Vol. I., p. 5, and in other places; also the horse in the “Uso-Andre,” and “The Unknown Animal,” below. Campbell, Vol. I., p. 63, notes that the horses in Gaelic stories are always female; but they can be red as well as grey.
38 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.
38 In this story and the next, Ezkabi's golden hair clearly resembles Diarmaid's beauty mark. "He always kept his cap pulled down over the beauty mark; any woman who happened to see it would fall in love with him." —Campbell’s “Diarmaid and Grainne,” Vol. III., p. 39, notes and variations.
39 Compare the following legend, and “Old Deccan Days” (“Truth’s Triumph”), pp. 62, 63.
39 Compare the following legend with “Old Deccan Days” (“Truth’s Triumph”), pp. 62, 63.
40 Cf. above, “The Grateful Tartaro and the Heren-Suge,” p. 22.
40 See above, “The Grateful Tartaro and the Heren-Suge,” p. 22.
41 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.
41 See note, above, p. 113, and Grainne watching Diarmaid as he lifts his cap or helmet. These beauty spots seem to be equivalent to Aphrodite’s girdle.
42 Cf. the two golden pears in the Spanish “Juanillo el Loco,” Patrañas, p. 38, given in exchange for the same water.
42 See. the two golden pears in the Spanish "Juanillo el Loco," Patrañas, p. 38, exchanged for the same water.
44 Cf. “Old Deccan Days,” p. 139; and Cox, “Aryan Mythology,” Vol. I., p. 160, seq.
44 See “Old Deccan Days,” p. 139; and Cox, “Aryan Mythology,” Vol. I., p. 160, and following pages.
46 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.
46 The word “Ezkabi” means “the scab;” he either actually had it, as in the next version, or was thought to have it because he kept his head covered, as in this one. In both situations, the hair is incredibly beautiful, precious, golden, and captivating.
47 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.
47 See the entire story, Campbell’s second story, “The Battle of the Birds,” and the variations, especially the one about “Auburn Mary,” Vol. I. pp. 52–58.
48 Cf. Baring Gould’s chapter, “Swan-Maidens”—“Curious Myths of the Middle Ages,” p. 561, seq.
48 See. Baring Gould’s chapter, “Swan-Maidens”—“Curious Myths of the Middle Ages,” p. 561, following.
49 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.
49 In the Gaelic, the tasks resemble those of Herakles—cleaning out a stable, shooting birds, and stealing from a magpie's nest. The Basque events seem to align more with a weather-related myth.
50 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.
50 In “Old Deccan Days” (“Truth’s Triumph”), it's the hair that works the magic, not the comb. In M. Cerquand’s “Stories,” the comb is associated with the Basa-Andre.
51 In Campbell’s “Battle of the Birds” the hero always sleeps while the giant’s daughter does his task for him.
51 In Campbell’s “Battle of the Birds,” the hero is always sleeping while the giant's daughter takes care of his responsibilities for him.
52 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.”
52 Here the narrator interrupted, “You see, it’s just how it is; the women are always the worst.” But in Campbell, it’s the giant himself who says, “My own daughter’s tricks are testing me.”
53 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.
53 In Campbell, the finger is lost while climbing the tree to reach the magpie’s nest; but, like here, the bride is identified by its absence.
54 In “Auburn Mary” the hero has to catch a young filly, “with an old, black, rusty bridle.”—Campbell, Vol. I., p. 55.
54 In “Auburn Mary,” the hero needs to catch a young filly, “with an old, black, rusty bridle.”—Campbell, Vol. I., p. 55.
55 See below for a second marriage. In Campbell, p. 37, there is a double marriage.
55 See below for a second marriage. In Campbell, p. 37, there is a double marriage.
56 In Campbell, p. 55, “Auburn Mary,” there is the same “talking spittle.”
56 In Campbell, p. 55, “Auburn Mary,” there is the same “talking spittle.”
57 Cf. “Truth’s Triumph,” in “Old Deccan Days;” and Campbell, pp. 33, 34; and supra, “Ezkabi-Fidel,” pp. 113, 114.
57 See also. “Truth’s Triumph,” in “Old Deccan Days;” and Campbell, pp. 33, 34; and above, “Ezkabi-Fidel,” pp. 113, 114.
59 In Campbell, it is an old greyhound that kisses him, but with the same result, pp. 34 and 56.
59 In Campbell, it's an old greyhound that gives him a kiss, but the outcome is the same, pp. 34 and 56.
60 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.
60 In one of Campbell’s “Variations,” pp. 51, 52, the ending goes something like this: in several stories, the hero unintentionally marries another woman during his time of forgetfulness.
61 Cf. Campbell’s “The Chest,” Vol. II., p. 1. The tales seem almost identical.
61 See. Campbell’s “The Chest,” Vol. II., p. 1. The stories seem nearly the same.
62 The usual term for “the Pope;” the French, “Le Saint-Père.”
62 The common term for “the Pope;” in French, “The Pope.”
63 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.
63 This is a fascinating example of an old tradition. Just like the Basques refer to “Corpus Christi” as “Corpus Christi Day,” they also call “Phestaberria” “The New Feast,” even though it started in the thirteenth century.
64 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.
64 This is a very old and widely known story. The Gaelic versions can be found in Campbell, Vol. II., p. 239, seq. See also Cox, “Aryan Mythology,” Vol. I., p. 111, seq.
68 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).
68 This name was phonetically written from the Basque, and it wasn’t until I read the Gaelic story that it occurred to me that it is simply “Jean d’Ecosse”—“John of Scotland,” or “Scotch John.” In the similar story 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 to confirm that in some way the Basques have borrowed this story from the Celts since their occupation of the Hebrides. The Spanish versions, too, are called “The Irish Princess” (Patrañas, p. 234).
69 See note on preceding page, and Campbell, Vol. II., p. 3.
69 See note on the previous page, and Campbell, Vol. II, p. 3.
70 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.
70 We can't confirm if this relates to any actual tradition regarding the debts of the deceased. It appears in the Gaelic, in “Ezkabi,” and in other stories and versions, especially in the Spanish; see above, and “The White Blackbird,” below, p. 182.
71 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.
71 In other versions, it’s the soul of the man whose debts he cleared, either taking the form of a hermit or a fox. In the Gaelic, it’s kept vague and uncertain. He’s referred to as “one” or “the asker.” (Campbell, Vol. II., pp. 119 and 121.) The same agreement is made in each instance, leading to the same outcome.
72 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.
72 This is, of course, “Jean de Calais”—“John of Calais”—and seems to indicate that it was through some French, rather than Spanish, versions that the Basques learned it.
74 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.
74 In the Gaelic, it is a general, just like here, and not a useless second officer, like in “Juan Dekos,” who wants to marry the lady and who leaves the hero stranded on a desert island.—Campbell, Vol. II., p. 118.
76 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.
76 We had set this story aside, along with a few others, as unimportant, until we learned from Campbell how widely it has spread. The earliest version appears to be the Italian one by Straparola, from 1567. The first incident there, convincing someone that a pig is a donkey, also appears in another Basque tale; the last two incidents are the same. They can also be found in the Gaelic, though in separate versions. For details about killing the wife, see Campbell, Vol. II., p. 232; for the last incidents, see pp. 222 and 234. Cf. also “The Three Widows,” including all the variations and notes, Vol. II., pp. 218–238. Is this a case of the Italian version by Straparola being passed from one culture to another? Or do all versions trace back to some lost original? Is there, or could there be, any symbolic meaning behind this story? The answers to these questions seem very important, and this story serves as a good example to analyze. Petarillo seems to be an Italian name.
79 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.
79 The narrator was asked, "Was the dance held at the king's palace?" "No," she replied seriously, "it was at the town hall." In other stories, it's held in the "place," which means the open square or marketplace that you'll find in most towns and villages in southern France. It's usually located in front of either the church or the town hall.
80 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.
80 This was explained to mean “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. Apart from one or two words, the language is pretty accurate—for St. Jean de Luz.
81 At an exclamation of surprise from one of the auditors, the narrator piously said, “It is the Holy Virgin who permitted all that.”
81 At a surprised exclamation from one of the listeners, the narrator reverently stated, “It is the Holy Virgin who allowed all of this.”
84 Cf. the well behind the house in the “Fisherman and his Three Sons,” p. 87.
84 See. the well behind the house in the “Fisherman and his Three Sons,” p. 87.
86 Here the narrator evidently forgot to tell about the child’s being exposed, and the gardener finding it, as appears by the sequel.
86 Here the narrator clearly forgot to mention how the child was abandoned and how the gardener found it, as shown by what happens next.
87 Cf. the well that boils in “The Fisherman and his Three Sons,” and the ring in “Beauty and the Beast.”
87 See. the boiling well in “The Fisherman and his Three Sons,” and the ring in “Beauty and the Beast.”
88 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?
88 Could Bunyan have drawn his description of the “Valley of the Shadow of Death” in “Pilgrim’s Progress” from stories like this?
89 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.
89 See above in “Ezkabi” and “Juan Dekos.” There's some similarity between this story and Campbell's “Mac Ian Direach,” Vol. II., p. 328. Also, check out “The Greek Princess and the Young Gardener” in Kennedy's “Fireside Stories of Ireland.” We only have the French translation of this last one in Brueyre, p. 145. “Le Merle Blanc” is one of the most famous French stories.
90 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.)
90 Cf. “Juan Dekos” for settling the debts, and the fox. In Gaelic, the fox is called “The March Girl,” “the fox.” (Campbell, Vol. II., p. 329, seq.)
91 Cf. the stealing of the bay filly in Campbell’s “Mac Iain Direach,” Vol. II., p. 334.
91 See. the theft of the bay filly in Campbell’s “Mac Iain Direach,” Vol. II., p. 334.
92 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.
92 Large underground cisterns for collecting rainwater are common in the Pays Basque. They are usually located near the houses from which the water flows.
94 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.
94 A piece of the braise, or burnt stick. This happens all the time in the South of France, where wood is burned. If your fire goes out, you rush to grab a stick from your neighbor’s fire.
96 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.
96 See. “Old Deccan Days” (“Truth’s Triumph”), pp. 57–58. The little girl is like the rose tree among the mango trees, her brothers. Cows are very gentle in the Pays Basque and are often petted, especially the small black and white Breton ones. We've seen a strong man cry when his favorite cow passed away, and this was one of ten others.
97 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.
97 The Ranee sets the same terms in “Truth’s Triumph”—“You’ll let me take these crows” (her brothers) “with me, right? Because I love them so much, and I can't leave unless they can come too.”—“Old Deccan Days,” p. 59.
98 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.
98 This was shared with M. Vinson and has been published by him in the “Linguistics Review,” p. 241 (January, 1876). We have since learned of a longer version that is kept in Renteria, Guipuzcoa.

VII.—Religious Tales.
We give these tales simply as specimens of a literature which in mediæval times rivalled in popularity and interest all other kinds of literature put together. That even yet it is not without attraction, and that to minds which in some aspects seem most opposed to its influence, the preface of the late Charles Kingsley to “The Hermits” conclusively shows. Such tales have, too, a deeper interest to all who study the manner in which at a certain stage of intellectual cultivation the human mind seems alone able to take hold upon religious truth; or, at least, the side on which it is then most susceptible to its impressions. It is easy enough to laugh at these legends, and to throw them aside in contempt, as alternately irreverent or superstitious; but their very existence has an historical value which no ecclesiastical historian should neglect. Their grossness and rudeness to a great extent hide from us their real tenderness and true religious feeling; but they were, doubtless, to those who first heard them, and are still to those who now recite them, fully as instructive, and have quite as beneficial, purifying, and ennobling influence on them as the most polished and refined of the religious tales of the present day have on the young of our own generation. [195]
We present these stories simply as examples of a type of literature that, in medieval times, was as popular and interesting as all other forms of literature combined. Even now, it still holds appeal, as shown by the preface by the late Charles Kingsley to “The Hermits,” which highlights its relevance even to those who might seem most opposed to its influence. These stories also have a deeper significance for anyone studying how, at a certain point in intellectual growth, the human mind is uniquely able to grasp religious truths—or at least the aspects it is most open to absorbing at that time. It’s easy to ridicule these legends and dismiss them as either irreverent or superstitious, but their very existence holds historical value that no ecclesiastical historian should overlook. Their coarseness and simplicity may hide their genuine tenderness and true religious sentiments from us, but they were certainly just as instructive to those who first heard them, and they still have a beneficial, purifying, and uplifting effect on those who tell them today, much like the most polished and refined religious stories do for the youth of our generation. [__A_TAG_PLACEHOLDER_0__]
Fourteen.1
Like many others in the world, there was a mother and her son. The lad was as strong as fourteen men together, but he was also obliged to eat as much as fourteen men. They were poor, and on that account he often suffered from hunger. He said one day to his mother, that it would be better for him to try and go somewhere else to see if he could be any better off; that he could not bear it any longer like this; that he was pained to see how much it cost her to feed him.
Like many others in the world, there was a mother and her son. The boy was as strong as fourteen men combined, but he had to eat as much as fourteen men too. They were poor, so he often went hungry. One day, he said to his mother that it would be better for him to try going somewhere else to see if he could find a better situation; that he couldn’t stand it any longer like this; that it hurt him to see how much it cost her to feed him.
The mother with regret allows him to depart. He goes off then far, far, far away, and comes to a large house. He asks if they want a servant there, and they answer that they will speak to the master. The master himself comes and says to him, “I employ experienced labourers generally, but I will take you nevertheless.”
The mother sadly lets him leave. He walks off a long way and arrives at a big house. He asks if they need a servant, and they say they’ll talk to the master. The master comes out and says to him, “I usually hire experienced workers, but I’ll take you anyway.”
The lad answers, “I must forewarn you, that I eat as much as fourteen men, but I do work in proportion.”
The guy replies, “I should warn you that I eat as much as fourteen men, but I also work just as hard.”
He asks him, “What do you know how to do?”
He asks him, “What can you do?”
He says to him, “I know a little of everything.”
He says to him, “I know a bit about everything.”
The next day the master takes him into a field, and says to him:
The next day, the master takes him out to a field and says to him:
“You must mow all this meadow.” He says to him, “Yes.”
“You need to mow the entire meadow.” He replies, “Sure.”
The master goes away. At eight o’clock the servant comes with the breakfast. She had a basket full of provisions; there were six loaves, half a ham, and six bottles of wine. Our lad was delighted. The servant was [196]astonished to see that all the meadow was mown, and she goes and tells it to the master. He too was pleased to see that he had such a valuable servant. He tells him to go and cut another meadow. Before mid-day he had it all down. The servant comes with the dinner, and was astonished to see how much work he had done. She brought him seven loaves, seven bottles of wine, and ever so much ham, but he cleared it all off. The master gives him again another field of grass to cut. Before night he had done it easily. Our master was delighted at it, and gave him plenty to eat. The servant too was highly pleased.
The master leaves. At eight o’clock, the servant arrives with breakfast. She had a basket full of supplies; there were six loaves of bread, half a ham, and six bottles of wine. Our guy was thrilled. The servant was [__A_TAG_PLACEHOLDER_0__]amazed to see that the entire meadow was mowed, and she goes and tells the master. He was also happy to see that he had such a valuable servant. He tells him to go and cut another meadow. By midday, he had it all done. The servant returns with dinner and was surprised to see how much work he had accomplished. She brought him seven loaves, seven bottles of wine, and a lot of ham, but he finished it all. The master gives him another field of grass to cut. By nightfall, he had completed it with ease. Our master was thrilled and gave him plenty to eat. The servant was also very pleased.
As long as he had work the master said nothing, but afterwards, when he saw that all the harvest served only for the servant to eat, he did not know how to get rid of him. He sends him to a forest in which he knew that there were terrible beasts, and told him to bring wood from there. As soon as he has arrived a bear attacks him. He takes him by the nostrils and throws him on the ground, and twists his neck. He keeps pulling up all the young trees, and again a wolf attacks him; he takes him like the bear by the nostrils, throws him down, and twists his neck.
As long as he had work, the master said nothing, but later, when he saw that all the harvest was just for the servant to eat, he didn’t know how to get rid of him. He sent him to a forest where he knew there were dangerous beasts and told him to bring back wood. As soon as he arrived, a bear attacked him. It grabbed him by the nostrils and threw him to the ground, twisting his neck. It kept uprooting all the young trees, and then a wolf attacked him; it grabbed him like the bear did, threw him down, and twisted his neck.
In the evening he arrives at the house, and the master is astonished to see him return. He gave him a good supper; but he was not pleased, because he had torn up all the young trees. At night the master turns over in his head what he could do with his servant, and he determines to send him into a still more terrible forest, in the hope that some animal will devour him. Our lad goes off again. He tears up many large trees, when a lion attacks him. He kills him in a moment. There comes against him another terrible animal, and he finishes him off too. In the evening, when he comes home, he said to himself:
In the evening, he arrives at the house, and the master is shocked to see him back. He gave him a nice dinner, but he wasn't happy because he had ruined all the young trees. That night, the master thinks about what to do with his servant and decides to send him into an even more dangerous forest, hoping some animal will eat him. Our guy sets off again. He tears down many big trees when a lion attacks him. He kills it in an instant. Another fierce animal comes at him, and he takes care of it too. In the evening, when he gets home, he says to himself:
“Why does my master send me into the forest? Perhaps he is tired of me.”
“Why is my master sending me into the forest? Maybe he’s just tired of me.”
And he resolves to tell him that he will leave the house. When he arrives his master receives him well, but cannot [197]understand how it is that he comes back. He gives him a good supper, and our lad says to him:
And he decides to tell his master that he will leave the house. When he arrives, his master welcomes him warmly but can't [__A_TAG_PLACEHOLDER_0__] understand why he has come back. He offers him a nice dinner, and our guy says to him:
“It is better for me to go off somewhere. There is no more work for me here.”
“It’s better for me to leave and go somewhere else. There’s no more work for me here.”
You may reckon how pleased the master was. He gives him his wages at once, and he goes away. He goes off, far, far, far away; but soon his money is exhausted, and he does not know what is to become of him.
You can imagine how happy the master was. He pays him right away, and he leaves. He goes off, really far away; but soon his money runs out, and he has no idea what he’s going to do next.
He sees two men standing on the bank of a river. He went up to them, and the men ask him if he will cross them over to the other side of the water. He answers, “Yes,” and takes them both at once on his back; and these men were our Lord and St. Peter. Our Lord says to him in the middle of the stream:
He sees two men standing by the riverbank. He approaches them, and they ask if he will take them across to the other side of the water. He replies, “Yes,” and carries both of them on his back at the same time; these men are our Lord and St. Peter. Our Lord says to him in the middle of the stream:
“I am heavy.”
"I'm feeling weighed down."
“I will throw you into the water if you do not keep quiet, for I have quite enough to do.”
"I'll throw you in the water if you don't be quiet, because I have more than enough to deal with."
When they had come to the other side, the Lord said to him,
When they reached the other side, the Lord said to him,
“What must I give you as a reward?”
“What should I give you as a reward?”
“Whatever you like; only give it quickly, for I am very hungry.”
“Anything you want; just hand it over quickly, because I’m really hungry.”
He gives him a sack, and says to him, “Whatever you wish for will come into this sack.”
He hands him a bag and says, “Anything you wish for will go into this bag.”
And he goes off, far away. He comes to a town, and passing before a baker’s shop he smells an odour of very good hot loaves, and he says to them, “Get into my sack,” and his sack is quite full of them. He goes off to a corner of a forest, and there he lives by his sack. He returns again into the town, and passes before a pork-butcher’s. There were there black puddings, sausages, hams, and plenty of good things. He says, “Come into my sack,” and as soon as he has said it the sack is full. He goes again to empty it as he had done with the loaves, and he returns into the town. In front of an inn he says, “Come into my sack.” There were there bottles of good wine and of liqueurs, and to all these good things he says, “Come into my sack,” and his sack was filled. [198]
And he heads off, far away. He arrives in a town, and as he walks past a bakery, he catches the smell of fresh, hot bread. He says to them, “Get in my sack,” and his sack quickly fills up. He goes to a corner of a forest and lives off his sack. He goes back to town and walks past a butcher shop. There were black puddings, sausages, hams, and lots of tasty treats. He says, “Come into my sack,” and as soon as he speaks, the sack fills up again. He goes back to empty it, just like he did with the bread, and returns to town. In front of an inn, he says, “Come into my sack.” There were bottles of fine wine and liqueurs, and to all these delicious items he says, “Come into my sack,” and once more his sack fills up. [__A_TAG_PLACEHOLDER_0__]
He goes off to his corner of the forest, and there he had provision for some days; and, when he had well stuffed himself, he went out for a walk. One day he saw some young girls weeping, and he asks them, “What is the matter with you?” They answer that their father is very ill. He asks if he can see him. They tell him, “Yes.”
He goes to his spot in the forest, where he had supplies for a few days. After he has eaten enough, he heads out for a walk. One day, he sees some young girls crying and asks them, “What’s wrong?” They reply that their father is very sick. He asks if he can see him, and they say, “Yes.”
He goes there then, and the poor man tells him how he has given his soul to the devil, and that he was expecting him that very day, and he was trembling even then. Our Fourteen asks if he will let him be on a corner of the bed, that he might see the devil. He tells him, “Yes.” He then hides himself with his sack. A moment after the devil arrives, and our lad says to him:
He goes there, and the poor man tells him how he sold his soul to the devil, and that he was expecting him that very day, and he was shaking even then. Our Fourteen asks if he can sit on a corner of the bed to see the devil. The man replies, "Yes." He then hides himself with his sack. A moment later, the devil shows up, and our guy says to him:
“Come into my sack.”
“Come into my bag.”
And as soon as he had said it, in goes the devil. Judge of the joy of our man! Our lad goes off to some stone-breakers, and says to them:
And as soon as he said it, in comes the devil. Just imagine the joy of our guy! Our boy heads off to some stone-breakers and says to them:
“Hit hard! the devil is in this sack.”
“Hit hard! The devil is in this bag.”
They went at it, blow upon blow, stroke upon stroke, and the devil went:
They kept at it, hit after hit, strike after strike, and the devil moved on:
“Ay! ay! ay! let me out! let me go! ay! ay! ay!”
“Ay! ay! ay! let me out! let me go! ay! ay! ay!”
The lad said, “You shall bring me, then, a paper, signed by all the devils of hell, that you have no rights over this man.” The devil agrees, and he lets him go. In a moment he comes back with the paper, and the lad makes him go into the sack again, and has him beaten by the stone-breakers, while he carries the precious paper to the former man; and think how happy they were in that house!
The boy said, “You need to bring me a paper, signed by all the devils of hell, stating that you have no claim over this man.” The devil agrees and lets him go. A moment later, he returns with the paper, and the boy makes him get back into the sack and has him beaten by the stone-breakers while he takes the valuable paper to the former man; just imagine how happy they were in that house!
Our man goes off, walking, walking, on, and on, and always on, and he grew tired of this world. He said to himself, “I should like to go to Heaven.” He goes on, and on, and on, but he comes to hell; but as soon as ever the devils saw that it was Fourteen they shut all the gates. He goes off again, far, far, very far, and comes to Heaven. There the gates are shut against him. What does Fourteen do? He put his sack in through the keyhole, and says to himself: [199]
Our guy keeps walking, walking, and just keeps on going, and he starts to feel tired of this world. He thinks to himself, “I’d really like to go to Heaven.” He continues on, but instead, he ends up in hell; as soon as the devils see him approaching, they shut all the gates. He sets off again, very far, and finally arrives at Heaven. But there, the gates are closed to him. What does Fourteen do? He pushes his sack through the keyhole and thinks to himself: [__A_TAG_PLACEHOLDER_0__]
“Go into the sack.”
“Hit the sack.”
As soon as he has said it he finds himself inside, and he is there still behind the door; and when you go to Heaven, look about well, and you will see him there.
As soon as he says it, he finds himself inside, and he’s still there behind the door; and when you go to Heaven, take a good look around, and you’ll see him there.
Catherine Elizondo.
Catherine Elizondo.
We add another version of this popular tale, collected by M. Vinson from M. Larralde de Lesaca, of St. Pée-sur-Nivelle:—
We present another version of this well-known story, gathered by M. Vinson from M. Larralde de Lesaca, of St. Pée-sur-Nivelle:—
Jesus Christ and the Old Soldier.
Once upon a time, when Jesus Christ was going with His disciples to Jerusalem, He met an old man, and asked alms of him. The old man said to Him:
Once upon a time, when Jesus Christ was traveling with His disciples to Jerusalem, He encountered an old man and asked him for charity. The old man replied to Him:
“I am an old soldier, and they sent me away from the army with only two sous, because I was no longer good for anything. I have already given away one sou on the road; I have only one left, and I give that to you.”
“I’m an old soldier, and they kicked me out of the army with just two coins because I’m no longer of any use. I’ve already spent one coin on the way; I’ve got only one left, and I’m giving that to you.”
Then our Lord says to him, “Which would you prefer, a sack of gold or Paradise?”
Then our Lord asks him, “What would you rather have, a sack of gold or Paradise?”
St. Peter gently nudges the old man in the ribs, “Say Paradise.”
St. Peter gently nudges the old man in the ribs, “Say Paradise.”
“What! Paradise!” says the old soldier. “Afterwards we shall have Paradise as well. I prefer a sack of gold.”
“What! Paradise!” says the old soldier. “After that, we’ll have Paradise too. I’d rather have a sack of gold.”
And our Lord gives him the sack of gold, and He said as He gave it to him:
And our Lord gives him the sack of gold, and as He hands it to him, He says:
“When this sack is empty it will be sufficient to say, ‘Artchila murtchila! go into my sack,’ and everything you wish for will go into the sack.”
“When this sack is empty, just say, ‘Artchila murtchila! go into my sack,’ and everything you want will go into the sack.”
Our man takes the sack and goes on his road. When he had gone a little way he passed before the door of an inn, and sees a fine leg of mutton on the table. He was hungry, and, opening his sack, he said:
Our man grabs the sack and continues on his way. After walking a bit, he passes by the door of an inn and spots a beautiful leg of mutton on the table. He was hungry, so he opened his sack and said:
“Artchila murtchila! fine leg of mutton, come into my [200]sack!” and in an instant it was in it; and in the same way he had everything he wished for.
“Artchila murtchila! fine leg of mutton, come into my [__A_TAG_PLACEHOLDER_0__]sack!” and in a flash, it was there; just like that, he got everything he wanted.
One day the devil came to tempt this old man, but, as soon as he heard him, he opened his sack and said:
One day, the devil came to tempt this old man, but as soon as he heard him, he opened his sack and said:
“Artchila murtchila! go into my sack!”
“Artchila murtchila! Go into my sack!”
And the devil himself entered into the sack. He takes the sack with the devil in it to a blacksmith, and for a long time and very vigorously he pounded it with his sledgehammer.
And the devil himself got into the sack. He brought the sack with the devil inside to a blacksmith, and for a long time, he hammered it hard with his sledgehammer.
When the old soldier died he went to Paradise. When he arrived there St. Peter appears, and says to him:
When the old soldier died, he went to Paradise. When he got there, St. Peter appeared and said to him:
“Why are you standing there? And what are you asking for?”
“Why are you standing there? What do you want?”
“Paradise.”
"Paradise."
“What! Paradise!! Did not you prefer to have a sack of gold when God gave you the choice? Be off from here. Be off to hell. There are the gates, there.”
“What! Paradise!! Didn’t you want a sack of gold when God gave you the choice? Get out of here. Go to hell. The gates are over there.”
Our old man, in deepest sadness, goes to the door of hell, and knocks; but as soon as the door was opened the devil recognised his soldier, and began to cry out:
Our old man, filled with deep sadness, goes to the door of hell and knocks; but as soon as the door is opened, the devil recognizes his soldier and starts to shout:
“Don’t let him come in! Don’t let him come in! He will cause us too much trouble, and too many misfortunes. He is so very vicious!”
“Don’t let him in! Don’t let him in! He will bring us too much trouble and too many misfortunes. He is really vicious!”
And he will not receive him; so he returns again to Paradise, and God commanded St. Peter to let this man enter who had been such a foe to the devil.
And he won't accept him; so he goes back to Paradise, and God instructed St. Peter to allow this man to enter, as he had been such an enemy to the devil.
The Poor Soldier and the Rich Man.
Like many others in the world, there was a man and his wife. They had an only son. The time for the conscription arrived. He went away with much regret. At the end of the seven years he was returning home with five sous in his pocket. As he was walking along a poor man came up to him, and asked charity in the Name of God. He gave him [201]a sou, telling him that he had only five sous, but that he could not refuse at the Name of God. A moment after another poor man presents himself, and asks charity in the Name of God. He gives to him, telling him repeatedly:
Like many others in the world, there was a man and his wife. They had only one son. The time for conscription came. He left with a heavy heart. After seven years, he was returning home with five sous in his pocket. As he walked along, a poor man approached him, asking for charity in the Name of God. He gave him [__A_TAG_PLACEHOLDER_0__]a sou, saying that he only had five sous, but couldn't refuse in the Name of God. A moment later, another poor man appeared and asked for charity in the Name of God. He gave to him, repeating:
“I, who had only five sous to take home after seven years of service—I have already given away one of them; but I cannot refuse you—I shall have still enough left to get a breakfast with.”
“I, who had only five coins to take home after seven years of service—I have already given away one of them; but I cannot refuse you—I will still have enough left to get breakfast with.”
And he goes on, but a moment after comes another poor man, and he gives again. This poor man says to him:
And he continues on, but a moment later another poor man arrives, and he gives again. This poor man says to him:
“You will go to such a house, and you must ask charity of M. Tahentozen in the Name of God. He gives charity to no one; but he will ask you in from curiosity, and to hear the news. When you have told him all that you have seen, he will ask you where you have come from. You must say that you come from Heaven, but that you have seen nothing there but poor and maimed people, and that in hell there was nothing but rich men; and that at the gate of hell there are two devils sitting in arm-chairs, ‘and I saw one arm-chair empty, and I went and asked whom it was for; and there came two devils from the gate, limping as if they were lame, and they said: “This is for M. Tahentozen. He never gives anything in charity, and, if he does not change, his place is there.”’”
“You will go to a certain house and you must ask M. Tahentozen for charity in the Name of God. He doesn’t give to anyone, but he’ll invite you in out of curiosity to hear what’s going on. Once you’ve told him everything you’ve seen, he’ll ask where you’re from. You should say you come from Heaven, but you’ve seen nothing there but poor and disabled people, and that in Hell, there were only rich men; and that at the gate of Hell, there are two devils sitting in armchairs, ‘and I saw one armchair empty, so I went and asked who it was for; and two devils came from the gate, limping as if they were lame, and they said: “This is for M. Tahentozen. He never gives anything in charity, and if he doesn’t change, his place is there.”’”
Our soldier goes as he has been told, and asks charity in the Name of God. But the servant, as she always did, sent him away. The master, having heard someone, asks the servant who is there. The servant answers that it is a soldier who asks for charity. He tells her to bring him up, in order to ask the news. Our soldier tells him all that the poor man had told him to say. And there upon the rich man begins to reflect, and he keeps the soldier at his house, and makes him rich, and the rest (of his money) he divides among the poor.
Our soldier goes as instructed and asks for help in God's name. But the servant, as always, sends him away. The master, hearing someone, asks the servant who is there. She replies that it's a soldier asking for charity. He tells her to bring him in to hear the news. The soldier shares everything the poor man told him to say. The rich man then starts to think and decides to keep the soldier at his house, makes him wealthy, and divides the rest of his money among the poor.
Gachina,
the Net-maker. [202]
Gachina, the Net-maker. [__A_TAG_PLACEHOLDER_0__]
The Widow and her Son.2
Once upon a time, and like many others in the world, there was a widow who had a son. This son was so good to his mother that they loved one another beyond all that can be told. One day this son said to his mother that he must go to Rome. The mother was in the greatest distress, but she let him go. (At parting) she gave him three apples, and said to him:
Once upon a time, like many others around the world, there was a widow with a son. This son was so good to his mother that they loved each other more than words can express. One day, he told his mother that he needed to go to Rome. The mother was extremely distressed, but she allowed him to go. As they said goodbye, she gave him three apples and said to him:
“If you make acquaintance (with anyone) on the road, and if you are thirsty, give him one of these apples to divide; and he who will give you back the largest part, he will be a good friend to you for the journey.”
“If you meet someone on the road and you're thirsty, offer him one of these apples to share; the one who returns the biggest part to you will be a true friend for the journey.”
He set out then. When he has gone a little way he falls in with three men. They made acquaintance, and they told him that they were going to Rome. They went on, and on, and on, and as talking makes one thirsty, the widow’s son said to them:
He set out then. After he had walked a bit, he ran into three men. They introduced themselves, and they told him they were headed to Rome. They continued on their journey, and since talking makes one thirsty, the widow’s son said to them:
“I have in my pocket an apple which my mother gave me at starting; we will eat it. Here, take and divide it.”
“I have an apple in my pocket that my mom gave me when we started; let's eat it. Here, take it and split it.”
One of them divides it, and gives him the smallest part. When he saw that he made some excuse and quitted his companions. He goes travelling on, on, on, along the road, when he meets with three monks. They tell him that they are going to Rome, and offer to make their journey together. When they had gone a little way, they get thirsty also. The widow’s son says to them:
One of them splits it up and gives him the smallest piece. When he sees this, he makes some excuse and leaves his friends. He keeps traveling along the road until he encounters three monks. They tell him they're headed to Rome and suggest they travel together. After they've gone a little ways, they start to feel thirsty. The widow’s son says to them:
“I have an apple which my mother gave me at starting. Here it is; take and divide it.”
“I have an apple that my mom gave me at the beginning. Here it is; take it and split it.”
They, too, were no better comrades than the others. They give him only a small piece. Fortunately he remembers the advice of his mother, and he leaves them. He [203]goes on a short way alone, and sees in the distance something shining under an oak; as he approaches he sees that it is a king. He tells him where he is going, and learns that he too is going to Rome. The king engages him to rest himself along with him, and he stays there a long time; and at length they get thirsty, and the son of the widow gives him the last apple, telling him that it is his mother who gave it him at starting. The king’s son divides it, and gives him the largest piece. The son of the widow is rejoiced that he has found a good comrade, and they vow great friendship under the oak. The son of the widow engages himself to bring the king’s son to Rome alive or dead, and the other binds himself to serve and aid him as long as he has a drop of blood in his veins. Resuming their journey they go on, and on, and on, and at length night surprises them, and they do not know where to go to. They meet a young girl who was going to the fountain. They ask her if shelter would be given them in the house which they see there.
They weren’t any better friends than the others. They only gave him a small piece. Luckily, he remembers his mother’s advice, and he leaves them. He [__A_TAG_PLACEHOLDER_0__]walks a little way alone and sees something shining under an oak tree in the distance; as he gets closer, he realizes it’s a king. He tells the king where he’s headed and finds out that the king is also going to Rome. The king invites him to rest with him, and he stays there for a long time; eventually, they get thirsty, and the son of the widow gives him the last apple, saying that his mother gave it to him at the start. The king’s son splits it and gives him the bigger piece. The son of the widow is happy to have found a good companion, and they promise lasting friendship under the oak. The son of the widow vows to bring the king’s son to Rome, whether alive or dead, and the king’s son pledges to support and help him as long as he has any blood left in him. They continue their journey, traveling on and on, until night falls and they have no idea where to go. They encounter a young girl who is headed to the fountain. They ask her if they could get shelter at the house they see nearby.
She answers “Yes;” and then, lowering her voice, she adds, “Yes, to your misfortune.”
She replies, "Yes," and then, speaking softly, adds, "Yes, to your misfortune."
It was only the widow’s son who heard these last words. So they go there, and enter, and are very well received. They had a good supper given them, and a good bed on the third story. The widow’s son puts the prince on the outside of the bed, and he himself goes next the wall. The former falls asleep immediately, because he was very tired; but the widow’s son was kept awake by his fear, and, just as twelve o’clock struck, he hears someone coming up stairs, and sees the owner come into the bed-room with a large knife in his hand. The mistress held the light and the servant a basin. They come near and cut the throat of the king’s son, and carry him down stairs. While they are doing this the widow’s son gets out on the roof, and from there he shouts and cries out for the justice. When he had made himself heard, he told the people what had taken place. As they had never before heard anything like this [204]of the people in the house, they would not believe him, and put him in prison. The next day he was condemned to death.
It was only the widow’s son who heard those last words. So they went there, entered, and were received very well. They were served a nice dinner and given a comfortable bed on the third floor. The widow’s son placed the prince on the outside of the bed, and he himself went next to the wall. The prince fell asleep right away because he was very tired; however, the widow’s son stayed awake out of fear. Just as the clock struck twelve, he heard someone coming up the stairs and saw the owner enter the bedroom with a large knife in his hand. The mistress held the light while the servant carried a basin. They approached and cut the prince’s throat, then carried him downstairs. While this was happening, the widow’s son climbed out onto the roof and shouted for justice. Once he was heard, he told the people what had happened. Since they had never heard anything like this about the people in the house before, they didn’t believe him and put him in prison. The next day, he was sentenced to death.
Before dying he asks one favour. It is granted him. He then asks for two blood-hounds to go and search the house with. They grant him that, and he goes with the servants of the justice. After having gone over the whole castle, without having found one drop of blood, they go down to the cellar. The dogs kept smelling about, but the master refused to open the door, saying there was nothing there but dirt and rubbish. They told him that he must open it all the same, and there they found the king’s son with his crown. This was all they wanted.
Before he died, he asked for one favor. It was granted to him. He then requested two bloodhounds to help search the house. They granted him that, and he went with the justice's servants. After searching the entire castle and finding not a drop of blood, they descended to the cellar. The dogs continued to sniff around, but the master refused to open the door, insisting there was only dirt and rubbish inside. They insisted that he had to open it anyway, and there they found the king's son with his crown. That was all they needed.
They set the widow’s son at liberty; and he asks for the body of the king’s son, and puts it into a sack. He takes the sack on his shoulders, and starts for Rome, where he arrives fatigued and worn out; but he has kept his word.
They freed the widow’s son, and he asked for the king’s son's body, placing it in a sack. He slung the sack over his shoulders and headed to Rome, arriving exhausted and worn out; but he kept his promise.
He goes to see the Holy Father, and told him all that had taken place, and what had happened to his friend.
He goes to see the Pope and tells him everything that happened and what happened to his friend.
Our Holy Father says to him, “To-morrow, at the moment of the Elevation, you will place the head on the body.”
Our Holy Father says to him, “Tomorrow, at the moment of the Elevation, you will place the head on the body.”
He does so, and at the very same moment the body of the king’s son is seized with a trembling, and he calls out—
He does that, and at that exact moment, the king’s son’s body starts shaking, and he shouts—
“Where am I?”
"Where am I?"
The widow’s son answers, “At Rome. Do you not remember how your throat was cut yesterday? And I myself have carried you, as I promised, to Rome.”
The widow’s son replies, “In Rome. Don't you remember how your throat was cut yesterday? I brought you there myself, just like I promised.”
The king’s son went to pay his visit to our Holy Father, and (after that) they set out (home). And when they had gone a long way, they come to the oak where they had (first) made each other’s acquaintance, and it is there, too, that they must part.
The king’s son went to visit our Holy Father, and after that, they headed home. After traveling for a while, they reached the oak tree where they first met, and it’s there that they had to say goodbye.
They renew their promises (to each other). The king’s son takes off his ring, and gives it to the other as a keep-sake to remember him by. And the king’s son, on counting his money, remarks that he has just the same sum as he [205]had when he was under the oak the last time. And they quit each other, each to go to his own home.
They reaffirm their promises to each other. The prince takes off his ring and gives it to the other as a keepsake to remember him by. When the prince counts his money, he comments that he has the exact same amount as he had when he [__A_TAG_PLACEHOLDER_0__]was under the oak last time. They part ways, each heading to his own home.
When the widow’s son reaches home, the mother is delighted to see her son again, and the son also (to see his mother). But the next day he was covered with a frightful disease, which was very like leprosy, and it had an infectious smell; but, fortunately, the mother did not smell it. The poor mother did all that she could to cure her son, but nothing relieved him. She heard that there was a monk in the neighbourhood, a great saint, who cured diseases. She sends for him, and the widow’s son relates to him his journey to Rome, and all that had taken place there, and he tells also the promises which they had made to each other.
When the widow’s son gets home, his mother is thrilled to see him again, and he’s just as happy to see her. But the next day, he develops a terrible disease that looks a lot like leprosy and has a foul smell; thankfully, his mother can't smell it. The poor mother does everything she can to help her son, but nothing seems to work. She hears about a monk in the area, a great saint who heals illnesses. She calls for him, and the widow’s son tells him about his journey to Rome, everything that happened there, and the promises they made to each other.
Then the monk says to him, “If you wish to be cured, there is only one remedy—you must wash yourself in the blood of this king.”
Then the monk says to him, “If you want to be healed, there’s only one solution—you have to wash yourself in the blood of this king.”
This news made the young man very sad, but his mother would start the very next day; and they set out on their journey in an old carriage. Everyone where they passed stopped their noses, and said, “Pheu! pheu!” After some time they came to the king’s house. The mother asks leave to speak to the king, but a servant drives her far away, because of the smell, telling her not to approach nearer. So she could not say anything to the king. But one day the king goes out, and sees the carriage, and he asks what it is. They tell him that it is a sick man, who smells like putrid fish, and who wishes to see the king. The king is angry because they had not told him of it before.
This news made the young man very sad, but his mother would start the next day; and they set off on their journey in an old carriage. Everyone they passed wrinkled their noses and said, “Yuck! Yuck!” After a while, they reached the king’s house. The mother asked for permission to speak to the king, but a servant pushed her away because of the smell, telling her not to come any closer. So she couldn’t say anything to the king. However, one day the king came outside, saw the carriage, and asked what it was. They told him it was a sick man who smelled like rotten fish and wanted to see the king. The king was angry because they hadn’t informed him about it earlier.
Now this king was married, and already he had a son. He orders the people in the carriage to come to him, and the widow’s son told him who he was, and showed him the ring which he had formerly given him. Without paying the least attention to his malady, the king takes him in his arms and embraces him. The widow’s son tells him the grief that he had felt at what the monk had told him.
Now this king was married and already had a son. He calls the people in the carriage to come to him, and the widow’s son identifies himself and shows him the ring that he had given him before. Without paying any attention to his illness, the king takes him in his arms and embraces him. The widow’s son shares the sorrow he felt about what the monk had told him.
The king goes to find his wife, and tells her what has happened about the sick man at the gate, and how this sick [206]man had already restored him to life, and that now it was his turn, and that he could not be cured except by washing in his blood; and (he bids her) choose between her child and himself. This poor mother sacrifices her son. They kill him. The sick man washes himself immediately (in the blood), and is cured at the same instant. The queen, in her grief, goes into her child’s bedroom, and there she finds her son full of life again. Overflowing with joy, she takes up her son, and goes out crying to everyone, and showing them her infant. Judge what a delight for them all! The widowed mother and her son lived in the king’s palace so happily, and never left him more.
The king goes to find his wife and tells her what happened with the sick man at the gate, how this sick man had already brought him back to life, and that now it was his turn. He explains that he could only be cured by washing in the sick man's blood, and he asks her to choose between him and their child. This poor mother sacrifices her son. They kill him. The sick man immediately washes himself in the blood and is cured right then. The queen, in her grief, goes into her child's bedroom, and there she finds her son alive again. Filled with joy, she picks up her son and goes outside, crying out to everyone and showing them her child. Just imagine the delight for them all! The widowed mother and her son lived in the king's palace happily and never left him again.
Catherine Elizondo.
Catherine Elizondo.
The Story of the Hair-Cloth Shirt (La Cilice).
Once upon a time, like many others in the world, there was a gentleman and a lady. They had no children, but they longed for one above everything. They made a vow to go to Rome. As soon as they had made the vow, the woman became pregnant.
Once upon a time, like many others in the world, there was a man and a woman. They didn't have any kids, but they really wanted one more than anything. They promised each other that they would go to Rome. Right after they made that promise, the woman got pregnant.
The husband said to her, “We shall do well to go there at once.”
The husband said to her, “We should go there right away.”
The wife said, “We have not time enough now; we can go afterwards just as well.”
The wife said, “We don’t have enough time right now; we can go later just as easily.”
The lady was confined of a boy. The boy grows up and he sees that his father is constantly sad, and he finds him often crying in all the corners. The little boy was now seven years old, and the mother had not yet decided to go to Rome. One day this young boy goes into his father’s bed-room, and finds him weeping again. He therefore said to him:
The woman gave birth to a boy. As the boy grew up, he noticed that his father was always sad and often found him crying in various corners of the house. The little boy was now seven years old, and his mother still hadn't decided to go to Rome. One day, the young boy went into his father's bedroom and found him crying again. He then said to him:
“What is the matter with you, father?”
“What’s wrong, Dad?”
But he will not answer him, and the child takes a pistol, and says to his father: [207]
But he doesn't respond, and the child grabs a gun and says to his father: [__A_TAG_PLACEHOLDER_0__]
“If you will not tell me what is the matter with you, I will shoot first you and myself afterwards.”
“If you don’t tell me what’s wrong, I’ll shoot you first and then myself.”
The father then said that he would tell him, (and he told him) how that his mother and he had made a vow to go to Rome if they had a child, and that they had never been there.
The father then said that he would tell him, (and he told him) how his mother and he had made a promise to go to Rome if they had a child, and that they had never been there.
The child said to him, “It is for me that this vow was made, and it is I who will go and fulfil it.”
The child said to him, "This vow was made for me, and I’m the one who will go and fulfill it."
He says “Good-bye,” and sets out.
He says "Goodbye," and heads out.
He was seven years on the road, and begged his bread. At last he comes to the Holy Father, and tells him what has brought him there. Our Holy Father puts him in a room alone for an hour.
He spent seven years traveling and living off scraps. Finally, he arrived at the Holy Father and explained why he had come. The Holy Father placed him in a room by himself for an hour.
When he comes out, he says to him, “Oh, you have made a mistake; you have made me stay there two hours at least.”
When he comes out, he says to him, “Oh, you messed up; you made me stay there for at least two hours.”
Our Holy Father tells him “No!”—that he has been there only one hour. And he puts him into another room for two hours.
Our Holy Father tells him, “No!”—that he has only been there for one hour. Then he puts him in another room for two hours.
When he came out from there he said, “You have made me stop more than two hours.”
When he came out of there, he said, “You made me wait for more than two hours.”
He says to him, “No,” and puts him in another room for three hours.
He tells him, “No,” and puts him in another room for three hours.
When he came out of that he said, “You have only left me there three minutes.”
When he came out, he said, “You only left me there for three minutes.”
And he said to him, “Yes, yes, yes; you have been there three hours.”
And he replied, “Yes, yes, yes; you’ve been there for three hours.”
And our Holy Father told him that the first room was Hell; that the second was Purgatory; and that the last was Heaven.3
And our Holy Father told him that the first room was Hell; the second was Purgatory; and the last was Heaven.3
The child says to him, “Where am I? I in Paradise! And my father?”
The child says to him, “Where am I? Am I in Paradise? And my dad?”
“In Paradise too.” [208]
“In Paradise as well.” [__A_TAG_PLACEHOLDER_0__]
“And my mother?”
"And what about my mom?"
“In hell.”
“In hell.”
The boy was grieved, and said to him, “Can I not save my mother? I would let my blood flow for her for seven years long.”
The boy was upset and said to him, “Can’t I save my mom? I would let my blood flow for her for seven years.”
Our Holy Father tells him that he can, and he puts on him a hair-cloth shirt with a padlock, and throws the key into the water.
Our Holy Father tells him that he can, and he puts on him a hairshirt with a padlock, then throws the key into the water.
And our Holy Father says to him, “When you shall find this key, your mother will be saved.”
And our Holy Father says to him, “When you find this key, your mother will be saved.”
He starts off, begging his way as before, and takes seven more years before arriving in his own country. He goes from house to house asking alms. His father meets him and asks him where he comes from. He says, “From Rome.” He asks him if he has not seen on the road a boy of his own age. He says to him, “Yes, yes,” and tells him that he has gone on walking for seven years, shedding his blood to save his mother. And he keeps on talking about his son. His mother comes out on the staircase and tells her husband to send that poor man away—that he must be off from there. But he pays no attention to her. He brings him in, and tells her that he is going to dine with them. His wife is not pleased. He sends the servant to market, telling her to buy the finest fish that she can find. When the young girl comes back, she goes to the poultry yard to clean the fish. The young man follows her, and as she was cleaning the fish she found a key inside it.
He starts off, begging his way as before, and takes seven more years to get back to his own country. He goes from house to house asking for help. His father sees him and asks where he’s been. He replies, “From Rome.” His father asks if he’s seen a boy his age on the road. He says, “Yes, yes,” and tells him that the boy has been walking for seven years, shedding blood to save his mother. He keeps talking about his son. His mother comes out on the stairs and tells her husband to send that poor man away—that he needs to leave. But he ignores her. He brings the man inside and tells her that he’s going to have dinner with them. His wife isn’t happy about it. He sends the servant to the market, telling her to buy the finest fish she can find. When the young girl comes back, she heads to the poultry yard to clean the fish. The young man follows her, and while she’s cleaning the fish, she finds a key inside it.
The young man said to her, “That key belongs to me.”
The young man said to her, “That key is mine.”
And she gives it to him.
And she hands it to him.
The lady could not endure this young man, and she gives him a push, and he falls into the well. All on a sudden the water of the well overflows, and the young man comes out all dripping. The husband had not seen that his wife had pushed him into the well, and the young man told him that he had fallen into it. This poor man wishes to give him some clothes, but he will not accept them, saying that he will dry himself at the fire. At table the lady is not at all [209]polite to him. The young man asks her if she would recognise her son.
The lady couldn’t stand this young man, so she gave him a shove, and he fell into the well. Suddenly, the water in the well overflowed, and the young man came out dripping wet. The husband didn’t see his wife push him into the well, and the young man told him that he had fallen in. The poor man wanted to give him some clothes, but he refused, saying he would dry off by the fire. At dinner, the lady was not at all [__A_TAG_PLACEHOLDER_0__] polite to him. The young man asked her if she would recognize her son.
She says, “Yes, yes; he has a mark between his two breasts.”
She says, “Yes, yes; he has a mark between his two breasts.”
And the young man opens his clothes, and shows the mark. At the same time he gives the key to his mother that she may open his hair-cloth shirt, and the mother sees nothing but blood and gore. He has suffered for her. The three die. And the servant sees three white doves fly away. I wish I could do like them in the same way.
And the young man opens his shirt and reveals the mark. At the same time, he hands the key to his mother so she can open his hair-cloth shirt, and she sees nothing but blood and gore. He has suffered for her. The three die. And the servant sees three white doves fly away. I wish I could do the same.
Gachina,
the Net-maker.
Gachina,
the web creator.
The Saintly Orphan Girl.
There was a young girl who lived far from the world, alone, in sanctity. Every day a dove brought her her food.
There was a young girl who lived far from the world, alone, in peace. Every day, a dove brought her food.
One day she saw a young girl whom two gens-d’armes were taking to prison or to execution. The orphan said to herself:
One day she saw a young girl being taken away by two police officers, either to jail or for execution. The orphan thought to herself:
“If she had lived like me, they would not have taken her to prison.” And thereupon she had a thought of pride, and from that day the dove no longer brought her anything to eat. She goes to seek a priest, and tells him what has happened, and since when she does not receive any more food. This priest tells her that she has been punished on account of that thought, and that she must be present at the birth of three children, and see what their gifts would be. The first was the son of a king. She asks the queen permission to remain in the bed-chamber, no matter in what corner; all would be the same to her if she would only give her leave. She consents to it. When this queen gives birth to a boy, the infant has round its neck a white cord, [210]and this orphan understood that he would be guillotined4 when he was eighteen years old. She sees the birth of another child; a girl with a red cord round her neck, and she sees that she will turn out badly, and that she would go to ruin. She sees a third; this was a boy, and he had blue cord on, which meant that he would be very good.
“If she had lived like me, they wouldn’t have sent her to prison.” And with that, she felt a sense of pride, and from that day, the dove stopped bringing her food. She went to find a priest and told him what had happened and why she hadn't received any food since then. The priest told her that she had been punished because of that thought, and that she needed to witness the birth of three children and see what their fates would be. The first was the son of a king. She asked the queen for permission to stay in the bedroom, no matter where, as long as she would allow it. The queen agreed. When the queen gave birth to a boy, the baby had a white cord around his neck, [__A_TAG_PLACEHOLDER_0__] and the orphan realized that he would be guillotined when he turned eighteen. She then witnessed the birth of another child; a girl with a red cord around her neck, and she saw that the girl would turn out badly and would end up in ruin. Lastly, she saw a third child, a boy, who had a blue cord, which meant he would be very good.
After having seen that this orphan goes back to the house of the queen. There she lived happily, busying herself especially about this child. As she caressed it she often used to say in a sad tone:
After seeing that this orphan returned to the queen’s house, she lived there happily, especially taking care of the child. As she held the child, she often said in a sad voice:
“Poor child!”
"Poor kid!"
The mother remarked that, and one day she said: “One would say that this child was very unfortunate. Do you always act thus when you caress a child, as if it were very wretched, or as if something were going to happen to it?”
The mother commented, and one day she said, “It seems like this child is really unfortunate. Do you always act this way when you hug a child, as if it’s really miserable, or like something bad is about to happen to it?”
She said that to her more than once. And when the (fated) age was drawing near, this orphan told the queen what must happen at the age of eighteen. I leave you to judge of the distress of this queen. She told it to her husband, and the father and mother told it to their son; and he said that he must leave the house immediately. He goes then a long way off to another town. And as he was a pretty good scholar, he got a place in a house where there was a large shop. They sold everything there; and as this lad was very good everybody loved him. They heard him go out of the house every night, but they did not know where. The master was curious (to learn this), and he made a hole above the shop, for he went there too in the night. He sees him take a wax candle, and put the price of this candle into the cash-box by the hole, counting the money aloud. Taking the candle with him he falls on his knees, and went a considerable distance to a chapel, walking still on his knees. [211]The master follows him during a whole week, and the boy did always the same thing; and on the eighth day the master looks through the key-hole of the chapel, and sees an angel descend and throw a chain to our lad, and the angel lifted him up in the air. A moment after he comes down again, and goes back to his master’s house.
She told her that more than once. And as the fateful age was approaching, this orphan informed the queen about what would happen when she turned eighteen. You can imagine the distress of this queen. She shared it with her husband, and the parents told their son; he said he had to leave home right away. So he traveled a long way to another town. Since he was quite the scholar, he found a job in a large shop that sold everything. The boy was very well-liked because he was kind. They noticed he left the house every night, but they didn’t know where he went. The owner was curious, so he made a hole above the shop and followed him at night. He saw the boy take a wax candle and drop the price of it into the cash box through the hole, counting the money out loud. After taking the candle with him, he knelt down and traveled a considerable distance to a chapel, still on his knees. [__A_TAG_PLACEHOLDER_0__] The owner tracked him for a whole week, and the boy did the same thing each time; then on the eighth day, the owner looked through the chapel keyhole and saw an angel descend and throw a chain to the boy, who was lifted into the air. A moment later, he came down again and returned to his master’s house.
The master tells him that he has seen all, and the boy says that his penance is also finished, and that he must go home. The master does not wish it.
The master tells him that he has seen everything, and the boy responds that his punishment is also over, and that he needs to go home. The master doesn’t want him to leave.
“You shall go afterwards, if you wish it; but first you must marry my daughter.”
"You can go afterwards if you want; but first, you need to marry my daughter."
He tells him that he has a father and mother, and that he cannot do it without telling them; but if they wish it, he will do so willingly.
He tells him that he has a mom and dad, and that he can't do it without telling them; but if they want him to, he will do it willingly.
He starts home then at once. You may imagine what joy for the king and the queen. They were constantly trembling lest they should hear that their dearly loved son had been hanged. They did not know what to do for joy. He told them how he had done penance, and that without doubt the good God had pardoned him; and how his old master wished him to marry his daughter. He does so, and all live happily and die well.
He heads home immediately. You can imagine the joy of the king and queen. They were constantly anxious that they might hear their beloved son had been hanged. They didn’t know how to express their happiness. He told them how he had done penance and that without a doubt, God had forgiven him, and how his old master wanted him to marry his daughter. He goes ahead with it, and they all live happily and die well.
Louise Lanusse.
Louise Lanusse.
The Slandered and Despised Young Girl.
Like many others of us in the world, there was a mother and her daughter. They were very poor, and the daughter said that she wished to go out to service, in order to do something for her mother. The mother will not listen to it; what would become of her without her daughter? She prefers to be poor with her to being rich alone. The young girl stays at home. She used to go out as needlewoman; but suddenly her mother falls ill, and quickly she dies.
Like many people in the world, there was a mother and her daughter. They were very poor, and the daughter said she wanted to get a job to help her mother. The mother wouldn’t hear of it; what would she do without her daughter? She would rather be poor with her than rich alone. The young girl stays at home. She used to work as a seamstress, but suddenly her mother falls ill, and she quickly dies.
This poor young girl had the deepest sorrow, and she continued to go out to work as before. One day, while she was [212]at work in a house, some acquaintance came and said to them—
This poor young girl was feeling incredibly sad, yet she kept going out to work just like before. One day, while she was [__A_TAG_PLACEHOLDER_0__]at work in a house, an acquaintance came by and said to them—
“What! you have this young girl here to work! She is a bad girl; she is not at all what she ought to be. You should not take her.”
“What! You have this young girl here to work! She’s a bad girl; she’s not at all what she should be. You shouldn’t keep her.”
In the evening they give her her day’s wages, and say that they do not want her any more. She goes to another house, and there the same thing happens. Some people come and say in the same way—
In the evening, they hand her her day's pay and tell her they're letting her go. She heads to another house, and the same thing happens. Some people come and say the same thing—
“You have that young girl to work! She will come to a bad end, that girl will. She is even a thief; do not have her again.”
“You’ve got that young girl to deal with! She’s headed for trouble, that girl is. She’s practically a thief; don’t take her back.”
In the evening they give her her day’s wages, and say to her that they do not want her any more. No one asked her to work any more, and she remained at home. By charity and pity, some neighbours, without any necessity, let her come to work for them, because they were pained to see her distress. But there, too, someone comes and says,
In the evening, they pay her for the day and tell her they don't need her anymore. No one asked her to keep working, so she stayed home. Out of kindness and sympathy, some neighbors, feeling sorry for her, allowed her to work for them, even though they didn’t have to. But then, someone comes and says,
“I am astonished to see that young girl here. She is a worthless girl. How is it that you have her here?”
“I can’t believe that girl is here. She’s no good. How did you end up bringing her here?”
They answer, “Moved by charity, just to help her.”
They reply, “Driven by kindness, just to help her.”
“Do not have her any more; she is a thief, and as bad as can be.”
“Don’t have her around anymore; she’s a thief and really terrible.”
After having given her her day’s wages, they send her off, and say that they do not want her any more.5
After giving her a day's pay, they send her away and say they don't want her anymore.5
This poor young girl was in the greatest distress; if she wished to eat, she must beg. She set to work begging then, and everyone disliked her so much that, when they saw her, they used to spit at her.
This poor young girl was in deep trouble; if she wanted to eat, she had to beg. So she started begging, but everyone disliked her so much that whenever they saw her, they would spit at her.
There came home from one of his voyages a ship’s captain, and, while he was amusing himself with his friends, this young girl asks for charity. His friends tell [213]him that she was a bad girl, and they spit at her, and he does like the rest. Our captain goes off for another voyage; but he was overtaken by a terrible tempest. The storm was so violent, and the rain came down as if it would never leave off; it made them all tremble. In the midst of his prayers the captain made a vow that, if he escaped, he would marry the worst and most despised girl that he could find. Immediately the weather became fine. He makes a very successful voyage, and one which brought him plenty of money; but, when he reached land, he forgot his vow, and began to amuse himself as much as possible.
A ship’s captain returned home from one of his voyages, and while he was having fun with his friends, a young girl came asking for help. His friends told [__A_TAG_PLACEHOLDER_0__]him that she was a bad girl, and they spit at her, and he joined in with them. The captain then set off on another voyage, but he was caught in a terrible storm. The wind was fierce, and the rain poured down as if it would never stop; it made everyone shiver. In the middle of his prayers, the captain promised that if he got away safely, he would marry the worst and most despised girl he could find. As soon as he made the vow, the weather cleared up. He had a very successful journey and made a lot of money; however, when he got back to land, he forgot his promise and started to enjoy himself as much as he could.
This same young girl asks charity, and, after his friends have told him that she was a bad girl, they spat at her, and he did so too.
This same young girl asks for help, and after his friends tell him that she was a bad person, they spit on her, and he did too.
Again he goes to sea, and he is overtaken by a storm, much worse than the former one. The wind was most violent, and the lightning terrible; they saw nothing but that. All trembled, and were praying. The captain again makes a vow of marrying, if he should get safe home, with the most abandoned and the poorest girl he can find, and he regrets that he has not kept his vow. He said to himself,
Again he goes to sea and is caught in a storm, much worse than the last one. The wind was incredibly strong, and the lightning was frightening; all they could see was that. Everyone was shaking and praying. The captain once more vows to marry the most desperate and impoverished girl he can find if he gets home safe, and he regrets not keeping his vow. He said to himself,
“If I had kept it, perhaps I should not have had such weather as this; but nothing now shall make me forget my promise.”
“If I had held onto it, maybe the weather wouldn’t be so bad; but nothing will make me forget my promise now.”
Immediately the weather becomes fine; he has immense good fortune, and gains as much money as he wishes.
As soon as the weather clears up, he has incredible luck and makes as much money as he wants.
When he comes home, he sees this young girl again. His friends spit at her, but he says to them,
When he gets home, he sees the young girl again. His friends spit at her, but he tells them,
“I will not spit at her—I wish to marry her.”
“I won’t spit at her—I want to marry her.”
His friends burst out into roars of laughter, “Ha! ha! ha!” The sailor goes home to his mother, and tells her that he is going to be married. His mother answers him,
His friends erupted in loud laughter, “Ha! ha! ha!” The sailor goes home to his mom and tells her that he’s getting married. His mom replies to him,
“If you make a good and rich marriage, very well.”
“If you have a good and prosperous marriage, that’s great.”
The son said to her, “She is not at all rich. She is that girl there.”
The son said to her, “She’s not rich at all. She’s the girl over there.”
The mother was not pleased. “Leave that bad girl alone.” [214]
The mother was not happy. “Leave that troublemaker alone.” [__A_TAG_PLACEHOLDER_0__]
He said, “It is all the same to me; I will marry none but her.”
He said, “It’s all the same to me; I’ll marry no one but her.”
He asks his friends where she lives. They point to an old house. The captain goes there in the evening and knocks at the door. The girl says, “Who is there?”
He asks his friends where she lives. They point to an old house. The captain goes there in the evening and knocks on the door. The girl says, “Who’s there?”
The man says, “Open the door for me. It is I.”
The man says, “Open the door for me. It’s me.”
The young girl says, “I will not open the door—I am in bed.”
The young girl says, “I won’t open the door—I’m in bed.”
“Never mind, open it.”
"Don't worry, just open it."
“No! I will not do it.”
“No! I’m not going to do it.”
“I am going to break in the door.”
“I’m going to break down the door.”
“Do what you will, but I will not open it.”
“Do whatever you want, but I’m not going to open it.”
He breaks open the door, as he said, and goes in. He sees this young girl on a little straw, covered only by her dress. The man wants to go near her. The girl says:
He kicks in the door, just like he said he would, and walks inside. He spots a young girl on a small pile of straw, barely covered by her dress. He wants to approach her. The girl says:
“You may kill me if you like, but you shall not come near me.”
“You can kill me if you want, but you’re not coming near me.”
They were like that a long time. The man says to her:
They stayed like that for a long time. The man says to her:
“Give me your promise of marriage, then?”
“Can you promise me marriage, then?”
The young girl says, “What do you mean? I so poor and you so rich—how can we marry?”
The young girl says, “What do you mean? I'm so poor and you're so rich—how can we get married?”
The man says that they will do so. The young girl will not believe him, and the gentleman says to her:
The man says that they will do that. The young girl doesn’t believe him, and the gentleman says to her:
“If you will give me your promise I will go away at once.” And the young girl says “Yes,” in order to make him go away. Then he goes away.
“If you promise me, I’ll leave right now.” The young girl replies, “Sure,” to get him to leave. Then he walks away.
The next day he goes to a priest and tells him what has taken place, and gives him forty thousand francs, and tells him to build a fine house with it, and to furnish it, and if anything more is wanting he will pay it at his next voyage. The young girl, too, goes to the priest, for before this she had been helped and comforted by him. The priest tells her how the captain had given him forty thousand francs for her to build a fine house with, and for her to make use of for all she wanted. The priest said that he would undertake building the house, and she said that she would see to all that was wanting for herself. [215]
The next day, he goes to a priest and tells him what happened, giving him forty thousand francs and asking him to build a nice house with it and furnish it. He also says that if anything else is needed, he’ll cover it on his next trip. The young girl goes to the priest too, since he had helped and comforted her before. The priest tells her how the captain gave him forty thousand francs for her to build a nice house and for her to use however she wants. The priest says he will take care of building the house, and she replies that she will handle everything else she needs. [__A_TAG_PLACEHOLDER_0__]
The captain goes off, and has as successful a voyage as could be made—he had nothing but fair weather. He brought back plenty of money, and they were married soon after his arrival. His mother and his brothers and sister were at the wedding. After some time the captain wished to go and make another voyage. He left his fine house to take his wife to his mother’s house, and he said to her:
The captain sets off and has the most successful voyage possible—he faced nothing but clear skies. He returned with a lot of money, and they got married soon after he came back. His mother, brothers, and sister were at the wedding. After a while, the captain wanted to go on another voyage. He left his beautiful home to take his wife to his mother's house, and he said to her:
“My wife will be better with you than all alone. You will have her always dressed as becomes her position, and keep a good table for her, and take good care of her.”
“My wife will be better off with you than by herself. You'll make sure she's always dressed appropriately for her status, provide her with good meals, and take good care of her.”
The husband went to sea. He often wrote to his wife; but what do the captain’s mother and her daughter do after he is gone? They take away from this lady all her pretty dresses, and make her put on old ones, and wooden shoes too with straw inside, and send her off to keep the geese with a bit of bread, telling her that she must bring home a load of small wood (to light the fire with), and that she must keep spinning while she is watching the geese. This poor young girl says nothing. She goes off with her flock of geese. When night comes she returns with four skeins of thread spun and a load of small wood. Every day she does the same. They do not even tell her that her husband has written to her.
The husband went to sea. He often wrote to his wife; but what do the captain’s mother and her daughter do after he is gone? They take away all her nice dresses, make her wear old ones, and even put her in wooden shoes stuffed with straw, sending her off to take care of the geese with just a bit of bread. They tell her she needs to bring back a load of small wood for the fire and that she must keep spinning while watching the geese. This poor young girl says nothing. She leaves with her flock of geese. When night falls, she comes back with four skeins of spun thread and a load of small wood. She repeats this every day. They don’t even tell her that her husband has written to her.
The captain has a fine voyage. He had some fears about his mother and his sister, and he thought to himself that it would be best to come home secretly, in silence, and see how they were treating his wife. He comes then as a foreigner, in the dress of a captain. He says that he comes from a distance, and that he wishes to pass a week in their house. The mother and the daughter receive him very well. They tell him to choose his own room, and he chooses his own wedding-chamber. At nightfall the geese come home, cackling, cackling, and with them the young girl. This gentleman tells them that it is his habit to have some young girl with him when he travels like that, and [216]asks them if they can get him one. They tell him “Yes,” that there would be none more glad than this young girl, and that they will give her to him. They go and tell it to the goose girl.
The captain has a great journey. He worries about his mother and sister, thinking it might be best to return home quietly and see how they’re treating his wife. He arrives as a stranger, dressed as a captain, saying he has come from far away and wishes to stay for a week at their home. His mother and sister welcome him warmly, telling him to pick his own room, and he chooses his wedding chamber. As night falls, the geese return, honking, and with them comes the young girl. He tells them he usually travels with a young girl, and [__A_TAG_PLACEHOLDER_0__]asks if they can get him one. They reply, “Yes,” saying there’s no one who would be happier than this young girl, and they will offer her to him. They go and tell the goose girl.
She says that certainly she will not go. They say to her that he has chests full of gold, and that they would willingly go, but that he has chosen her; and they push her by force into the room. The gentleman orders an excellent supper, and says that he has the habit of supping well. The goose girl stands sadly before the table. She would not eat anything; the gentleman presses her, and she kept saying that she was not hungry—that she had eaten as much as she usually did. He asks her:
She says that she definitely won't go. They tell her that he has chests full of gold and that they would gladly go, but that he has chosen her; and they push her into the room against her will. The gentleman orders a lavish dinner and mentions that he likes to have good meals. The goose girl stands sadly in front of the table. She doesn’t want to eat anything; the gentleman insists, but she keeps saying that she isn’t hungry—that she has eaten as much as she usually does. He asks her:
“Where have you eaten? and what have you eaten?”
“Where have you eaten? And what did you eat?”
“A piece of bread that I took with me in the morning.”
“A piece of bread that I grabbed in the morning.”
He tells her again to eat these good things. She says that she does not want anything, and that the greatest pleasure he can give her is to let her go off to her geese. The gentleman says to her:
He tells her again to eat these nice things. She says that she doesn't want anything, and that the best thing he can do for her is to let her go take care of her geese. The gentleman says to her:
“You do not know then why you have come here? You are to sleep with me.”
“You don’t know why you’re here? You’re going to sleep with me.”
The young girl says: “You shall cut me in pieces on the spot before I will go to your bed. I have a husband, and I wish to be faithful to him.”
The young girl says: “You can cut me into pieces right here before I go to your bed. I have a husband, and I want to be faithful to him.”
And she tells, on his asking her, how that she was very poor, and no one loved her, and how a rich gentleman had wished to marry her—how very good he had been to her even after the marriage, and how when he went on a voyage he had left her at his mother’s house, thinking that she would be best there, and that since he was gone she had had no news of her husband. The gentleman said to her:
And she explains, when he asks her, that she was very poor, and no one loved her, and how a wealthy man wanted to marry her—how kind he had been to her even after they got married, and how when he went on a trip he had left her at his mother's house, thinking that she would be better off there, and that since he left, she hadn't heard from her husband. The man said to her:
“Would you recognise your husband?” She says, “Yes.”
“Would you recognize your husband?” she says, “Yes.”
“Has he any marks?”
"Does he have any marks?"
The young girl says, “Yes; he has a mole between his two breasts with three hairs on it.” [217]
The young girl says, “Yes; he has a mole between his two breasts with three hairs on it.” [__A_TAG_PLACEHOLDER_0__]
The gentleman opens his shirt and shows her his birthmark.
The guy opens his shirt and shows her his birthmark.
This young girl was seized with such joy that she fainted away, and fell down on the floor. As this gentleman knew the ways of the room he burst open the closet, and took a bottle of liqueur to bring his wife round again, and at last she came to herself, and passes a sweet night with her husband.
This young girl was so overwhelmed with joy that she fainted and collapsed on the floor. Since this gentleman was familiar with the room, he quickly opened the closet and grabbed a bottle of liqueur to revive his wife. Eventually, she came to and spent a lovely night with her husband.
The next morning the geese come, cackle, cackle, before the door, and the mistress of the house and her daughter come to the gentleman’s door, calling out, if they have not stopped there long enough, that it is time to set off, and that it is a shame to be in bed at that hour. The gentleman gets up and says to his mother:
The next morning, the geese arrive, cackling loudly by the door, and the lady of the house along with her daughter goes to the gentleman’s door, calling out that if they haven’t lingered long enough, it’s time to get going, and that it’s a shame to still be in bed at that hour. The gentleman gets up and says to his mother:
“What, mother, was this the way that you ought to have treated my dearly-loved wife?”
“What, mom, was this how you were supposed to treat my beloved wife?”
And he was in such a rage that, if his wife had not begged him to forgive her, he would even have beaten her; but his wife prevented him. He sent his mother and his sister out of the house, and he and his wife lived for many years happy and pleased with each other; and as they lived well they died well too.
And he was so angry that, if his wife hadn't begged him to forgive her, he might have even hit her; but his wife stopped him. He sent his mother and sister out of the house, and he and his wife lived happily together for many years; and because they lived well, they also died well.
The Sister of Laurentine.
Laurentine's Sister.
This may be Toutou, but in the Basque country it is sometimes difficult to get hold of a person’s surname. “Who is Laurentine?” you ask. “She is Toutou’s sister,” is the reply. “But who is Toutou?” “She is Laurentine’s sister.” If you want to get anything more out you have to cross-examine for half-an-hour. Some of our tales are not signed; we believe these are to be divided between Catherine Elizondo and Laurentine Kopena. Fresh names we think we always put down, but these brought so many tales that we sometimes omitted it with them, and in the rearrangement for printing we have lost our clue. [218]
This might be Toutou, but in the Basque country, it can be tough to figure out someone’s last name. “Who is Laurentine?” you ask. “She’s Toutou’s sister,” comes the answer. “But who is Toutou?” “She’s Laurentine’s sister.” If you want to get any more info, you have to probe for half an hour. Some of our stories are unsigned; we think they should be attributed to Catherine Elizondo and Laurentine Kopena. We usually think we always note down fresh names, but these brought so many stories that we sometimes skipped it with them, and during the rearrangement for printing, we lost track. [__A_TAG_PLACEHOLDER_0__]
We have some thirteen other tales of all kinds, besides variations, which we have not given. They are mostly short, and not very different in character from those given above, except in being more stupid in two or three cases; and a few of them are to be found in M. Cerquand’s collection.
We have about thirteen other stories of various kinds that we haven't included. They're mostly short and pretty similar in nature to the ones above, except a couple of them are less interesting; a few can be found in M. Cerquand’s collection.

[219]
[__A_TAG_PLACEHOLDER_0__]
1 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.
1 The first part of this story is about the Tartaro as “Twenty-Four.” We think it's an old Tartaro story that got mixed in with a Christopheros legend, unless this is really the unique aspect and significance of the Christopheros legend—the incorporation of the old gods into Christ's service, including the most human among them in His salvation. The last part of the story is very widely shared. It's recounted by F. Caballero in Spanish, and by Cenac-Moncaut in “Le Sac de la Ramée,” p. 57—“Littérature Populaire de la Gascogne.” There's something similar in Campbell’s “Tale of the Soldier,” Vol. II., p. 276.
2 This seems to be one of the many variations of the “Golden Legend,” the “Aurea Legenda” which Longfellow has so well versified.
2 This seems to be one of the many versions of the “Golden Legend,” the “Aurea Legenda” that Longfellow has so beautifully put into verse.
3 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.
3 This incident isn't just found in Christianity; a comparable tale is told about a Muslim saint and a caliph or king. The setting for the story is Cairo.
4 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.
4 As is clear from what follows, where the angel hangs him for a moment, the original story must have used “hanged.” This is a great example of how the wording of a story changes over time as old customs fade away in a culture.
5 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.
5 This whole situation is, unfortunately, more accurate to reality than one might assume at first glance. The entire history of the Cagots, along with much of the history of witchcraft, demonstrates how intense this kind of irrational hatred can be, and how challenging it is to address and overcome once it has taken root in a rural community.

An Essay on the Basque Language,
The Basque Language is one which is particularly attractive to specialists. Its place in the general series of idioms has at last been well defined—it is an agglutinative and incorporating language, with some tendency to polysynthetism. It consequently finds a place in the second great morphological linguistic group, between the Finnic and the North American family of languages. I shall now attempt a very short sketch of its general features; but I must ask permission, first, briefly to state some of the most essential principles of the science of language.
The Basque Language is particularly appealing to experts. Its position among the various languages is now clearly established—it is an agglutinative and incorporating language, with a tendency towards polysynthesis. As a result, it falls into the second major morphological linguistic group, situated between the Finnic languages and the North American language family. I will now provide a brief overview of its general characteristics; however, I must first ask for permission to outline some of the key principles of language science.
It is acknowledged that the science of language—that is to say, the science of the characteristic phenomenon of the human species, is a purely natural science. It has nothing in common with philology, which is mainly a historical study. Whether it be called linguistique, glottology, phonology, or even, by a too common abuse, comparative philology, the science of language follows the same method as the other natural sciences, and advances by observation and experience. The direct subject-matter of this science is [220]those vocal organisms which express, by sensible sounds, thought and its divers modes of existence. These organisms are the spontaneous and unconscious product of organs which, as natural phenomena, fall under the general law of perpetual variation, acted on by their surroundings, climate, &c.; but as incapable of being modified by the external or internal exercise of human volition as any other of the organized beings which surround us.
It’s recognized that the study of language—essentially, the study of a key feature of human beings—is a purely natural science. It’s completely different from philology, which primarily focuses on historical study. Whether referred to as linguistique, glottology, phonology, or often misnamed as comparative philology, the science of language uses the same methods as other natural sciences and progresses through observation and experience. The primary focus of this science is [__A_TAG_PLACEHOLDER_0__]the vocal systems that convey thoughts and their various states through recognizable sounds. These systems arise spontaneously and unconsciously from organs that, as natural phenomena, are subject to the overall law of constant change, influenced by their environment, climate, etc.; however, they cannot be altered by any external or internal exercise of human will, just like any other living beings around us.
But as the object of language is to express thought in all its niceties, both the fact that gives rise to it, and the modifications of it caused by time and space, so it is seen that different idioms have adopted different methods of expressing, in the best and readiest manner, the idea, the conception or intuition, with its variable forms, in order to translate with precision its signification, and its relations. From this point of view language has been divided into three great groups: the first, that of isolating languages, wherein the monosyllabic roots all retain their meaning, and wherein the relations are only expressed conventionally, i.e., were not originally expressed at all; the second, that of agglutinative languages, in which the relations are expressed by roots once significative, but now reduced to a secondary and subordinate office; lastly, the third, that of inflectional languages, in which the change of relations is expressed by a modification in the root itself, and even in the radical vowel. It is clear that the idioms of the second group were once isolating, and that inflectional idioms have passed through both the former states. We conclude from this that language is essentially progressive and variable in the sense of a constant improvement in the expression of relations. And yet, in the study of existing languages we find, on the contrary, that they are often in this respect inferior to their ancestors.
But since the purpose of language is to express thoughts in all their details, including the events that inspire them and the changes they undergo due to time and place, it becomes clear that different languages have adopted various ways to convey ideas, concepts, or intuitions and their diverse forms to accurately translate their meaning and relationships. From this perspective, languages can be categorized into three main groups: the first is isolating languages, where monosyllabic roots maintain their meaning and relationships are only expressed in a conventional way, meaning they weren't originally expressed at all; the second is agglutinative languages, where relationships are conveyed through roots that once had meaning but now play a secondary role; finally, the third is inflectional languages, in which changes in relationships are expressed by altering the root itself, including its vowel. It's evident that the languages in the second group were once isolating, and that inflectional languages have evolved through the previous two stages. We conclude that language is fundamentally progressive and adaptable, reflecting a continuous improvement in how relationships are expressed. Yet, in the study of current languages, we often find that they are, in this regard, inferior to their predecessors.
This contradiction, however, is only an apparent one. Thus, as Schleicher has demonstrated, languages are born, [221]grow up, become stationary, decline and die; in a word, live after the same fashion as do organized beings. There are in every language two principal periods—that of formal development, during which the idiom passes from the first (monosyllabic) stage to the second (agglutinative) by reducing certain roots to a secondary and dependent office, then from the second to the third (inflectional) by a new effort to express simultaneously signification and relation; and that of formal decay, during which the original meaning of the relative affixes is more and more forgotten, they get worn out, change by degrees, and often end by perishing altogether. Formal decay begins when a language becomes historical, and it often gives rise to remarkable cases of regressive metamorphosis. One remark which we must make on this subject is that the known agglutinative languages have not spontaneously arrived at historical life—that is to say, have not commenced their decay, except under the influence of a foreign idiom either isolating or inflectional. Nevertheless, during their decay, languages can adopt fresh forms, but these are merely composed of words already in use; man in the historical period has no longer bare roots at his service.1
This contradiction, however, is only superficial. As Schleicher has shown, languages are born, [__A_TAG_PLACEHOLDER_0__]develop, stabilize, decline, and eventually fade away; in other words, they follow a lifecycle similar to that of living organisms. Every language goes through two main phases: the period of formal development, where the language evolves from the first (monosyllabic) stage to the second (agglutinative) by making certain roots secondary and dependent, and then from the second to the third (inflectional) by striving to simultaneously convey meaning and relationships; and the period of formal decay, during which the original meanings of the relative affixes become increasingly forgotten, they wear down, gradually change, and often eventually disappear altogether. Formal decay starts when a language enters a historical phase, and it can often lead to interesting cases of regressive metamorphosis. It is worth noting that the known agglutinative languages did not start their historical journey—meaning their decline—unless influenced by a foreign language that is either isolating or inflectional. However, during their decline, languages can adopt new forms, but these are simply combinations of existing words; once a language has reached the historical stage, it no longer has access to purely root elements.1
These linguistic elements are, moreover, subject to the terrible law of the struggle for existence, and of vital competition. Many of them have perished and have left no trace; others are preserved to us merely in some scanty records. The Basque, pressed hard by Latin and its derived languages, has lost ground, especially in Spain. Beyond its actual limits, there are in Navarre many villages, the names of which are Basque, but in which Spanish only is spoken; and all along the frontiers of the actual region of the Basque [222]in the Spanish provinces this idiom is spoken only by a minority of the inhabitants. It is, moreover, undergoing modification everywhere; the children often replace the old expressive native terms by a vocabulary drawn from the Romance tongues. In those places which are most in contact with strangers, and in which the movement of modern life is most keenly felt—at St. Sebastian and at St. Jean de Luz, for instance—the language has become exceedingly debased and incorrect. Everything presages the speedy extinction of the Escuara or Euscara, which is the name given to the Basque by those who speak it. The word, apparently, means merely “manner of speaking.” All people have, in a greater or less degree, the pretension which caused the Greeks to treat all foreigners as barbarians—that is, as not properly-speaking men.
These language elements are also subject to the harsh reality of the struggle for survival and intense competition. Many of them have disappeared without a trace; others are retained in only a few scarce records. The Basque language, challenged by Latin and its derived languages, has lost ground, especially in Spain. Beyond its current boundaries, there are many villages in Navarre with Basque names, but only Spanish is spoken there; along the borders of the Basque region in the Spanish provinces, this language is only spoken by a minority of the residents. Additionally, it is changing everywhere; children often replace the old, expressive native words with a vocabulary borrowed from the Romance languages. In areas with more contact with outsiders, where the pace of modern life is felt most strongly—like St. Sebastian and St. Jean de Luz, for example—the language has become very diluted and incorrect. Everything suggests that the Escuara or Euscara, the term used by its speakers for the Basque language, is on the verge of extinction. The term apparently simply means “way of speaking.” Everyone tends to have, to some extent, the same attitude that led the Greeks to regard all foreigners as barbarians—that is, as people who do not speak properly.
Prince L. L. Bonaparte reckons the actual number of the Basques, not including emigrants established in Mexico, at Monte Video, and at Buenos Ayres, at 800,000, of whom 660,000 are in Spain, and 140,000 in France.
Prince L. L. Bonaparte estimates the actual number of Basques, excluding emigrants living in Mexico, Montevideo, and Buenos Aires, to be 800,000, with 660,000 in Spain and 140,000 in France.
The phonetic laws of the Escuara are simple; the sounds most frequently employed are the sibilants, nasals, and hard gutturals; the soft consonants are often suppressed between two vowels. The mixed sounds, between palatals and gutturals, characteristic of the second large group of languages, are also frequently met with. One of the predominant features is the complete absence of reduplication of consonants, the aversion to groups of consonants, and the care taken to complete the sound of final mute consonants by an epenthetic vowel. It is probable that originally the words were composed of a series of syllables formed regularly of a single consonant and a vowel. We must mention, besides, the double form of the nominatives, one of which is used only as the subject of an active verb; the other serves equally for the subject of the intransitive, [223]and the object of the active verb. This is absolutely the same distinction remarked by M. Fried. Müller in the Australian languages between the subjective and the predicative nominative.
The phonetic rules of the Escuara are straightforward; the sounds that are used most often are sibilants, nasals, and hard gutturals; soft consonants are often dropped between two vowels. The mixed sounds, which are a blend of palatals and gutturals, typical of the second major group of languages, are also commonly found. A notable feature is the complete absence of consonant reduplication, a dislike for consonant clusters, and the attention given to completing the sound of final mute consonants with an epenthetic vowel. It's likely that originally, words were made up of a series of syllables typically consisting of a single consonant and a vowel. Additionally, we should note the double form of nominatives, one of which is used only as the subject of an active verb; the other is used equally for the subject of the intransitive, [__A_TAG_PLACEHOLDER_0__] and the object of the active verb. This distinction is exactly what M. Fried. Müller noted in the Australian languages regarding the subjective and predicative nominative.
Formal derivation is accomplished by means of suffixing the elements of relations; pronominal signs are nevertheless not only suffixed, but also prefixed to verbs. Except in this respect, nouns and verbs are not treated in two distinct manners; they are both equally susceptible of receiving suffixes which mark the relations of time and space, and many of which have preserved in their integrity both their proper signification and their primitive sonorous form. The article is the remote demonstrative pronoun. The pronouns “we” and “ye” are not the plurals of “I” and “thou,” but have the appearance of special individualities. There are no possessive derivative terms; “my house,” for example, is expressed by “the house of me,” and has no analogy with “I eat,” or any other verbal expression. There are no genders, although some suffixes are specially replaced by others in the names of animate beings; and in the verb there are special forms to indicate if a man or woman is being spoken to. There is no dual. The sign of the plural is interposed between the article and the suffixes. In the singular alone can there be an indefinite or indeterminate declension without the article.
Formal derivation is achieved by adding elements to relations; however, pronouns are not just added but also placed before verbs. Other than this, nouns and verbs are treated similarly; both can take on suffixes signaling relationships of time and space, many of which have kept their original meanings and sounds. The article functions as a distant demonstrative pronoun. The pronouns “we” and “ye” are not simply plurals of “I” and “thou,” but seem to represent unique identities. There are no possessive derivative terms; for instance, “my house” is expressed as “the house of me,” which has no relation to “I eat” or any verbal expression. There are no genders, although some suffixes are specifically substituted in names for living beings; and in verbs, there are specific forms to indicate whether a man or woman is being addressed. There is no dual form. The plural sign is placed between the article and the suffixes. In the singular, there can be an indefinite or indeterminate declension without the article.
The conjugation is exceedingly complicated. The Basque verb includes in a single verbal expression the relations of space; of one person to another—(1) subjective (the idea of neutrality, of action limited to its author), (2) objective (the idea of action on a direct object), and (3) attributive (the idea of an action done to bear on an object viewed indirectly, the idea of indirect action); the relations of time; the relations of state, corresponding to as many distinct moods; the variations of action, expressed by different [224]voices; the distinctions of subject or object, marked by numerous personal forms; the conditions of time and state which are expressed by conjunctions in modern languages—to each of these relations is appropriated an affix, often considerably abbreviated and condensed, but almost always recognisable.
The conjugation is extremely complicated. The Basque verb combines in a single verbal expression the relationships of space; between one person and another—(1) subjective (the notion of neutrality, of action limited to its author), (2) objective (the concept of action on a direct object), and (3) attributive (the idea of an action affecting an object seen indirectly, the notion of indirect action); the relationships of time; the relationships of state, corresponding to several distinct moods; the variations of action, shown by different [__A_TAG_PLACEHOLDER_0__]voices; the distinctions of subject or object, indicated by many personal forms; the conditions of time and state expressed by conjunctions in modern languages—to each of these relationships is assigned an affix, often significantly shortened and condensed, but almost always recognizable.
The primitive Basque verb—that is to say, in its full development—did not differ from that of other languages of the globe. It comprised only two moods, the indicative, and the conjunctive, which was derived from the indicative by a suffix; and three tenses, the present, the imperfect, and a kind of aorist indicating eventual possibility. There was only one secondary voice, the causative, formed by a special affix. To these forms it joined the signs of the direct and indirect object, which is the essential characteristic of incorporating idioms.
The basic Basque verb—in its complete form—was not different from that of other languages around the world. It included just two moods: the indicative and the conjunctive, which was formed from the indicative by adding a suffix; and three tenses: the present, the imperfect, and a type of aorist that indicated possible future action. There was only one secondary voice, the causative, created with a specific affix. Along with these forms, it included markers for the direct and indirect objects, which is a key feature of incorporating languages.
During its historic life, during its period of formal decay, the verb has experienced in Basque modifications which are not found to a similar extent elsewhere. The primitive conjugation, or, so to say, the simple and direct one of verbal nouns, has little by little fallen into disuse, and has been replaced by a singular combination of verbal nouns, of adjectives, and of some auxiliary verbs. Thus it is that the Escuara, in all its dialects, has developed eleven moods and ninety-one tenses (each of which has three persons in each number), variable according to the sex or rank of the person addressed; it receives besides a certain number of terminations, which perform the office of our conjunctions. Moreover, from the totality of these auxiliaries two parallel series have been formed, which, joined alternatively to nouns of action, produce the active and middle voices, or rather the transitive and intransitive. The auxiliaries of the periphrastic conjugation are almost the only verbs that have been preserved belonging to the simple primitive system. [225]
Throughout its long history and period of decline, the verb in Basque has undergone changes not seen to a similar extent in other languages. The original conjugation, or the straightforward form of verbal nouns, has gradually fallen out of use and has been replaced by a unique mix of verbal nouns, adjectives, and some auxiliary verbs. As a result, the Escuara, in all its dialects, has developed eleven moods and ninety-one tenses (each with three persons for both singular and plural), which vary depending on the gender or status of the person being addressed; it also includes several endings that function like our conjunctions. Additionally, from all these auxiliaries, two parallel series have formed, which, when combined with action nouns, create the active and middle voices, or more accurately, the transitive and intransitive forms. The auxiliaries of the periphrastic conjugation are almost the only verbs that have been retained from the simple original system. [__A_TAG_PLACEHOLDER_0__]
With regard to syntax, the Basque resembles all agglutinative languages. The sentence is always simple. The phrases are generally short; relative pronouns are unknown. The complexity of the verb, which unites many ideas in a single word, contributes to this simplicity of the sentence, in which the subject and the attribute, with their respective complements, tend to form but one expression. This object is attained by the invariability of the adjectives, and especially by composition.
In terms of syntax, Basque is similar to all agglutinative languages. Sentences are typically straightforward. Phrases are usually short, and relative pronouns aren't used. The complexity of the verb, which combines multiple ideas into one word, adds to the simplicity of the sentence, where the subject and predicate, along with their respective complements, often create a single expression. This goal is achieved through the invariability of adjectives and particularly through composition.
The adjective is placed after the noun it qualifies, whilst the genitive, on the contrary, precedes the governing noun.
The adjective comes after the noun it describes, while the genitive comes before the noun it modifies.
Composition is of such common use in Basque, that it has caused several juxta-posed words to be contracted and reduced, so as to be partially confounded one with the other. This phenomenon is familiar to languages of the New World; it is this which properly constitutes polysynthetism, and which we must carefully distinguish from incorporation. This last word should be reserved to designate more particularly the phenomena of objective or attributive conjugation common to idioms of the second form.
Composition is so commonly used in Basque that it has led to several adjacent words becoming shortened and blending together, making them somewhat indistinguishable from one another. This phenomenon is common in languages of the New World; it properly defines polysynthetism, which we must carefully differentiate from incorporation. The latter term should specifically refer to the phenomena of objective or attributive conjugation found in languages of the second form.
The Basque vocabulary appears to be very poor. Although it is still imperfectly known (for the old books, and the names of places, as well as certain little studied dialectic variations, must have retained some words generally forgotten), we are yet able to assert that pure Basque terms do not express abstract ideas. Except in words borrowed from the Gascon, French, Spanish, and Latin, we find no trace of any advanced civilization, and we can discover but very few expressions which imply collectivity or generalization—e.g., there is no word which has the wide signification of our word “tree,” of our “animal.” “God” is simply, by anthropomorphism, “the Master on High.” One and the same word translates our ideas of “will, desire, fancy, thought.” Borrowed words [226]are more numerous, from the fact that the influence of Aryan dialects has been felt through many ages; it is probably owing to their contact with the Indo-European races that the Basques, or those who used to speak the Basque, have any historical existence.
The Basque vocabulary seems quite limited. Although it's still not fully understood (since old books, place names, and certain under-researched dialect variations likely kept some words that are generally forgotten), we can still say that pure Basque terms don't convey abstract ideas. Other than words borrowed from Gascon, French, Spanish, and Latin, there's little evidence of any advanced civilization, and we can find very few expressions that imply collectivity or generalization—e.g., there's no word that captures the broader meaning of our word “tree” or “animal.” “God” is simply referred to, through anthropomorphism, as “the Master on High.” One single word covers our ideas of “will, desire, fancy, thought.” Borrowed words [__A_TAG_PLACEHOLDER_0__]are more common because the influence of Aryan languages has persisted for many ages; it's likely due to their interaction with Indo-European races that the Basques, or those who used to speak Basque, have any historical presence.
Thus, in order to study this singular idiom, it is necessary to understand thoroughly the history of the intervention of Latin in the Pyrenean region. No assistance is to be obtained from written documents, for there is not (and there cannot have been) any primitive Basque literature. The oldest book was published in 1545.2 The second is the Protestant version of the New Testament, printed at La Rochelle by order of Jeanne d’Albret, in 1571.3
Thus, to study this unique language, it's essential to fully understand the history of Latin's influence in the Pyrenean region. No help can be found in written documents because there isn’t (and there couldn’t have been) any early Basque literature. The oldest book was published in 1545.2 The second is the Protestant version of the New Testament, printed in La Rochelle at the request of Jeanne d’Albret in 1571.3
Another difficulty arises from the extreme variability of the language. There are, perhaps, not two villages where it is spoken absolutely in the same manner. This is natural enough among an unlettered people, and one which can only rise to the level of the surrounding civilization by forgetting its ancient language. These different varieties are easily grouped into secondary dialects. Prince L. L. Bonaparte recognises twenty-five of them, but they are reduced without difficulty to eight great dialects. A closer inspection further reduces these eight divisions to three; that is to say, the differences between the eight principal dialects are unequal, and admit of partial resemblances.
Another challenge comes from the extreme variability of the language. There might not be two villages that speak it exactly the same way. This is quite normal among an uneducated population, and the only way to elevate to the level of surrounding civilization is to let go of their ancient language. These various versions can easily be categorized into secondary dialects. Prince L. L. Bonaparte identifies twenty-five of them, but they can easily be reduced to eight main dialects. A closer look further narrows these eight divisions down to three; in other words, the differences between the eight main dialects are uneven and show some partial similarities.
The eight dialects are: (1) The Labourdine, (2) The Souletine, (3) The Eastern Lower-Navarrese, (4) The Western Lower-Navarrese, (5) The Northern Upper-Navarrese, (6) The Southern Upper-Navarrese, (7) The Guipuzcoan, (8) The Biscayan. The Souletine and the two [227]Lower-Navarrese dialects form the first group, which may be called the Oriental division. The Biscayan alone forms the Western, and the four others form the Central group. These names are taken from territorial divisions. La Soule was formerly a province feudatory to Navarre, and now embraces, within the French department of the Basses-Pyrénées, the cantons of Mauléon and Tardets, as well as some parishes of the canton of St. Palais, in the arrondissement of Mauléon. The Labourd, a viscounty, vassal of the Duchy of Aquitaine, corresponded to the cantons of Bayonne (excepting the city itself and three other parishes), of St. Jean de Luz, of Ustaritz, of Espelette, and part of Hasparren, in the arrondissement of Bayonne. The remaining part of the two French arrondissements which we have just named composes Lower Navarre, which is again subdivided into the districts of Cize, Mixe, Arberoue, Ostabaret, and the valleys of Osses and Baigorry. This was originally the sixth merindad of Navarre, a kingdom which extended into Spain as far as the Ebro, from Garde and Cortés on the one side to Vera and Viana on the other. Basque is still spoken along the French frontier and in several valleys forming the upper part of the territory. Guipuzcoa contains the cantons (partidos) of St. Sebastian, Tolosa, Azpeitia, and Vergara. Biscay comprises all the territory between Ondarroa and the river of Sommorostro, between La Carranza and the Peña de Gorbea.
The eight dialects are: (1) The Labourdine, (2) The Souletine, (3) The Eastern Lower-Navarrese, (4) The Western Lower-Navarrese, (5) The Northern Upper-Navarrese, (6) The Southern Upper-Navarrese, (7) The Guipuzcoan, and (8) The Biscayan. The Souletine and the two Lower-Navarrese dialects form the first group, which can be called the Eastern division. The Biscayan stands alone in the Western group, while the four others are classified as the Central group. These names come from geographical divisions. La Soule used to be a province under Navarre and now includes, within the French department of the Basses-Pyrénées, the cantons of Mauléon and Tardets, as well as some parishes in the canton of St. Palais, in the Mauléon arrondissement. The Labourd, a viscounty that was a vassal of the Duchy of Aquitaine, corresponds to the cantons of Bayonne (excluding the city itself and three other parishes), St. Jean de Luz, Ustaritz, Espelette, and part of Hasparren, in the Bayonne arrondissement. The remaining sections of the two French arrondissements we just mentioned make up Lower Navarre, which is further divided into the districts of Cize, Mixe, Arberoue, Ostabaret, and the valleys of Osses and Baigorry. This was originally the sixth merindad of Navarre, a kingdom which stretched into Spain as far as the Ebro, from Garde and Cortés on one side to Vera and Viana on the other. Basque is still spoken along the French border and in several valleys that form the upper part of the territory. Guipuzcoa includes the cantons (partidos) of St. Sebastian, Tolosa, Azpeitia, and Vergara. Biscay covers all the land between Ondarroa and the Somorostro river, and between La Carranza and Peña de Gorbea.
The dialects do not correspond exactly to the territorial subdivisions whose names they bear. Thus the Western Lower-Navarrese is spoken in a part of the ancient Labourd; the Biscayan in Guipuzcoa. Lastly, on the Spanish maps, there is another Basque province, Alava; but Basque is scarcely spoken there, excepting in a narrow strip along the northern frontier. The dialect of these Alavese districts is included in the Biscayan. To resume, the Biscayan dialect [228]is now spoken in Alava, Biscay, and the western third part of Guipuzcoa, in Vergara, and in Las Salinas; the Guipuzcoan in almost all the rest of Guipuzcoa; the Northern Upper-Navarrese in some villages of Guipuzcoa on the French frontier, in Fontarabie, Irun, and in the northern part of Navarre; the Southern Upper-Navarrese in the rest of Basque Navarre; the Labourdine in the south-western part of the arrondissement of Bayonne; the Western Lower-Navarrese in the north-eastern part of the same arrondissement; the Souletine is spoken in the two cantons of Mauléon and Tardets, and at Esquiule in the arrondissement of Oloron; the Eastern Lower-Navarrese extends into the arrondissement of Bayonne as far as St. Pierre d’Irube, by Meharrin, Ayherre, Briscous, Urcuit.
The dialects don't match up exactly with the regions they’re named after. For example, the Western Lower-Navarrese is spoken in part of the old Labourd, and the Biscayan dialect is found in Guipuzcoa. Additionally, Spanish maps show another Basque province, Alava, but Basque is hardly spoken there, except in a small strip along the northern border. The dialect from these Alavese areas falls under the Biscayan classification. To summarize, the Biscayan dialect [__A_TAG_PLACEHOLDER_0__] is currently spoken in Alava, Biscay, and the western third of Guipuzcoa, along with Vergara and Las Salinas; the Guipuzcoan dialect is found in almost all of the rest of Guipuzcoa; the Northern Upper-Navarrese is spoken in a few villages of Guipuzcoa near the French border, including Fontarabie, Irun, and the northern part of Navarre; the Southern Upper-Navarrese is used in the remainder of Basque Navarre; the Labourdine is found in the southwestern part of the Bayonne district; the Western Lower-Navarrese is in the northeastern part of the same district; the Souletine is spoken in the two cantons of Mauléon and Tardets, as well as in Esquiule in the Oloron district; and the Eastern Lower-Navarrese reaches into the Bayonne district as far as St. Pierre d’Irube, through Meharrin, Ayherre, Briscous, and Urcuit.
Of these arrondissements, of these provinces, none is entirely Basque in a linguistic point of view, except Guipuzcoa. Navarre is only half so, Alava only a tenth part. A little less than a fourth part has to be subtracted from Biscay, and certain Gascon villages from the arrondissements of Mauléon and Bayonne in France. Neither Bayonne, nor Pampeluna, nor Bilbao are Basque.4 And, moreover, skirting the districts where the Basque is the native idiom of the majority of the inhabitants, on many points there is an intermediate zone in which Basque is known only by a minority of the population; nevertheless, this zone must be included in the geographical area of the idiom, since the persons who speak Basque in it know it as their native language, and have never learnt it. This zone is most extensive in Navarre, but exists also in Alava and in Biscay. In France there is no analogous mixed zone; and, as M. P. [229]Broca remarks (“Sur l’Origine et la Repartition de la Langue Basque,” Paris, 1875, p. 39), “the demarcation is brusque, and may be indicated by a single line.” The Basques, moreover, in this respect, present some curious points for study. “In the valley of Roncal the men speak Spanish together; with the women they speak Basque, as do the women to each other. A similar state of things is to be observed at Ochagavia in Salazar. But this custom is not observed in the Roncalese villages of Uztarroz and Isaba, where the men among themselves speak indifferently Basque or Spanish.” (Prince L. L. Bonaparte, “Etudes sur les Dialects d’Aezcoa,” &c., p. 3).
Of these districts, none is fully Basque in terms of language, except for Guipuzcoa. Navarre is only about half, and Alava is just a tenth. You can subtract a little less than a fourth from Biscay, along with certain Gascon villages from the districts of Mauléon and Bayonne in France. Neither Bayonne, Pampeluna, nor Bilbao are Basque. Additionally, bordering the areas where Basque is the primary language for most residents, there are places where Basque is only spoken by a small part of the population; however, this area should still be included in the geographical range of the language, since those who speak Basque there consider it their native tongue and have never learned it in any other way. This area is largest in Navarre but also exists in Alava and Biscay. In France, there isn't a similar mixed area; and as M. P. [__A_TAG_PLACEHOLDER_0__]Broca points out (“Sur l’Origine et la Repartition de la Langue Basque,” Paris, 1875, p. 39), “the boundary is sharp, and can be shown by a single line.” Furthermore, the Basques provide some interesting points for study in this context. “In the Roncal valley, men speak Spanish with each other; with the women, they speak Basque, and the women do the same when talking to one another. A similar situation can be found in Ochagavia in Salazar. However, this custom doesn’t apply in the Roncalese villages of Uztarroz and Isaba, where men speak either Basque or Spanish among themselves.” (Prince L. L. Bonaparte, “Etudes sur les Dialects d’Aezcoa,” &c., p. 3).
The preceding description justifies the opinion advanced at the beginning of this notice. The Basque is an agglutinative idiom, and must be placed, in a morphological point of view, between the Finnic family, which is simply incorporating, and the North American incorporating and polysynthetic families. But we must not conclude thence that the Escuara is a near relation either of the Finnic or of the Magyar, of the Algonquin or of the Irokese. The relationship of two or more languages cannot, in fact, be concluded merely from a resemblance of their external physiognomy. To prove a community of origin, it is indispensable that (if compared at the same stage of development) their principal grammatical elements should not only be analogous in their functions, but should also have a certain phonetic resemblance, in order to render the hypothesis of their original identity admissible. It is better to abstain from asserting that such languages are derived from the same source, if the significant roots—which, after all, constitute the proper basis, the true originality of a language—should be found to be totally different. At present, no language has been discovered which presents any root-likeness to the Basque, analogous to that which exists [230]between the Sanscrit, Greek, and Gothic, or between Arabic and Hebrew.
The description above supports the opinion stated at the start of this notice. Basque is an agglutinative language and should be classified, in terms of morphology, between the Finnic family, which is purely incorporating, and the North American incorporating and polysynthetic families. However, we shouldn't conclude that Escuara is closely related to either the Finnic or Hungarian languages, nor to Algonquin or Iroquois. The relationship between two or more languages can't be determined solely based on their outward similarities. To establish a common origin, it's essential that (when compared at the same level of development) their main grammatical elements not only function similarly but also display some phonetic similarities, making the hypothesis of their original identity feasible. It's better to refrain from claiming that such languages come from the same source if the significant roots—which ultimately form the foundation and true originality of a language—are found to be completely different. Currently, no language has been found that shares root similarities with Basque comparable to those between Sanskrit, Greek, and Gothic, or between Arabic and Hebrew. [__A_TAG_PLACEHOLDER_0__]
Nevertheless, there are in the world minds so devoted to the worship of their own fixed ideas, so smitten with their own metaphysical dreams, so full of faith in the necessity of the unity of language, that they have acquired the habit of torturing the radical elements of a language, and of making them flexible and variable to an inconceivable degree. They pass their lives in seeking etymologies, such as those which Schleicher calls “Etymologizerungen ins blanc hinein,” and in discovering phonetic miracles—worthy children of those students of the last centuries who, in the general ignorance of the science of language, traced up all languages to Hebrew. The adventurous spirits to whom I allude have invented a theory of languages in which the vocabulary is incessantly renewed, and have formed the great “Turanian” family, in which everything which is neither Aryan, nor Semitic, nor Chinese, must be perforce included. In this olla podrida, where the Japanese elbows the Esquimaux, and the Australian shakes hands with the Turkish, where the Tamul fraternizes with the Hungarian, a place is carefully reserved for the Basque. Many amateurs, more daring still, have wedded the Escuara, or at least those who speak it, to the soi-disant Khamitic tribes of Egypt; others have united them to the ancient Phœnicians; others have seen in them the descendants of the Alans; others again, thanks to the Atlantides, make them a colony of Americans. It is not long since it was seriously affirmed, and in perfect good faith, that the Basques and the Kelts, the Welsh or Bretons, understood each other, and could converse at length, each using his native tongue. I refer these last to the poet Rulhière:
Nevertheless, there are people in the world so committed to their own rigid beliefs, so enchanted by their metaphysical visions, so convinced of the necessity for a unified language, that they have developed the habit of twisting the fundamental elements of a language, making them adaptable and variable to an unimaginable extent. They spend their lives searching for etymologies, like those that Schleicher refers to as “Etymologizerungen ins blanc hinein,” and discovering phonetic wonders—worthy descendants of those scholars from past centuries who, in the general ignorance of language science, traced all languages back to Hebrew. The adventurous minds I mention have created a theory of languages where the vocabulary is constantly refreshed, forming a vast “Turanian” family, comprising everything that is neither Aryan, Semitic, nor Chinese. In this olla podrida, where the Japanese jostles with the Eskimos, and the Australians greet the Turks, where the Tamil mingles with the Hungarians, a spot is carefully reserved for the Basque. Many even bolder enthusiasts have linked the Basque language, or at least its speakers, to the soi-disant Khamitic tribes of Egypt; others have connected them to the ancient Phoenicians; some have identified them as descendants of the Alans; and others, thanks to the Atlantides, consider them a colony of Americans. Just recently, it was seriously claimed, and in perfect good faith, that the Basques and the Celts, the Welsh or Bretons, could understand each other and carry on lengthy conversations, each speaking their own language. I refer these last claims to the poet Rulhière:
“La contrariété tient souvent au langage:
“La contrariété tient souvent au langage:
On peut s’entendre moins parlant un même son,
On peut s’entendre moins parlant un même son,
Que si l’un parlait Basque et l’autre Bas-Breton.”
Que si l'un parlait Basque et l'autre Bas-Breton.
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The more serious of these foes of negative conclusions, of these refiners of quintessences, assert that the ancestors of the Basques are incontestably the Iberians. In the first place I will remark that, supposing this proved, the Basques, or, if you will, the Iberians, would not be the less isolated; for how could the Iberian, any more than the Basque, be allied to the Keltic or to the Carthaginian? But this Iberian theory is not yet at all proved, and it will be easy to show it to be so in a few words. It reposes first of all on the following à priori—the Iberians have occupied all Spain and the south of Gaul, but the Escuara lives still at the foot of the Pyrénées; therefore the Escuara is a remnant of the language of the Iberians. The error of the syllogism is patent; the conclusion does not follow, and is wrongly deduced from the premises. As to the direct proofs, they are reduced to essays of interpretation, either of inscriptions called Iberian or Keltiberian, or of numismatic legends, or of proper, and especially of topographical names.5 The inscriptions and legends are written in characters evidently of Phœnician origin, but their interpretation is anything but certain. All the readings, all the translations into Basque, proposed by MM. Boudard, Phillips, and others, are disputed by the linguists who are now studying the Basque. The names collected from ancient authors form a more solid basis; but the explanations proposed by W. von Humboldt, and after him by many etymologists without method,6 are equally for the most part inadmissible. The Iberian theory is not proved, though it is perfectly possible.
The more serious opponents of negative conclusions, those who refine ideas, claim that the ancestors of the Basques are undoubtedly the Iberians. First, I want to point out that even if this were proven, the Basques, or you could say the Iberians, would still be isolated; after all, how could the Iberians, any more than the Basques, be related to the Celts or the Carthaginians? But this Iberian theory hasn’t been proven at all, and it will be easy to demonstrate this in just a few words. It rests first on the following assumption: the Iberians occupied all of Spain and the south of France, but the Escuara still lives at the foot of the Pyrenees; therefore, the Escuara must be a remnant of the Iberian language. The flaw in this reasoning is clear; the conclusion doesn’t follow logically and is incorrectly derived from the premises. As for direct evidence, it mainly consists of interpretations of either inscriptions known as Iberian or Celtiberian, or of coins, or of proper names, especially place names.5 The inscriptions and legends are written in characters that clearly have Phoenician origins, but their interpretation is far from certain. All the readings and translations into Basque proposed by MM. Boudard, Phillips, and others are contested by the linguists currently studying Basque. The names collected from ancient authors provide a more solid foundation; however, the explanations put forward by W. von Humboldt, and later by many method-less etymologists,6 are for the most part also unacceptable. The Iberian theory is not proven, although it is certainly possible.
The Basques do not present, in an anthropological point of view, as far as we know at present, any original and well-defined [232]characteristic other than their language.7 Nothing in their manners or customs is peculiar to them. It is in vain that some writers have tried to discover the strange custom of the “couvade” among them, a custom still observed, it is said, by the natives of South America and in the plains of Tartary. It consists in the husband, when his wife is confined, going to bed with the new-born infant, and there he “couve,” “broods over it,” so to say. No modern or contemporaneous writer has found this custom among the Basques; and as to historical testimony, it is reduced to a passage of Strabo—which nothing proves to be applicable to the ancestors of the present Basques—and to certain allusions in writers of the last two centuries. These allusions always refer to the Béarnais, the dialect whence the word “couvade” is borrowed.
The Basques don't appear, from an anthropological standpoint, to have any unique and clearly defined characteristic aside from their language. Nothing in their behaviors or customs is specific to them. Some authors have unsuccessfully tried to find the unusual custom of the “couvade” among them, a practice that is still said to be observed by natives in South America and the steppes of Tartary. This practice involves the husband going to bed with the newborn infant while the wife is giving birth, and he “couvades,” or “broods over it,” so to speak. No modern or contemporary writer has documented this custom among the Basques, and historical evidence is limited to a passage from Strabo—which has not been proven to apply to the ancestors of today's Basques—and a few references from writers over the last two centuries. These references always pertain to the Béarnais, the dialect from which the word “couvade” is derived.
Prince L. L. Bonaparte has discovered that in the Basque dialect of Roncal the moon is called “Goicoa;” Jaungoicoa is the word for “God” in Basque, and would mean “the Lord Moon,” or rather “our Lord the Moon.” He cites, with reference to this, “the worship of the moon by the ancient Basques.” The only evidence in favour of this worship is a passage of Strabo (Lib. iii., iv. 16), where it is said that the Keltiberians, and their neighbours to the north, honour a certain anonymous God by dances before their doors at night during the full moon. But it must be proved that the Keltiberians and their neighbours to the north were Basques.
Prince L. L. Bonaparte has found that in the Basque dialect of Roncal, the moon is called “Goicoa;” Jaungoicoa means “God” in Basque and would translate to “the Lord Moon,” or more precisely, “our Lord the Moon.” He points out, in relation to this, “the worship of the moon by the ancient Basques.” The only support for this worship comes from a passage by Strabo (Lib. iii., iv. 16), which states that the Keltiberians and their neighbors to the north honor a certain unnamed God by dancing in front of their doors at night during the full moon. However, it needs to be established that the Keltiberians and their neighbors to the north were Basques.
Another passage of Strabo has furnished arguments to the “Iberists.” He says (Lib. iii., iv. 18) that among the Cantabrians the daughters inherited, to the detriment of their brothers. M. Eugène Cordier has endeavoured, after [233]Laferrière (”Histoire du Droit Français”), to establish that this arrangement is the origin of the right of primogeniture without distinction of sex, and which is found more or less in all the “coutumes” of the Western Pyrénées. He has developed this theory in an interesting essay, “Sur l’Organisation de la Famille chez les Basques” (Paris, 1869). But an able lawyer of Bayonne, M. Jules Balasque, has shown in Vol. II. of his remarkable “Etudes Historiques sur la Ville de Bayonne” (Bayonne, 1862–75) that there is nothing peculiar to the Basques in this fact; and we can only recognise in it, as in the opposite custom of “juveignerie” in certain northern “coutumes,” an application of a principle essentially Keltic or Gallic for the preservation of the patrimony.
Another passage from Strabo has provided evidence for the “Iberists.” He mentions (Lib. iii., iv. 18) that among the Cantabrians, daughters inherited, which was a disadvantage for their brothers. M. Eugène Cordier has attempted, after [__A_TAG_PLACEHOLDER_0__]Laferrière (”History of French Law”), to establish that this practice is the origin of the right of primogeniture without gender distinction, which can be found more or less in all the “coutumes” of the Western Pyrénées. He elaborated on this theory in an interesting essay, “On the Organization of the Family among the Basques” (Paris, 1869). However, a skilled lawyer from Bayonne, M. Jules Balasque, has argued in Vol. II. of his remarkable “Historical Studies on the City of Bayonne” (Bayonne, 1862–75) that this practice is not unique to the Basques; we can recognize it, along with the opposite custom of “juveignerie” in certain northern “coutumes,” as an application of a principle that is essentially Celtic or Gallic for the preservation of the family inheritance.
In conclusion, I beg my readers to excuse the brevity of the preceding notes; but, pressed for time, and overwhelmed with a multitude of occupations, it has not been possible for me to do more. If I am still subject to the reproach which Boileau addresses to those who, in striving to be concise, become obscure, I have at least endeavoured to conform to the precept of the Tamul poet, Tiruvalluva—“To call him a man who lavishes useless words, is to call a man empty straw” (I. Book, xx. chap., 6th stanza).
In closing, I ask my readers to forgive the shortness of the notes above; however, due to time constraints and being swamped with many commitments, I haven't been able to say more. If I still face the criticism that Boileau gives to those who, in trying to be brief, become unclear, at least I’ve tried to follow the advice of the Tamul poet, Tiruvalluva—“To call him a man who uses unnecessary words is to call a man empty straw” (I. Book, xx. chap., 6th stanza).
Bayonne, August 28, 1876.
Bayonne, August 28, 1876.

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1 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.
1 I’m aware that some parts of the theory mentioned above have been recently challenged, especially by Mr. Sayce (“Principles of Comparative Philology,” Trübner, London, 1874). However, I can’t accept all these criticisms at this time, and I don’t have the opportunity to discuss them in detail or effectively here.
2 “Poésies Basques de Bernard Dechepare.” A most careful reprint, word for word, was published by Cazals, Bayonne, in 1874.
2 “Basque Poems by Bernard Dechepare.” A meticulously accurate reprint, word for word, was released by Cazals, Bayonne, in 1874.
3 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.
3 An exact reprint of the Gospel of St. Mark in this version, with notes, etc., by M. J. Vinson, was also published in Bayonne (Cazals), 1874.
4 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.
4 For more detailed and complete topographical information, check out the outstanding linguistic maps by Prince L. L. Bonaparte, which are great examples of how geography can support the study of language. You can trace the unique dialect spoken in each village and, in some cases, even in nearly every home.
5 M. Van Eys has consecrated an excellent article to these etymologies in the “Revue de Linguistique,” Juillet, 1874, pp. 3–15.
5 M. Van Eys has dedicated an excellent article to these word origins in the “Revue de Linguistique,” July 1874, pp. 3–15.
6 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.
6 It should be noted that M. Luchaire, in several pamphlets about the ancient place names of Spain, has made some of these explanations more acceptable.
7 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.
7 A type of skull, postero-dolichocephalous, with a good facial angle, ortho- or opistho-gnathous, but with comparatively smaller brain size, is said by some to be unique to the Basques.—W. W.

Basque Poetry.
I.—Pastorales.
Perhaps there is no people among whom versification is so common, and among whom really high-class poetry is so rare, as among the Basques. The faculty of rhyming and of improvisation in verse is constantly to be met with. Not unusually a traveller in one of the country diligences, especially on a market-day, will be annoyed by the persistent crooning of one of the company, like Horace of old, more or less under the inspiration of Bacchus; and if he enquire what the man is about, he will be told that he is reciting a narrative in verse of all the events of the past day, mingled probably with more or less sarcastic reflections on the present company, and with especial emphasis on the stranger. At the yearly village fêtes, when the great match of Jeu de Paume au Rebot has been lost or won, prizes are sometimes given for improvisation on themes suggested at the moment, and the rapidity of the leading improvisatori1 is something marvellous. Moreover, there are two species of native Drama. One, the Pastorale, the more regular and important, [236]is now confined to the Vallée of La Saison and the Souletin district. The other, the Charivari, or Mascarade, more unfettered and impromptu, giving free rein to the invention of the actors, is occasionally, but rarely, acted in all districts of the Pays Basque.
Perhaps there’s no group of people where people create verse so regularly, yet truly high-quality poetry is so rare, as among the Basques. The ability to rhyme and improvise in verse is always present. It’s not uncommon for a traveler in one of the country’s diligences, especially on market days, to be bothered by the continuous singing of someone in the group, reminiscent of Horace of old, somewhat inspired by Bacchus; and if they ask what the person is doing, they will be told that he’s reciting a poem recounting all the events of the past day, probably sprinkled with sarcastic comments about the company, especially focusing on the stranger. At the annual village fêtes, when the big match of Jeu de Paume au Rebot has been won or lost, prizes are sometimes awarded for improvisation on themes suggested at that moment, and the speed of the leading improvisatori1 is truly amazing. Additionally, there are two types of native drama. One, the Pastorale, which is more formal and significant, [__A_TAG_PLACEHOLDER_0__]is now limited to the Vallée of La Saison and the Souletin area. The other, the Charivari or Mascarade, is more free-form and spontaneous, allowing the actors’ creativity to flow, and is occasionally, but rarely, performed in all regions of the Pays Basque.
The Pastorale, or Tragedy, is certainly a representative and survival of the Mediæval Mystery, or Miracle Play; and in the remoter districts is acted almost as seriously as is the Ammergau Passion Play. It is an open-air performance, which unites in interminable length, and in the same piece, tragedy and comedy, music, dancing, and opera. Though undoubtedly the oldest form in which Basque poetry of any kind is preserved, it can have no claim to be an indigenous product. The subjects of the older Pastorales are drawn from three sources—from the Bible; from the lives of the Saints, or Hagiology; from the Chansons de Geste and Romances of Chivalry. None of the extant Pastorales, even in their earliest form, would, we think, be anterior to the thirteenth century. The anachronisms, the prejudices, the colouring, the state of education evinced, are all those of the date when the Chansons de Geste and the Legenda Aurea were the favourite literature of high and low; the epoch at the close of which flourished the brilliant petty courts of Gaston de Foix at Orthez, and of the Black Prince at Bordeaux. The anachronisms make Charlemagne a contemporary of the Crusaders; Mahomet is an idol, and in the shape of a wooden puppet sits on a cross-bar over one of the stage-entrances, where he is worshipped by all his followers as they pass in and out. The make-up of the characters and the dresses are conventional. But though we cannot assign any higher antiquity even to the original form of any of the extant Pastorales—we say original form, because they have been edited and re-edited generation after generation by almost every prompter at each successive representation—yet several of the accessories and part of the stage-business point to possibly older traditions. The stage, at least in [237]the more inaccessible villages, where alone the Pastorales are now to be seen in anything like their genuine form, may still be described as “modicis pulpita tignis.” It is generally constructed against a house in the “Place” of the village, and is composed of boards resting on inverted barrels; one or more sheets, suspended from cross-bars, hide the house walls, and form the background; to this drapery bunches of flowers and flags are affixed, and thus is formed the whole “scenery”; the rest is open air and sky. Usually behind the sheet, though sometimes in front on a chair, sits the prompter, or stage-director; at the corners and sides of the stage are the stage-keepers, armed with muskets, which are fired off at certain effective moments, and always at the end of a fight. But there are four points in which a Pastorale recalls more ancient traditions: (1) The sexes are never mingled; the Pastorale being played either entirely by men, or entirely by women.2 (2) The speech is always a kind of recitative or chant, varying in time according to the step of the actors. (3) There is a true chorus. (4) The feet and metre of the verse correspond to the step and march of the actors, and to the dancing of the chorus.
The Pastorale, or Tragedy, is definitely a representation and survival of the Medieval Mystery, or Miracle Play; and in more remote areas, it’s performed almost as seriously as the Ammergau Passion Play. It’s an outdoor performance that combines an endless mix of tragedy and comedy, music, dancing, and opera all in one piece. While it's undoubtedly the oldest form of Basque poetry still around, it can't be considered a homegrown creation. The themes of the older Pastorales come from three main sources: the Bible, the lives of the Saints (Hagiology), and the Chansons de Geste and Romantic stories of Chivalry. None of the existing Pastorales, even in their earliest forms, would likely date before the thirteenth century. The anachronisms, biases, tone, and level of education shown are all typical of the time when the Chansons de Geste and the Legenda Aurea were popular among both the elite and the common people; this was the period at the end of which the vibrant small courts of Gaston de Foix at Orthez and the Black Prince at Bordeaux thrived. The anachronisms place Charlemagne as a contemporary of the Crusaders; Mohammed is an idol, and in the form of a wooden puppet, he hangs on a bar over one of the stage entrances, where all of his followers worship him as they come and go. The costumes and makeup of the characters are conventional. However, even though we can't establish an earlier origin for the existing Pastorales—keeping in mind that they have been edited and revised over generations by nearly every prompter for each new performance—many of the props and part of the stage directions suggest potentially older traditions. The stage, at least in [__A_TAG_PLACEHOLDER_0__]the more remote villages, where the Pastorales are now only seen in anything resembling their authentic form, can still be described as “modicis pulpita tignis.” It’s usually set up against a house in the village’s “Place” and is made of boards resting on upside-down barrels; one or more sheets hung from cross-bars disguise the house walls and create the backdrop, to which bunches of flowers and flags are attached, making up the entire “scenery”; the rest is just open air and sky. Typically behind the sheet, but sometimes in front on a chair, sits the prompter or stage director; at the corners and sides of the stage are the stage-keepers, who are armed with muskets, which they fire at strategic moments, especially at the end of a fight. However, there are four ways in which a Pastorale remembers older traditions: (1) The sexes are never mixed; a Pastorale is performed either entirely by men or entirely by women.2 (2) The dialogue is always a kind of recitative or chant, varying in pace with the actors' movements. (3) There’s a genuine chorus. (4) The rhythm and meter of the verse align with the actors' steps and marching, as well as with the dance of the chorus.
Now, as to (1), the effect is not unpleasing; the boy-lady or the boy-angel is often one of the most successful actors, and makes an excellent substitute for the real lady. There is no coarseness in his acting; on the contrary, there is a certain reserve of movement caused by the unwonted dress, which looks like a pleasing modesty, and makes the boy appear really lady-like. His get-up is generally unexceptionable.
Now, regarding (1), the effect is quite pleasing; the boy playing a female role or the boy-angel is often one of the most successful performers and serves as an excellent substitute for a real woman. There’s no roughness in his acting; instead, there’s a certain restraint in his movement due to the unusual costume, which comes off as charming modesty and makes the boy seem genuinely feminine. His appearance is typically flawless.
We have once only had an opportunity of seeing a girl’s Pastorale, “Ste. Helène,” at Garindein, in April of the present year, 1879. Unfortunately it was interrupted, almost as soon as commenced, by violent rain. The costumes were very modest and pretty. The heroines of the piece wore blue or [238]scarlet-jackets, with long white skirts; the lady-heroes had shorter skirts and white unmentionables. The Pastorale of “Ste. Helène” has nothing to do with the mother of Constantine the Great, or with the Invention of the Cross. It is an olla podrida of old legends. The opening scene is taken from “The King who wished to marry his own daughter” (see above, p. 165.) A King Antoina wishes to marry his daughter Helène, and for that purpose procures a dispensation from the Pope, who appears on the scene, attended by an angel. Helène, however, still refuses, and escapes; she embarks for England, but the captain of the vessel falls outrageously in love with her (cf. “Juan Dekos,” p. 148). A shipwreck saves her from his persecutions; she lands alone in England, is seen by Henry, King of England, who falls in love with her and forthwith marries her, in spite of his mother’s objections. He is forced to go to the wars; Helène gives birth to twin boys, but the queen-mother changes the letter, and sends word to the King that she is confined of two puppies (cf. “The singing tree, the bird which tells the truth, and the water that makes young,” p. 177). Ste. Helène is condemned to death; Clarice, her maid, offers to die in her stead, but both escape; the boys, who were supposed to have been murdered, at last reappear, and all ends happily as in the legends. The part of the “Satans” was taken by three middle-aged men, in buff breeches and white stockings, who danced very well. The preliminary procession on horseback, and the opening scene on the stage, were exceedingly pretty.
We only had one chance to see a girl’s Pastorale, “Ste. Helène,” at Garindein in April of this year, 1879. Unfortunately, it was interrupted almost as soon as it began by heavy rain. The costumes were very simple and lovely. The female characters wore blue or [__A_TAG_PLACEHOLDER_0__]scarlet jackets with long white skirts, while the male heroes had shorter skirts and white underwear. The Pastorale of “Ste. Helène” has nothing to do with the mother of Constantine the Great or the Invention of the Cross. It's a mix of old legends. The opening scene is taken from “The King who wished to marry his own daughter” (see above, p. 165). A King named Antoina wants to marry his daughter Helène and gets a dispensation from the Pope, who shows up accompanied by an angel. However, Helène still refuses and escapes; she boards a ship to England, but the ship’s captain falls hopelessly in love with her (cf. “Juan Dekos,” p. 148). A shipwreck saves her from his advances; she lands alone in England, where Henry, the King, sees her and immediately falls in love and marries her, despite his mother’s disapproval. He has to go off to war; Helène gives birth to twin boys, but the queen mother changes the letter and tells the King that she had two puppies instead (cf. “The singing tree, the bird which tells the truth, and the water that makes young,” p. 177). Ste. Helène is sentenced to death; Clarice, her maid, offers to die in her place, but both manage to escape. The boys, who were thought to be dead, eventually reappear, and everything ends happily like in the legends. The role of the “Satans” was played by three middle-aged men in buff breeches and white stockings, who danced very well. The initial procession on horseback and the opening scene on stage were extremely pretty.
(2) The recitative is always accompanied by music; generally a violin or two, a flute, the chirola, and the so-called Basque tambourine, a species of six-stringed guitar, beaten by a short stick, or plectrum. The tune is almost a monotone, but differs in time, being faster or slower according to the action of the piece; with the exception of those parts in which the chorus alone has possession of the stage, when the Saut Basque or other lively dancing airs are played. The strong, clear chant of the actor accompanying this [239]music, which is never overpowering in its loudness, is heard much better and to a greater distance in the open air than any mere speaking would be; and, moreover, it prevents rant, without altogether effacing vivacity. For (3) there is a singular idea running through all these Basque Pastorales, according to which sanctity and nobility of character are associated with calmness of demeanour and tone, and villany and devilry of all kinds with restlessness and excitement. The angels and saints, the archbishops and bishops, move with folded hands and softly gliding steps; the heroes walk majestically slow; the common soldiers are somewhat more animated and careless in their gestures; the Saracens, the enemies, the villains, rush wildly about; but the chorus, or “Satans,” are ever in restless, aimless, agitated movement, except when engaged in actual dancing. It is on these last, the chorus—of whom there should be three, or two at least—that the great fatigue and burden of the acting weighs. None but the most active and well-knit lads can play the part, and even them it tries severely. This chorus is invariably called “Satans;” their dress is always rigidly the same, and a pretty one it is—red beret or cap, red open jacket, white trousers with red stripes, red sashes, spartingues (hempen sandals) bound with red ribands; and they carry a little wand ornamented with red ribands and terminating in a three-forked hooked prong.3 Blue is the colour consecrated to the good and virtuous; red to the enemy and the vicious, to the English, Saracens, and “Satans.” The task of the “Satans” is not only to take part among the actors, but the difficulty of their utterance is much heightened by the compelled rapidity of their movements, while at intervals, when the stage is empty of other actors, they [240]occupy the front corners of it, and dance the wild Saut Basque, singing at the same time some reflections on, or anticipations of, the action of the piece played, much like the chorus of a Greek tragedy; but, in addition to this, there is generally a comic interlude, more or less impromptu, and very slightly, if at all, connected with the main piece, wherein the “Satans” take the principal rôle, together with the best comedian of the other actors. This is done to relieve the tedium of the heavy tragedy, and, oddly enough, is often spoken partly in Gascon or in French, while only Basque is used in the Pastorale proper. (4) As will be judged from the above remarks, there is, perhaps, no spectacle in Europe from which the original relations of feet, line, pause, metre, verse, strophe, antistrophe, and rhythm in music, dance, and poetry can be better studied than at a Basque Pastorale. It will be seen there at a glance how far these terms are from being mere metaphors.
(2) The recitative is always set to music, usually with a violin or two, a flute, the chirola, and the so-called Basque tambourine, a type of six-stringed guitar played with a short stick or plectrum. The melody is almost monotone but varies in speed, getting faster or slower depending on the action; except during the parts when the chorus has the stage to themselves, during which lively tunes like the Saut Basque are played. The strong, clear singing of the actor, which is never too loud, is heard much better and at a greater distance outside than mere speaking would be; plus, it prevents overacting while still allowing for liveliness. For (3) there’s a unique idea throughout all these Basque Pastorales, suggesting that holiness and nobility are linked with calmness in manner and voice, while villainy and evil are connected with restlessness and excitement. The angels and saints, the archbishops, and bishops move with folded hands and glide softly; the heroes walk majestically slow; the common soldiers are a bit more animated and casual in their gestures; the Saracens, the enemies, the villains, rush around wildly; but the chorus, or “Satans,” are always in restless, aimless, agitated motion, except when they are actually dancing. These "Satans," of which there should be three, or at least two, bear the greatest fatigue and burden of the performance. Only the most active and fit guys can play this role, and even for them, it’s a tough challenge. This chorus is always referred to as “Satans;” their attire is always strictly the same, and it’s quite nice—a red beret or cap, red open jacket, white trousers with red stripes, red sashes, spartingues (hemp sandals) tied with red ribbons; and they carry a small wand decorated with red ribbons and ending in a three-pronged hook. 3 Blue represents the good and virtuous; red symbolizes the enemy and the wicked, the English, Saracens, and “Satans.” The role of the “Satans” is not just to participate among the actors, but their speech becomes more challenging due to their enforced quick movements, and at times, when there are no other actors on stage, they occupy the front corners and dance the wild Saut Basque, singing reflections or anticipations of the actions in the play, much like the chorus in a Greek tragedy; additionally, there’s usually a comic interlude that is more or less improvised and only slightly, if at all, related to the main piece, featuring the “Satans” alongside the best comedian from the other actors. This is done to break up the heaviness of the tragedy, and odd as it may seem, it’s often spoken partly in Gascon or French, while only Basque is used in the actual Pastorale. (4) As noted in the above comments, there may be no spectacle in Europe that offers a better opportunity to study the original relationships of feet, line, pause, meter, verse, strophe, antistrophe, and rhythm in music, dance, and poetry than at a Basque Pastorale. It will be immediately clear how far these terms are from being mere metaphors.
Now, when we add that many of the actors in these Pastorales cannot—scarcely any could before the present generation—read or write; that the Pastorales extend from three to seven thousand lines, distributed in ballad verses of four lines each, the second and fourth rhyming; and that the representations last from six to eight hours, our readers may imagine the amount of serious preparation required where every sentence has to be learned by heart from repetition of a reader or reciter. Consequently, to get up a Pastorale, a whole winter is not too long. The task is generally performed at home in the actor’s family, or in a house where two or three meet together for the study, if neighbours. We have seen some pleasing instances of the pride the whole family take in the success of the actor. Asking once a pretty boy where he could have learnt to play his part of lady in so very ladylike a manner, he answered, “From my father and my mother in the winter.” At another time we had as companion in a long day’s walk a man upwards of sixty, who had been a “Satan” in his youth. He explained how very [241]trying it is both to dance well and to sing at the same time so as to be clearly heard. His father had been a “Satan” before him, and had trained him for the occasion, and had made him eat two raw eggs before commencing. He spoke of the joy of the whole family when his performance was successful, though he lost his voice for several days afterwards. To show what his former agility must have been, he cleared every fence and obstacle in our path gallantly, despite his sixty years. These Pastorales are seldom, if ever, acted as a money speculation, but during the acting of them one or two young men, accompanied by a pretty girl, make the round of the spectators, offering a glass of wine, in quasi-payment for which you are expected to place a coin in the plate which the maiden carries. The amount collected is seldom much beyond what is required for the necessary expenses; more often it is below, but if anything remains it is spent on a grand feast to all the actors. The number of Pastorales in existence is variously stated at from seventy to two hundred. The former number we believe to be the nearer to the fact. The names of those best known are as follows:—
Now, when we consider that many of the actors in these Pastorales can’t—hardly any could before the current generation—read or write; that the Pastorales range from three to seven thousand lines, divided into ballad verses of four lines each, with the second and fourth lines rhyming; and that the performances last from six to eight hours, our readers can sense the significant amount of serious preparation needed since every line has to be memorized from the repetition of a reader or reciter. Thus, preparing a Pastorale often takes a whole winter. This task is usually done at home within the actor’s family, or in a place where two or three neighbors gather to study together. We have seen some delightful examples of the pride the entire family takes in the actor's success. Once, when we asked a charming boy how he learned to play his part as a lady so convincingly, he replied, “From my father and my mother in the winter.” Another time, during a long walk, we met a man over sixty who had been a “Satan” in his youth. He explained how challenging it is to dance well and sing at the same time while being clearly heard. His father had been a “Satan” before him and had trained him for the occasion, even making him eat two raw eggs beforehand. He spoke of the joy the whole family felt when his performance was a success, although he lost his voice for several days afterward. To show what his former agility must have been like, he gallantly cleared every fence and obstacle in our path, despite his sixty years. These Pastorales are rarely, if ever, performed as a money-making venture, but during the show, one or two young men, accompanied by a pretty girl, go around to the spectators offering a glass of wine, for which you are expected to drop a coin into the plate that the girl carries. The amount collected is seldom much more than what's needed for necessary expenses; often it's less, but if there’s anything left over, it’s used for a big feast for all the actors. The number of existing Pastorales is variously estimated to be between seventy and two hundred. We believe the first number is closer to the truth. The most well-known names are as follows:—
From the Bible and Hagiology.
From the Bible and Hagiography.
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Classical.
Classical.
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Chansons de Geste, etc.
Epic Songs, etc.
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Modern.
Contemporary.
Napoleon— | (1) Le Consulat |
(2) L’Empire | |
(3) Ste. Helène |
We will now give a brief epitome of “Abraham” as a specimen, not of the best, but of the only one which we have at hand in MS.,6 for none of the Pastorales, we believe, have ever been printed in extenso. The dramatis personæ are:
We will now provide a brief summary of “Abraham” as an example, not the best one, but the only one we have available in manuscript, 6 because we don’t think any of the Pastorales have ever been published fully. The dramatis personæ are:
The Eternal Father, who speaks chiefly in Latin quotations from the Vulgate, and always from behind the scenes, i.e., the suspended sheets mentioned above. | ||||
Three Angels—Michael, Raphael, Gabriel—all of whom mingle quotations from the Vulgate with their Basque. | ||||
Abraham, Sara, Agar, Isaac, and Ismael. | ||||
Lot, and Uxor (sic) Lot’s wife. | ||||
Tina and Mina, Lot’s daughters. | ||||
Salamiel and Nahason, shepherds of Abraham. | ||||
Sylva and Milla, shepherds of Lot. | ||||
Melchisedec. | ||||
Escol, a companion of Abraham. | ||||
All these names are from the Vulgate. | ![]() |
Raphel (Amraphel) | ![]() |
Kings of the Turks (Turcac). |
Arioch | ||||
Thadal | ||||
Chodorlaomor | ||||
Sennaab | ![]() |
Good Kings. | ||
Bara | ||||
Bersa | ||||
Semeber | ||||
Bala [__A_TAG_PLACEHOLDER_0__] | ||||
Pharaon, King of Egypt. | ||||
Corion and Gober, Pharaon’s courtiers. | ||||
Astaroch | ![]() |
Good Soldiers, defenders of the Holy Religion. | ||
Telemar | ||||
Cormaim | ||||
Zuzite | ||||
Chavoq and Chorre, good giants, killed by the Turkish kings. | ||||
Cocor, Patar; Maneton, and Catilie, inhabitants of Sodom. The last two are ladies. Maneton is a diminutive from Marie—Manon, Manette, Maneton; like Jeannette, Jeanneton, from Jeanne. | ||||
“Satans”—Satan and Bulgifer—who swear most frightfully in French, on the principle, perhaps, of omne ignotum pro magnifico, and because swearing, while more terrible, is less mischievous when uttered in a tongue “not understanded of the people.” |
Abraham is the model of a Christian, and Abraham and Pharaon both address their followers as “barons.” Satan flatteringly addresses the shepherds by the Spanish title “Caballeros” when he wants to lead them into mischief. The actors are by no means so numerous as the “rôles”; one takes several successive parts, often without change of dress, a custom which heightens not a little the difficulty of following an acted Pastorale.
Abraham is seen as the ideal Christian, and both Abraham and Pharaoh refer to their followers as “barons.” Satan flattering calls the shepherds by the Spanish title “Caballeros” when he wants to tempt them into trouble. The actors are definitely fewer than the “rôles”; one person often plays several roles in a row, frequently without changing outfits, which makes it quite challenging to keep up with an acted Pastoral.
There is more dramatic unity in “Abraham,” and the main plot is more skilfully conducted than might be expected from its title. The key-note of the action is given at once when Satan and Bulgifer appear on horseback in the “Place” in front of the stage, and announce their project of “tormenting Abraham,” and of “weakening the Christian Faith.” The plot then follows pretty closely the Bible narrative. Only it is Satan and Bulgifer who are the authors of all Abraham’s misfortunes and vexations; although the angels constantly appear to save him when matters are at their worst. It is the “Satans” who inflame Pharaon in Egypt with the report and sight of Sara’s beauty; it is they who stir up strife between Abraham’s and Lot’s herdsmen; they are delighted with the wickedness of the [244]inhabitants of Sodom, which they direct to suit their own purposes; they stir up war against Abraham and Lot in the persons of the Turkish kings with Biblical names. These at first conquer Lot, and one by one slay all his partisans, including the good giants Chavoq and Chorre, whose corpses are carried off by Satan to be feasted upon, with the licorish exclamation: “O what cutlets! what a fine leg!!” Then they tempt Agar, and make her quarrel with Sara. In the scene preceding the destruction of Sodom, although the angels are present, the inhabitants round Lot’s door are blinded, not by them, but “by some magician.” Lot’s wife, Uxor, when to be changed into a pillar of salt, ingeniously falls under the stage, and there the transformation takes place unseen. When Isaac is born, he is forthwith baptised. Agar and Ismael are driven into the desert, and are saved by the angel Gabriel. The play then gradually works up to the climax, the sacrifice of Isaac—the last and terrible temptation—in which the “Satans” tempt the “two Christians,” Abraham and Isaac, to unbelief and disobedience, and are foiled as ever. After this, the action languishes, Abraham dies, and the Pastorale comes to an end. All the actors appear on the stage and chant the De Profundis, then the angels sing, and all unite in a concluding chant. We give a few verses from the scene of the sacrifice as a specimen of the whole:—
There is more dramatic unity in “Abraham,” and the main plot is handled more skillfully than you might expect from its title. The key moment of the action is established right away when Satan and Bulgifer show up on horseback in the “Place” at the front of the stage and reveal their plan to “torment Abraham” and “weaken the Christian Faith.” The plot follows the Bible story pretty closely. However, it’s Satan and Bulgifer who are behind all of Abraham’s misfortunes and troubles; although the angels frequently appear to rescue him when things are at their worst. It’s the “Satans” who provoke Pharaoh in Egypt with the news and sight of Sarah’s beauty; they are the ones who incite conflict between Abraham’s and Lot’s herdsmen; they take pleasure in the wickedness of the [__A_TAG_PLACEHOLDER_0__]inhabitants of Sodom, manipulating it for their own ends; they instigate war against Abraham and Lot through the Turkish kings with Biblical names. These kings initially defeat Lot, one by one killing all his supporters, including the good giants Chavoq and Chorre, whose bodies Satan carries off to devour, exclaiming, “Oh, what cutlets! What a fine leg!!” Then they tempt Hagar, leading her to argue with Sarah. In the scene before the destruction of Sodom, even though the angels are there, the people surrounding Lot's door are blinded, not by them, but “by some magician.” Lot’s wife, Uxor, when she’s about to be turned into a pillar of salt, cleverly falls beneath the stage, where the transformation occurs unseen. When Isaac is born, he is immediately baptized. Hagar and Ishmael are cast into the desert and saved by the angel Gabriel. The play gradually builds up to the climax, the sacrifice of Isaac—the final and dreadful temptation—in which the “Satans” tempt the “two Christians,” Abraham and Isaac, to doubt and disobey, only to be thwarted again. After this, the energy of the action wanes, Abraham dies, and the pastoral play comes to an end. All the actors appear on stage and sing the De Profundis, then the angels sing, and everyone joins in a final chant. We provide a few verses from the scene of the sacrifice as a sample of the whole:—
Satan and Bulgifer; Abraham and Isaac.
Satan and Bulgifer; Abraham and Isaac.
Satan.
Satan.
Abraham, art thou ignorant?
Abraham, are you clueless?
What art thou thinking of?
What are you thinking about?
Leave him in life;
Leave him alive;
Thou hast some wise hairs.
You have some wise hair.
I tell thee to return
I tell you to return
To the house with the child;
To the house with the kid;
And there you shall live
And that’s where you’ll live
With very great joy.
With immense joy.
Abraham.
Abraham.
Ah! alas! wretched torment!
Oh! sadly! miserable pain!
Always thus on this earth
Always like this on Earth
Satan doth vex me
Satan is bothering me
In all my doings.
In everything I do.
Nevertheless, I take courage;
Still, I find courage;
Yes, even now
Yeah, even now
To slay Isaac
To defeat Isaac
I am ready on the instant.
I'm ready right now.
He has given me the order,
He has given me the order,
The good God Himself,
God Himself,
That I sacrifice Isaac
That I sacrifice Isaac.
On this mountain myself.
On this mountain by myself.
Bulgifer.
Bulgifer.
He who gave you this order
He who gave you this instruction
Was not God. No!
Wasn't God. No!
Go off to your house,
Go to your place,
And take your young son.
And take your little boy.
Abraham.
Abraham.
My only son Isaac,
My only son, Isaac,
If I sacrifice him,
If I sacrifice him,
All of my race
All of my ancestry
I quickly destroy.
I swiftly destroy.
The good God had told me
The good God had told me
That he would marry;
That he would get married;
But if he dies now,
But if he dies now,
How can that be?
How is that possible?
I trust, nevertheless,
I trust, still,
On our Lord God;
On our God;
I am willing to offer to Him,
I am willing to offer to Him,
To Him alone, my son.
To Him only, my son.
At last Satan and Bulgifer go off, exclaiming:—
At last, Satan and Bulgifer leave, shouting:—
O, you accursed one!
Oh, you cursed one!
You always overcome us;
You always beat us;
To confusion always
To confusion forever
You do put us.
You are putting us.
But, if we no more tempt you,
But if we no longer tempt you,
We will tempt some one else;
We'll tempt someone else;
And we will even take down
And we will even take down
To hell some soul.
To hell with some soul.
In despair we depart
We leave in despair
For ever from thee;
Forever away from you;
And we leave you now
And we’ll leave you now
In a very sad case.
In a very tragic situation.
After a few words between father and son, Isaac then offers himself, and prays as follows:—
After a brief conversation between father and son, Isaac then offers himself and prays as follows:—
People, I pray you, look
Please, I urge you, look
On this poor innocent child;
On this poor, innocent child;
I am about to leave the world,
I am about to leave this world,
And have done harm to none. (Music.)
And have harmed no one. (Music.)
O Lord! our Saviour!
O Lord! Our Savior!
Unjustly crucified!
Unjustly executed!
Lord, I must also
Lord, I also must
Soon leave this world. (Music.)
Soon leave this world. (Music.)
O King of Heaven!
O King of Heaven!
Who art powerful
Who is powerful
Above all other,
Above all else,
Wise and triumphant. (Music.)
Wise and victorious. (Music.)
I ask pardon of Thee
I ask for your forgiveness
For all my sins,
For all my wrongdoings,
Wherewith I oft have offended
Which I often have offended
Thee from my birth.
You from my birth.
He binds himself, and goes on:—
He makes a commitment and continues:—
All those, O Lord!
All of them, O Lord!
Blot from remembrance;
Forget about it;
To Thy glory, I pray,
To Your glory, I pray,
Receive me immediately.
Get back to me ASAP.
King of the Angels,
King of Angels,
Prince of the Heaven,
Heavenly Prince,
May’st Thou grant me,
May you grant me,
I pray Thee, Thy rest.
I pray for Your peace.
I ask Thee pardon
I ask for your forgiveness.
From my whole heart;
From the bottom of my heart;
Succour me, O Lord!
Help me, O Lord!
With Thy holy hand.
With Your holy hand.
I have not enough wit
I'm not clever enough
To thank Thee therewith;
To thank You for that;
But if to Heaven I should go,
But if I should go to Heaven,
There will I praise Thee.
I will praise You there.
O Lord! I pray Thee, have pity!
O Lord! I pray, have mercy!
Thou shouldest grant it me;
You should grant it to me;
For to leave this world
To leave this world
I am determined.
I’m determined.
Angel of the Lord,
Angel of God,
Grant me strength,
Give me strength,
Since Thou art
Since you are
My Guide!
My Guide!
Lord, I commend
Lord, I entrust
To Thee my spirit;
To you, my spirit;
It is Thou Who first
It is You Who first
Hast created me.
Has created me.
And O! great God! I pray,
And oh! great God! I pray,
If it be Thy will,
If it's Your will,
In the repose of the blessed
In the rest of the blessed
Place my soul.
Place my spirit.
Father,—whenever You will,—
Dad,—whenever You want,—
Sacrifice me now;—
Sacrifice me now;—
To find my God
To discover my God
I would depart.
I'm leaving.
Abraham is in the act of sacrificing when the Angel Gabriel seizes him from behind, and bids him not do it, &c., &c. Any foreigner who, unless he has a most charming interpreter or interpretress, can sit out a whole Pastorale would surely deserve the first prize in the school of patience.
Abraham is about to make a sacrifice when the Angel Gabriel grabs him from behind and tells him not to do it, etc., etc. Any foreigner who can endure an entire Pastorale without a really charming interpreter would definitely deserve a top prize in the school of patience.
The other kind of dramatic performance is much more irregular, and may assume various forms according to the circumstances which give occasion to it. It may be only a wild kind of carnival procession, the Mascarade, where each gesticulates as the character he represents; or a charivari in honour (?) of a dotard’s marriage, wherein the advantages of celibacy over married life are sarcastically set forth; or it may take the form of a really witty impromptu comedy played on a tiny stage in honour of the marriage or the good fortune of the most popular persons of the village. One of the first kind is excellently described in Chaho’s “Biarritz, entre les Pyréneés et l’Océan,” vol. ii. pp. 84–121, to which we refer the reader. One of the last kind was acted at Louhossoa about 1866, on the double occasion of some marriages, and of the return of some young men from South America. There were three actors; the piece was witty and well played, and seemed to give the greatest satisfaction to the audience. [247]
The other type of dramatic performance is much more spontaneous and can take various forms depending on the situation that inspires it. It might be just a lively kind of carnival parade, the Mascarade, where everyone acts like the character they're portraying; or a charivari to celebrate an old man's marriage, poking fun at the advantages of being single versus married; or it could be a genuinely clever improv comedy performed on a small stage to honor the wedding or good fortune of the village's most beloved people. One example of the first type is well described in Chaho’s “Biarritz, between the Pyrenees and the Ocean,” vol. ii. pp. 84–121, which we recommend to readers. An example of the last type was performed in Louhossoa around 1866, to celebrate several weddings and the return of some young men from South America. There were three actors; the performance was witty and well-executed, and it seemed to provide great enjoyment for the audience. [__A_TAG_PLACEHOLDER_0__]
II.
If we except the Pastorales, the whole of Basque poetry may be described as lyrical; either secular, as songs, or religious, as hymns and noëls. There is no epic in Basque,7 and scarcely any narrative ballads; even those chiefly are of uncertain date. A few sonnets exist, but they are almost exclusively translations or imitations of French, Spanish, or classical poems, and cannot be considered as genuine productions of the Basque muse. Some of the religious poetry may be described as didactic, but this again is mostly paraphrase or translation. All that is really native is lyrical. But even in song the Basques show no remarkable poetical merit. The extreme facility with which the language lends itself to rhyming desinence has a most injurious effect upon versification. There are not verses only, but whole poems, in which each line terminates with the same desinence. Instead of striving after that perfection of form which the change of a single word or even letter would affect injuriously, the Basques are too often satisfied with this mere rhyme. Their compositions, too, if published at all, are usually printed only on single sheets of paper, easily dispersed and soon lost. Hence the preservation of Basque poetry is entrusted mainly to the memory, and thus it happens that one scarcely meets with two copies of the same song exactly alike. If the memory fails, the missing words and rhymes are so easily supplied by others that it is not worth the [248]effort to recall the precise expression used. And so it comes to pass that, while versification is very common among the Basques, high-class poetry is extremely rare. They have no song writers to compare with Burns or with Béranger. And if it be alleged that poets like these are rare, even among people far more numerous and more cultivated, the Basques still fall short, when measured by a much lower standard. They have no poets to rival the Gascon, Jasmin, or to compare with the Provençal or the Catalan singers at the other end of the Pyrenean chain. There is no modern Basque song which can be placed by the side of “Le Demiselle” and others of the Biarritz poet, Justin Larrebat; and among the older poets neither Dechepare nor Oyhenart is equal to the Béarnais, Despourrins. While the Jacobite songs of Scotland are among the finest productions of her lyric muse, the Carlist songs, on the contrary, though telling of an equally brave and romantic struggle, are one and all below mediocrity. But, while fully admitting this, there is yet much that is pleasing in Basque poetry. If it has no great merits, it is still free from any very gross defects. It is always true and manly, and completely free from affectation. It is seldom forced, and the singer sings just because it pleases him to do so, not to satisfy a craving vanity or to strain after the name and fame of a poet. The moral tone is almost always good. If at times, as in the drinking songs, and in some few of the amatory, the expression is free and outspoken, vice is never glossed over or covered with a false sentimentality. The Basque is never mawkish or equivocal—with him right is right, and wrong is wrong, and Basque poetry leaves no unpleasant after-taste behind.8 [249]
If we exclude the Pastorales, Basque poetry is mainly lyrical; it can either be secular, like songs, or religious, like hymns and carols. There isn't any epic poetry in Basque, and there are hardly any narrative ballads; even those that exist are mostly undated. A few sonnets are out there, but they're almost entirely translations or imitations of French, Spanish, or classical poems, and shouldn't be regarded as true works of the Basque muse. Some religious poetry can be considered didactic, but again, that's mostly paraphrase or translation. Truly native poetry is lyrical. However, even in song, the Basques don't showcase significant poetic talent. The ease with which the language allows for rhyming negatively impacts their verse. There are not just verses, but whole poems where every line ends with the same rhyme. Instead of aiming for the perfection of form that changing even a single word or letter might ruin, the Basques often settle for basic rhyme. Their works, if published, are usually only printed on single sheets of paper, which get easily scattered and lost. Thus, the preservation of Basque poetry largely depends on memory, resulting in few identical copies of the same song. If memory fails, missing words and rhymes are so easily filled in by others that it's not worth the effort to remember the exact phrasing. Consequently, while versification is common among the Basques, high-quality poetry is extremely rare. They don't have songwriters to match Burns or Béranger. And while it's true that poets like those are rare even among much larger and more cultured populations, the Basques still don't measure up, even against a much lower standard. They lack poets who can rival the Gascon, Jasmin, or compare with the Provençal or Catalan singers from the other side of the Pyrenees. There's no modern Basque song that can sit alongside “Le Demiselle” and other works by the Biarritz poet, Justin Larrebat, and among the older poets, neither Dechepare nor Oyhenart can compare to the Béarnais, Despourrins. While the Jacobite songs of Scotland are some of the best examples of lyric poetry, the Carlist songs, telling of an equally brave and romantic struggle, fall short of mediocrity. However, despite this, there is still much that is enjoyable in Basque poetry. Even if it doesn't have great merits, it's also free from severe flaws. It's consistently honest and straightforward, completely lacking in pretentiousness. It's rarely forced, and the singer expresses himself simply because he enjoys it, not to feed a desire for vanity or to chase after the status of a poet. The moral tone is almost always solid. Even if sometimes, like in drinking songs or a few love songs, the language is candid and direct, vice is never sugar-coated or masked with false sentimentality. The Basque is never sentimental or ambiguous—he sees right as right and wrong as wrong, and Basque poetry leaves no unpleasant aftertaste.
The only peculiarity, in a poetical sense, is the extreme fondness for, and frequent employment of, allegory. In the love songs the fair one is constantly addressed under some allegorical disguise. It is a star the lover admires, or it is the nightingale who bewails his sad lot. The loved one is a flower, or a heifer, a dove or a quail, a pomegranate or an apple, figures common to the poets of other countries; but the Basques, even the rudest of them, never confuse these metaphors, as more famous poets sometimes do—the allegory is ever consistently maintained throughout. Even in prose they are accustomed to this use of allegory, and catch up the slightest allusion to it; but to others it often renders their poetry obscure, and very difficult of successful translation. The stranger is in doubt whether a given poem is really meant only for a description of the habits of the nightingale, or whether the bird is a pseudonym for the poet or the poet’s mistress. Curiously enough, sometimes educated Basques seem to have almost as much difficulty in seizing this allegory as have foreigners. Thus, in a work now in course of publication,9 one of the most famous of these allegorical complaints is actually taken for a poetical description of the nightingale itself.
The only unique feature, in a poetic sense, is the strong love for and frequent use of allegory. In the love songs, the beloved is often addressed in some allegorical form. It’s a star the lover admires, or a nightingale lamenting his sad fate. The loved one is compared to a flower, a heifer, a dove, or a quail, a pomegranate or an apple—symbols common in poetry from other countries. However, the Basques, even the simplest among them, never mix up these metaphors, as more renowned poets sometimes do; the allegory is always consistently maintained. Even in prose, they are used to this form of allegory and pick up on the slightest reference to it. But for others, it often makes their poetry unclear and very hard to translate successfully. Outsiders can’t tell if a particular poem is just describing the habits of a nightingale or if the bird is a stand-in for the poet or the poet's beloved. Interestingly, sometimes educated Basques seem to have just as much trouble grasping this allegory as foreigners do. Thus, in a work currently being published, 9 one of the most famous of these allegorical laments is actually mistaken for a poetic depiction of the nightingale itself.
The historical songs, like all other historical remains among the Basques, are few and doubtful. There are two songs, however, for which are claimed a greater historical importance and a higher antiquity than any others can pretend to. These are the so-called “Leloaren Cantua” and the “Altabiskarco Cantua.” Both these are reputed by some writers to be almost contemporaneous with the events which they relate. The first is said to be founded on the wars of the Roman Emperor Augustus with the Cantabri; the second is an account of the defeat of Charlemagne’s rearguard [250]at Roncesvalles, A.D. 778. The former may be some three hundred years old, but the latter is certainly a production of the nineteenth century, though none the less it is the most spirited offspring of the Basque muse. We will give the text and translation of each, and then justify our conclusions.
The historical songs, like all other historical artifacts among the Basques, are few and uncertain. However, there are two songs that are claimed to have greater historical significance and an older origin than any others can claim. These are the so-called “Leloaren Cantua” and the “Altabiskarco Cantua.” Some writers believe these were almost contemporary with the events they describe. The first is said to be based on the wars of the Roman Emperor Augustus against the Cantabri; the second recounts the defeat of Charlemagne’s rearguard [__A_TAG_PLACEHOLDER_0__] at Roncesvalles, CE 778. The former may be about three hundred years old, but the latter is definitely a work of the nineteenth century, although it is nonetheless the most vibrant product of the Basque muse. We will provide the text and translation of each, and then explain our conclusions.
Leloaren Cantua.1.lelo. yl lelo; lelo. yl lelo; lelo. yl lelo; lelo. yl lelo; leloa çarat10 leloa çarat__A_TAG_PLACEHOLDER_0__ il leloa. il leloa. 2.Romaco armac Romaco armac aleguin eta aleguin eta Vizcayac daroa Vizcaya Road Zanzoa. Zanzoa. 3.Octabiano Octabiano munduco jauna munduco youth le coby di10 le coby di__A_TAG_PLACEHOLDER_0__ Vizcayocoa. Vizcaya. 4.Ichasotati Ichasotati eta leorres eta leorres y mini deusco my mini desk molsoa. molsoa. 5.leor celayac leor celayac bereac dira bereac dira menditan tayac menditan tayac leusoac. leusoac. 6.lecu yronyan lecu yronyan gagozanyan gagozanyan nocbera sendo nocbera sendo daugogoa. daugogoa. 7.bildurric guichi bildurric guichi armabardinas armabardinas oramayasu oramayasu guexoa. guexoa. 8.Soyacgogorrac Soyacgogorrac badyri tuys badyri voice narrubiloxa narrubiloxa surboa. surboa. 9.bost urteco bost euros egun gabean egun on gueldi bagaric gueldi bagaric pochoa. pochoa. 10.gurecobata gurecobata ylbadaguyan ylbadaguyan bost amarren bost follow galdoa. galdoa. 11.aecanista aecanista gue guichitaya gue guichitaya asqugudugu asqugudugu lalboa. lalboa. 12.gueurelurrean gueurelurrean ta aen errian ta aen errian biroch ainbaten biroch ain't baitin' zamoa. zamoa. 13.Ecin gueyago Ecin gueyago (The rest of this verse is lost through a rent in the paper.) (The rest of this verse is lost due to a tear in the paper.) 14.tiber lecua tiber lecu gueldico zabal gueldico zabal Uchin tamayo Uchin tamayo grandoya. grandoya. 15.(Torn.) (Torn.) 16.andiaristac andiaristac gueisto syndoas guest syndicate beticonayas beticonayas narraca. narrative. |
Song of Lelo.1.Lelo, dead (is) Lelo; Lelo is dead; Lelo, dead (is) Lelo; Lelo, dead is Lelo; Lelo, Zara (?)10 Lelo, Zara (?) __A_TAG_PLACEHOLDER_0__ Killed Lelo. Killed Lelo. 2.The arms of Rome The power of Rome do all they can, and do everything they can, and Biscay raises Biscay rises The song of war. War song. 3.Octavianus, Octavian Of the world lord, Of the world leader, Lecobidi (?)10 Lecobidi (?)__A_TAG_PLACEHOLDER_0__ of Biscay. of Biscay. 4.By sea By boat and by land and by road he has placed us he's put us the siege. the siege. 5.The dry plains The arid plains are theirs; are theirs; the high mountains, the tall mountains, the caverns (are ours). the caves are ours. 6.In favourable ground On favorable ground when we are, when we are, each one firm each one solid has heart (?) has heart ❤️ 7.Little fear No fear (with) equal arms, (with) equal rights, (but) our kneading-trough (but) our dough bowl (goes) ill. (gets) sick. 8.Hard corselets Stiff corsets wear they; wear them; Bare body; Naked body; (more) agility (?) (more) flexibility (?) 9.For five years, For five years, by day, by night, day and night, without ceasing, without stopping, (lasts) the siege (?) (lasts) the siege 10.One of ours One of us when he is dead, when he's gone, five tens fifty they lose (?) they lose? 11.They many and They are many and we few (?) we few at last we have made finally, we have made the peace. the peace. 12.In our land In our country and in his village and in his neighborhood are tied in the same way are tied in the same way the loads (of wood). the woodloads. 13.(It is) impossible more. No longer possible.
14.Tiber the place Tiber the location remains broad (?) stays broad (?) Uchin Tamayo (?) Uchin Tamayo very large. very big.
16.The great oaks The mighty oaks yield produce to the constant strokes to the ongoing strokes (of) the woodpecker. the woodpecker. |
The history of the above song is as follows: At the close of the sixteenth century a notary of Zornoza, J. Iñiguez de Ibargüen, was commissioned by the Junta of Biscay to search the principal libraries of Spain for documents relating to the Basques. In the archives of Simancas he discovered an ancient MS. on parchment, containing verses in Basque, some almost, others wholly obliterated. Of these he copied what he could, and inserted them in p. 71 of his “Cronica general de España y sumaria de Vizcaya,” a work which still exists in manuscript in the town of Marquina. From this history of Ibargüen the song was first reproduced by the celebrated Wilhelm von Humboldt, and published by him in 1817 in a supplement to Vater’s “Mithridates.” The text above given is taken from that of the “Cancionero Vasco,” Series 2, iii., pp. 18, 20, and claims to be a new and literal copy from the MS. “Cronica” of Ibargüen. From the date of its publication by Humboldt, this piece has been the subject of much discussion. That it is one of the oldest fragments of Basque poetry hardly admits of doubt. But, when asked to believe that it is contemporary with Augustus, we must hesitate. The question arises: Did Ibargüen copy the almost defaced original exactly as it was, or did he suffer his declared predilections unconsciously to influence his reading of it?11 [253]Many of the words are still very obscure, and the translation of them is almost guess work. The first verse has little or no apparent connection with the rest of the poem, and has given rise to the most fanciful interpretations. Lelo has been imagined by some to be the name of a Basque hero; Zara, or Zarat, who kills him, the name of another; and the two reproduce the story of Agamemnon and Ægisthus. Others, with more probability, take Lelo, as is certainly the case in other poems, for a mere refrain (the everlasting Lelo, as a Basque proverb has it) used by the singer merely to give the key to the tune or rhythm to which he modulates the rest. Chaho, with his usual audacity, would translate it “glory,” and render it thus:—
The history of the song mentioned above is as follows: At the end of the sixteenth century, a notary from Zornoza, J. Iñiguez de Ibargüen, was tasked by the Junta of Biscay to search the major libraries of Spain for documents about the Basques. In the archives of Simancas, he found an ancient manuscript on parchment that contained verses in Basque, with some nearly faded and others completely worn away. He copied what he could and included it on page 71 of his “General Chronicle of Spain and Summary of Biscay,” a work that still exists in manuscript form in the town of Marquina. This account by Ibargüen was first reproduced by the famous Wilhelm von Humboldt, who published it in 1817 as part of a supplement to Vater’s “Mithridates.” The text provided here is taken from the “Cancionero Vasco,” Series 2, iii., pp. 18, 20, claiming to be a new and accurate copy from Ibargüen’s manuscript “Cronica.” Since its publication by Humboldt, this piece has sparked considerable discussion. It is undoubtedly one of the oldest fragments of Basque poetry. However, when asked to accept that it is contemporary with Augustus, we need to be cautious. The question arises: Did Ibargüen copy the nearly defaced original precisely as it was, or did his known biases unconsciously affect his interpretation? 11 [__A_TAG_PLACEHOLDER_0__] Many of the words are still quite obscure, making the translation nearly a matter of guesswork. The first verse seems to have little or no obvious connection to the rest of the poem, leading to the most imaginative interpretations. Some have speculated that Lelo could be the name of a Basque hero, while Zara, or Zarat, who kills him, would be another hero; together, they mirror the story of Agamemnon and Ægisthus. Others, more plausibly, interpret Lelo, as is the case in other poems, as just a refrain (the eternal Lelo, as a Basque proverb states) used by the singer simply to indicate the tune or rhythm for the rest. Chaho, with his usual boldness, would translate it as “glory,” rendering it like this:—
Finished is the glory! dead is the glory,
Finished is the glory! Dead is the glory,
Our glory!
Our victory!
Old age has killed the glory,
Old age has taken away the glory,
Our glory!
Our triumph!
But it has been very plausibly suggested12 that the verse bears a suspicious likeness to a vague reminiscence of the Moslem cry “Lâ Êlah Ulâ Allah!” &c.; and if so, this, in the north of Spain, would at one bound place the poem some eight centuries at least after the time of Augustus. The proper names have a too correct look. Octabiano, Roma, and Tiber are far too much like the Latin; for if Greeks and Romans complained, as do Strabo and Mela, of the difficulty of transcribing Basque or Iberian names into their own language, the Basques might possibly find a somewhat corresponding difficulty in transcribing Greek and Latin names into Basque. Moreover, in a later verse appears “Uchin,” a sobriquet for “Augustino,” as a baptismal name in use among the Spanish Basques to this day. What the poem really refers to we dare not assert. We present the “Leloaren Cantua” to our readers simply as one of the oldest curiosities of Basque [254]verse, without pledging ourselves to any particular date or interpretation thereof.
But it has been convincingly suggested12 that the verse suspiciously resembles a vague memory of the Muslim cry “Lâ Êlah Ulâ Allah!” &c.; if that’s the case, this would easily place the poem in the north of Spain about eight centuries after the time of Augustus. The proper names look too precise. Octabiano, Roma, and Tiber sound too much like Latin; since Greeks and Romans complained, as noted by Strabo and Mela, about the challenge of translating Basque or Iberian names into their own language, the Basques might also struggle with translating Greek and Latin names into Basque. Additionally, in a later verse, “Uchin” appears, which is a sobriquet for “Augustino,” a baptismal name still in use among Spanish Basques today. We cannot claim what the poem truly references. We present the “Leloaren Cantua” to our readers simply as one of the oldest curiosities of Basque [__A_TAG_PLACEHOLDER_0__]verse, without committing to any specific date or interpretation of it.
Fortunately, we shall be able to speak with much more decision of the “Altabiskarco Cantua,” of which the following is the latest text:—
Fortunately, we can discuss the “Altabiskarco Cantua” with much more certainty, and here is the latest version:—
Altabiskarco Cantua.
1.
Oyhu bat aditua izan da
This is a huge deal.
Escualdunen mendien artetic,
Escualdunen mountains from above,
Eta etcheco jaunac, bere athearen aitcinean chutic
Eta etcheco jaunac, bere athearen aitcinean chutic
Ideki tu beharriac, eta erran du: “Nor da hor? Cer nahi dautet?”
Ideki tu beharriac, eta erran du: “Nor da hor? Cer nahi dautet?”
Eta chacurra, bere nausiaren oinetan lo zagüena,
Eta chacurra, bere nausiaren oinetan lo zagüena,
Altchatu da, eta karrasiz Altabiscarren inguruac bethe ditu.
Altchatu da, eta karrasiz Altabiscarren inguruak bethe ditu.
2.
Ibañetaren lepoan harabotz bat aghertcen da,
Ibañetaren lepoan harabotz bat aghertcen da,
Urbiltcen da, arrokac ezker eta ezcuin jotcen dituelaric;
Urbiltzen da, arrokak ezker eta eskuin jotzen dituztelarik;
Hori da urrundic heldu den armada baten burrumba.
Hori da urrundic heldu den armada baten burrumba.
Mendien copetetaric guriec errespuesta eman diote;
Mendien copetetaric guriec errespuesta eman diote;
Beren tuten soinua adiaraci dute,
Beren tuten soinua adiaraci dute,
Eta etcheco jaunac bere dardac zorrozten tu.
Eta etcheco jaunac bere dardac zorrozten tu.
3.
Heldu dira! heldu dira! cer lantzazco sasia!
Heldu dira! heldu dira! the feast of the harvest is here!
Nola cer nahi colorezco banderac heien erdian aghertcen diren
Nola cer nahi colorezco banderac heien erdian aghertcen diren
Cer simistac atheratcen diren heien armetaric!
Cer simistac atheratcen diren heien armetaric!
Cembat dira? Haurra condatzic onghi!
Cembat dira? Haurra ongi!
Bat, biga, hirur, laur, bortz, sei, zazpi, zortzi, bederatzi, hamar, hameca, hamabi,
Bat, bi, hiru, lau, bost, sei, zazpi, zortzi, bederatzi, hamar, hamabi, hamahiru,
Hamahirur, hamalaur, hamabortz, hamasei, hamazazpi, hemezortzi, hemeretzi, hogoi.
Hamahirur, hamalaur, hamabortz, hamasei, hamazazpi, hemezortzi, hemeretzi, hogoi.
4.
Hogoi eta milaca oraino!
Hogoi and milaca still here!
Heien condatcea demboraren galtcea liteque.
Heien condatcea demboraren galtcea liteque.
Urbilditzagun gure beso zailac, errotic athera ditzagun arroca horiec,
Urbilditzagun gure beso zailac, errotic athera ditzagun arroca horiec,
Botha ditzagun mendiaren patarra behera
Botha talking down the mountain
Hein buruen gaineraino;
Hein thinks it's a gain;
Leher ditzagun, herioz jo ditzagun.
Leher soothes, hero says.
5.
Cer nahi zuten gure mendietaric Norteco guizon horiec?
Cer nahi zuten gure mendietaric Norteco guizon horiec?
Certaco jin dira gure bakearen nahastera? [255]
Certaco, what are we going to do to our peace? [__A_TAG_PLACEHOLDER_0__]
Jaungoicoac mendiac eguin dituenean nahi izan du hec guizonec ez pasatcea.
Jaungoicoac mendiak eguin dituenean nahi izan du hec guizonec ez pasatzea.
Bainan arrokac biribilcolica erortcen dira, tropac lehertcen dituzte.
Bainan arrokak biribil colika erortzen dira, tropak lehertzen dituzte.
Odola churrutan badoa, haraghi puscac dardaran daude.
Odola churrutan badoa, haraghi puscac dardaran daude.
Oh! cembat hezur carrascatuac! cer odolezco itsasoa!
Oh! cembat hezur carrascatuac! cer odolezco itsasoa!
6.
Escapa! escapa! indar eta zaldi dituzeneac!
Escapa! Escapa! ¡Tienes que escapar con los indios y el caballo!
Escapa hadi, Carlomano erreghe, hire luma beltzekin eta hire capa gorriarekin;
Escapa hadi, Carlomano erreghe, con tu túnica blanca y tu capa roja;
Hire iloba maitea, Errolan zangarra, hantchet hila dago;
Hire iloba maitea, Errolan zangarra, hantchet hila dago;
Bere zangartasuna beretaco ez tu izan.
Bere zangartasuna beretaco ez tu izan.
Eta orai, Escualdunac, utz ditzagun arroca horiec,
Eta orai, Escualdunac, let's talk about these rocks now,
Jauts ghiten fite, igor ditzagun gure dardac escapatcen direnen contra.
Jauts ghiten fite, igor ditzagun gure dardac escapatcen direnen contra.
7.
Badoazi! badoazi! non da bada lantzazco sasi hura?
Badoazi! badoazi! who gives the best advice around here?
Non dira heien erdian agheri ciren cer nahi colorezco bandera hec?
Non dira heien erdian agheri ciren cer nahi colorezco bandera hec?
Ez da gheiago simiztarik atheratcen heien arma odolez bethetaric.
Ez da gheiago simiztarik atheratcen heien arma odolez bethetaric.
Cembat dira? Haurra, condatzac onghi.
Cembat dira? Haurra, condatzac ongi.
Hogoi, hemeretzi, hemezortzi, hamazazpi, hamasei, hamabortz, hamalaur, hamairur,
Hogoi, hemeretzi, hemezortzi, hamazazpi, hamasei, hamabortz, hamalaur, hamairur,
Hamabi, hameca, hamar, bederatzi, zortzi, zazpi, sei, bortz, laur, hirur biga, bat.
Hamabi, hameca, hamar, bederatzi, zortzi, zazpi, sei, bortz, laur, hirur biga, bat.
8.
Bat! ez da bihiric aghertcen gheiago. Akhabo da!
Bat! ez da bihiric aghertcen gheiago. Akhabo da!
Etcheco jauna, joaiten ahal zira zure chacurrarekin,
Etcheco jauna, joaiten ahal zira zure chacurrarekin,
Zure emaztearen eta zure haurren besarcatcera,
Zure emaztearen eta zure haurren besarkadak,
Zure darden garbitcera eta alchatcera zure tutekin,
Zure darden garbitzera eta aldatzera zure tutekin,
Eta ghero heien gainean etzatera eta lo gitera.
Eta ghero heien gainean etzatera eta lo gitera.
Gabaz, arranoac joainen dira haraghi pusca lehertu horien jatera,
Gabaz, those around us are getting into trouble at the entrance,
Eta hezur horiec oro churituco dira eternitatean.
Eta hezur horiec oro churituco dira eternitatean.
Song of Altabiscar.
1.
A cry is heard
A sound is heard
From the Basque mountain’s midst.
From the heart of the Basque mountains.
Etcheco Jauna, __A_TAG_PLACEHOLDER_0__ standing at his door, [__A_TAG_PLACEHOLDER_1__]
Listens, and cries, “What want they? Who goes there?”
Listens and shouts, “What do they want? Who's there?”
At his lord’s feet the dog that sleeping lay
At his lord's feet, the dog lay sleeping.
2.
Through Ibañeta’s14 pass the noise resounds,
Through Ibañeta’s__A_TAG_PLACEHOLDER_0__ pass, the sounds echo,
Striking the rocks on right and left it comes;
Striking the rocks on the right and left, it comes;
’Tis the dull murmur of a host from far,
’It's the dull murmur of a crowd from far,
From off the mountain heights our men reply,
From the mountain heights, our men respond,
Sounding aloud the signal of their horns;
Sounding the signal of their horns out loud;
Etcheco Jauna whets his arrows then.
Etcheco Jauna sharpens his arrows then.
3.
They come! They come! See, what a wood of spears
They’re coming! They’re coming! Look at all those spears!
What flags of myriad tints float in the midst!
What colorful flags are flying in the air!
What lightning-flashes glance from off their arms!
What flashes of lightning reflect off their arms!
How many be they? Count them well, my child.
How many are there? Count them carefully, my child.
1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12,
1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12,
13, 14, 15, 16, 17, 18, 19, 20.
13, 14, 15, 16, 17, 18, 19, 20.
4.
Twenty, and thousands more!
20, and thousands more!
’Twere but lost time to count.
It would just be a waste of time to count.
Our sinewy arms unite, tear up the rocks,
Our strong arms come together, break apart the rocks,
Swift from the mountain tops we hurl them down
Swiftly from the mountain tops, we throw them down.
Right on their heads,
Right above them,
And crush, and slay them all.
And defeat and eliminate them all.
5.
What would they in our hills, these Northern men?
What would these Northern men do in our hills?
Why come they here our quiet to disturb?
Why do they come here to disturb our peace?
God made the hills intending none should pass.
God created the hills so that no one should cross them.
Down fall the rolling rocks, the troops they crush!
Down come the rolling rocks, crushing the troops!
Streams the red blood! Quivers the mangled flesh!
Streams the red blood! Quivers the torn flesh!
Oh! what a sea of blood! What shattered bones!
Oh! What a sea of blood! What shattered bones!
6.
Fly, to whom strength remaineth and a horse!
Fly, who has strength and a horse!
Fly, Carloman, red cloak and raven plumes!
Fly, Carloman, with your red cloak and raven feathers!
Lies thy stout nephew, Roland, stark in death;
Lies your strong nephew, Roland, dead;
For him his brilliant courage naught avails.
His brilliant courage does him no good.
And, now, ye Basques, leaving awhile these rocks,
And now, you Basques, take a break from these rocks,
Down on the flying foe your arrows shower!
Down on the flying enemy your arrows rain down!
7.
They run! They run! Where now that wood of spears?
They run! They run! Where is that forest of spears now?
Where the gay flags that flaunted in their midst?
Where were the colorful flags that waved in their midst?
Rays from their bloodstained arms no longer flash!
Rays from their bloodstained arms don't flash anymore!
How many are they? Count them well, my child.
How many are there? Count them carefully, my child.
20, 19, 18, 17, 16, 15, 14, 13,
20, 19, 18, 17, 16, 15, 14, 13,
12, 11, 10, 9, 8, 7, 6, 5, 4, 3, 2, 1.
12, 11, 10, 9, 8, 7, 6, 5, 4, 3, 2, 1.
8.
One! There is left not one. ’Tis o’er!
One! There is not one left. It’s over!
Etcheco Jauna home with thy dog retire.
Etcheco Jauna, go home with your dog.
Embrace thy wife and child,
Embrace your wife and child,
Thine arrows clean, and stow them with thine horn;
Your arrows are clean, and put them away with your quiver;
And then, lie down and sleep thereon.
And then, lie down and sleep on it.
And to eternity those bones shall bleach.
And those bones will bleach for eternity.
(This translation is due to the kindness of a friend.)
(This translation is because of a friend's kindness.)
The history of this song is very curious, and shows the little value of subjective criticism in any but the most competent hands. The MS. of it is alleged to have been found on the 5th of August, 1794, in a convent at Fuenterrabia, by La Tour d’Auvergne, the celebrated “premier grenadier” of the French Army. It was printed about the year 1835, by Monglave, and accepted as a genuine contemporary document by Fauriel, Chaho, Cenac-Moncaut, and many other French writers; by Lafuente, Amador de los Rios, and other Spanish authors; by Araquistain, and by the Editors of the “Revista Euskara” and of the “Cancionero Vasco” among the Basques. It is needless to say that all guide-books, tourist sketches, et hoc genus omne, have adopted it. It was inserted as genuine by Fr. Michel, in the Gentleman’s Magazine, in 1858, and in more recent years a translation appeared in another London magazine. In the “Basques et Navarrais” of M. Louis Lande, lately published, it is alluded to as genuine; and the Saturday Review of the 17th of August, 1878, quotes it as a corroboration of the [258]”Chanson de Roland.”16 There have been some, however, who have stoutly opposed these claims; among them M. Barry, of Toulouse, M. Gaston Paris, and M. J. F. Blade, which last writer, both in a separate pamphlet and in his “Études sur l’Origine des Basques” (Paris, 1859), has shown from internal grounds its want of authenticity. M. Alexandre Dihinx, a Basque, in a series of articles in the Impartial, of Bayonne, for 1873, which have since been reprinted by M. J. Vinson, in L’Avenir, of Bayonne, May of the present year, conclusively proved both the incorrectness and the modern character of its Basque. But all these authors seem either to have been unaware of, or to have unaccountably overlooked, the true history of the piece. When M. Fr. Michel published this, and another song called “Abarcaren Cantua,” in the Gentleman’s Magazine, in 1858, as specimens of ancient Basque poetry, a letter from M. Antoine d’Abbadie, Membre de l’Institut, appeared forthwith in the number for March, 1859, stating that the Abarca song had actually been among the unsuccessful pieces submitted for the prize in the poetical competition at Urrugne, of the previous August; and he adds:—
The history of this song is quite intriguing and shows how little value subjective criticism has unless it's in the hands of true experts. The manuscript is said to have been discovered on August 5, 1794, in a convent in Fuenterrabia by La Tour d’Auvergne, the famous “top grenadier” of the French Army. It was published around 1835 by Monglave and was accepted as a genuine contemporary document by Fauriel, Chaho, Cenac-Moncaut, and many other French authors; as well as by Lafuente, Amador de los Rios, and other Spanish writers; by Araquistain, and by the editors of the “Revista Euskara” and the “Cancionero Vasco” in the Basque region. It goes without saying that all guidebooks, tourist sketches, et hoc genus omne, have included it. It was published as genuine by Fr. Michel in the Gentleman’s Magazine in 1858, and in more recent years, a translation appeared in another London magazine. In the “Basques and Navarrese” by M. Louis Lande, released recently, it is referred to as authentic; and the Saturday Review on August 17, 1878, cited it as evidence of the [__A_TAG_PLACEHOLDER_0__]”Song of Roland.”16 However, some have strongly contested these claims, including M. Barry from Toulouse, M. Gaston Paris, and M. J. F. Blade, the latter of whom, both in a separate pamphlet and in his “Studies on the Origin of Basques” (Paris, 1859), has shown through internal evidence its lack of authenticity. M. Alexandre Dihinx, a Basque, in a series of articles in the Impartial of Bayonne from 1873, which M. J. Vinson later reprinted in L’Avenir of Bayonne in May of this year, conclusively demonstrated both the inaccuracies and the modern aspects of its Basque language. Yet all these authors either seem unaware of or have inexplicably overlooked the true background of the piece. When M. Fr. Michel published this and another song called “Abarcaren Cantua” in the Gentleman’s Magazine in 1858 as examples of ancient Basque poetry, a letter from M. Antoine d’Abbadie, Member of the Institute, immediately appeared in the March 1859 issue, stating that the Abarca song had actually been among the unsuccessful entries submitted for a prize in the poetic competition at Urrugne the previous August; and he adds:—
“I am sorry that the Altabiscarraco cantua, mentioned in your same number, is acknowledged as a gem of ancient popular poetry. Truth compels me to deny that it is universally admitted as such, for one of my Basque neighbours has often named the person who, about twenty four years ago, composed it in French, and the other person, who translated it into modern but indifferent Basque.17 The latter idiom, [259]on purely philological ground, stands peerless among the most ancient languages in Europe, and I have felt it my duty to disclaim unfounded pretensions of which it has no need.—I am, etc.,
“I’m sorry that the Altabiscarraco cantua, mentioned in your same issue, is recognized as a gem of ancient popular poetry. To be truthful, I have to deny that it’s universally accepted as such, because one of my Basque neighbors has often named the person who, about twenty-four years ago, wrote it in French, and the other person who translated it into modern but mediocre Basque.17 The latter language, [__A_TAG_PLACEHOLDER_0__] on purely linguistic grounds, stands unmatched among the oldest languages in Europe, and I felt it was my duty to reject baseless claims that it doesn’t need.—I am, etc.,
“Antoine d’Abbadie,
“Antoine d’Abbadie,
“London, Jan. 31, 1859.”
Correspond. de l’Institut de France.
“London, Jan. 31, 1859.”
Correspond. de l’Institut de France.
In the next number M. Fr. Michel writes, “henceforth I will believe that the songs called Abarcaren Cantua and Altabiscarraco Cantua are forgeries”; this testimony is decisive. It has often been repeated by M. d’Abbadie, with the additional assurance that he knows not only the house, but the very room in which the song was first composed. That the language is modern and indifferent Basque is very evident in the text given by M. Fr. Michel in “Le Pays Basque, Paris, 1857.” That above, taken from the “Cancionero Vasco” of the present year, is considerably corrected and improved. All attempts, and many efforts have been made, to force these irregular lines into any known form of Basque rhythm have hitherto signally failed. For the amusement of some of our readers we give below a list of the more evident foreign words in this and in the “Leloaren Cantua.” The relative antiquity will thus be seen at a glance:—
In the next issue, M. Fr. Michel states, “from now on, I will believe that the songs called Abarcaren Cantua and Altabiscarraco Cantua are forgeries”; this statement is crucial. M. d’Abbadie has often repeated this, adding that he knows not only the house but even the specific room where the song was first created. The language is clearly modern and standard Basque, as evidenced by the text provided by M. Fr. Michel in “Le Pays Basque, Paris, 1857.” The version above, taken from the “Basque Songbook” of this year, has been significantly corrected and enhanced. All attempts, and numerous efforts, to reshape these irregular lines into any known form of Basque rhythm have so far been unsuccessful. For the enjoyment of some of our readers, we present below a list of the more obvious foreign words in this and in the “Leloaren Cantua.” The relative age can be seen at a glance:—
L, Latin; S, Spanish; F, French; G, German words.
L, Latin; S, Spanish; F, French; G, German words.
Song of Lelo.
Romako | Roma | L | |
Armac | arma | L | |
Octabiano | Octavianus | L | |
Munduco | mundus | L | |
Lecu (?) | locus | L | |
Tiber | Tiber | L | |
Grandoya | ![]() |
grandis | L |
grandioso | S |
Song of Altabiscar.
Copetetaric (?) | caput | L | |
Armada | armada | S | |
Errespuesta | respuesta | S | |
Dardac | dard | F | |
Colorezco | color | S | |
Banderac | bandera | S | |
Simistac | ![]() |
quimista | S |
chimiste | F | ||
both from Arabic | |||
Tropac | tropa | S | |
Arroca | roca | S | |
Escapa | escapar | S | |
Carlomano | Karlomann | G | |
Errolan | Roland | F | |
Erreghe | rex, rege | L | |
Luma18 (?) | pluma | S | |
Fite | vite | F | |
Capa | capa | S [__A_TAG_PLACEHOLDER_0__] | |
Condatcea | contar | S | |
Milaca | ![]() |
mille | L |
mil | S | ||
Demboraren | tempus tempora | L | |
Norteco | norte | S | |
Pasatcea | pasar | S | |
Contra | contra | L | |
Lantzazco | lanza | S | |
Akhabo | acabar | S | |
Besarcatcera | besar | S | |
Eternitatean | eternidad | S |
With reference to the above list we may observe that the Basque never begins a word with r, but always prefixes a euphonic er, ar, ir; hence er-respuesta, ar-roca, Er-rolan, er-rege, hir-risko, risque, F. In later copies editors have altered “Romaco,” in the “Song of Lelo,” into “Er-romaco,” to give it more of a Basque look. Aren, or aen, eco-aco-co are case terminations; tcea-cea marks the verbal noun. Carlomann was never the name of Charlemagne, but of his brother and his uncle. Er-rolan is evidently from the French Roland; neither from the Hruotlandus of Einhardus, nor from the Spanish Roldan. Defenders of the authenticity of the piece allege that these words are only corruptions, introduced in the course of ages; but our readers can judge for themselves how far they enter into the very structure of the composition.
With reference to the above list, we can see that the Basque language never starts a word with "r," but always adds a euphonic "er," "ar," or "ir" in front; thus, we get er-respuesta, ar-roca, Er-rolan, er-rege, hir-risko, risque, F. In later editions, editors changed “Romaco” in the “Song of Lelo” to “Er-romaco” to make it look more Basque. Aren, or aen, eco-aco-co are case endings; tcea-cea indicates the verbal noun. Carlomann was never Charlemagne’s name, but that of his brother and uncle. Er-rolan clearly comes from the French Roland, not from the Hruotlandus of Einhardus or the Spanish Roldan. Supporters of the piece's authenticity argue that these words are just corruptions introduced over time; however, our readers can decide for themselves how much they are part of the composition’s core structure.
The first book printed in Basque, the “Linguæ Vasconum Primitiæ, per Dominum Bernardum Echepare” (Bordeaux, 1545), is a collection of his poems, religious and amatory, the latter predominating. Echepare was the parish priest of the pretty little village of St. Michel, on the Béhérobie Nive, above St. Jean Pied de Port; and, if Nature alone could inspire a poet, he ought at least to have rivalled those of our own English Lakes. But, in truth, his verses are of scant poetical merit, and of little interest save as a philological curiosity.19 They belong so distinctly to that irritating mediocrity which never can be excused in a poet. After Echepare the next author is Arnauld Oyhenart, of Mauléon, who published a collection of his youthful Basque poems in Paris, 1657. These have, if anything, less poetical value than Echepare’s; but [261]Oyhenart’s collection of proverbs and his “Notitia Utriusque Vasconiæ” will always make his name stand high among Basque writers. Except hymns and noëls (Christmas carols), of which many collections and editions have been published from 1630 downwards, and some of which are noteworthy on account of higher than mere poetical merit, the deep and evidently genuine spirit of piety they evince,20 little else is preserved much older than the present century. One ballad indeed there is, “The Betrothed of Tardetz,” which may be somewhat older. No two versions of it are exactly alike, though the outline of the story is always the same. The Lord of the Castle of Tardetz wishes to give the elder of his two daughters in marriage to the King of Hungary, or of Portugal, as some have it. But the lady’s heart has been already won by Sala, the son of the miller of Tardetz, and she bitterly bewails being “sold like a heifer.” The bells which ring for her wedding will soon toll for her funeral. The romance in its present form is evidently incomplete, but apparently ended with the corpse of the bride being brought back to her father’s castle.
The first book printed in Basque, the "Initial Observations on the Basque Language by Lord Bernard Echepare" (Bordeaux, 1545), is a collection of his poems, mostly religious and romantic. Echepare was the parish priest of the charming little village of St. Michel, located on the Béhérobie Nive, above St. Jean Pied de Port. If nature alone could spark a poet's creativity, he should have at least matched the poets of our own English Lakes. However, his verses are lacking in poetic merit and hold little interest beyond being a linguistic curiosity.19 They clearly belong to that frustrating mediocrity that can never be forgiven in a poet. After Echepare, the next author is Arnauld Oyhenart from Mauléon, who published a collection of his early Basque poems in Paris in 1657. These have even less poetic value than Echepare’s work; however, [__A_TAG_PLACEHOLDER_0__] Oyhenart’s collection of proverbs and his “Notitia of Both Vasconias” will always ensure his name is held in high regard among Basque writers. Aside from hymns and noëls (Christmas carols), many collections and editions of which have been published since 1630, and some of which are noteworthy for their genuine spirit of piety rather than mere poetic merit,20 little else has been preserved that dates back much further than this century. There is indeed one ballad, “The Betrothed of Tardetz,” which may be somewhat older. No two versions of it are exactly alike, although the basic storyline remains consistent. The Lord of the Castle of Tardetz wishes to marry off his older daughter to the King of Hungary or possibly Portugal, as some versions state. However, the lady’s heart has already been won by Sala, the son of the miller of Tardetz, and she sorrowfully laments being “sold like a heifer.” The bells that ring for her wedding will soon toll for her funeral. The romance in its current form is clearly incomplete, but it seems to end with the bride’s corpse being returned to her father’s castle.
Most of the Basque songs, except the drinking ones, are set, more or less, in a minor key. The majority of the love songs would have been described by our forefathers as “complaints.” One of the prettiest, both in words and music, is the fragment entitled “The Hermitage of St. Joseph”:—
Most Basque songs, except for the drinking ones, are written primarily in a minor key. Most love songs would have been called "complaints" by our ancestors. One of the most beautiful, both in lyrics and melody, is the piece titled “The Hermitage of St. Joseph”:—
1.Chorittua, nurat hua Chorittua, happening now Bi hegalez airian? Are you on air? Españalat juaiteko Español chat Elhürra dük borthian: Elhürra duke borthian: Juanen gütük alkharreki Juanen they're a good people Hura hurtü denian. Hura hurt you, denian. 2.San-Josefan ermita San Jose church Desertian gora da; Desertian mountain there; Españalat juaitian. Español is awesome. Han da ene phausada; Han da ene phausada; Guibelilat so’ gin eta Guibelilat so' gin eta Hasperena ardüra! Hasperena rocks! 3.Hasperena, habilua Hasperena, habilua Maitenaren borthala: Maitenaren borthala: Habil, eta erran izok Habil, or so they say Nik igorten haidala; Nik igorten haidala; Bihotzian sar hakio Heart emoji Hura eni bezala. Hura's just like that. |
1.Little bird, where goest thou Little bird, where are you going? On thy two wings in the air? On your two wings in the air? To Spain to go, Going to Spain, The snow is on the passes: The snow is on the passes: We will go together We'll go together When the snow is melted. When the snow melts. 2.The Hermitage of Saint Joseph Saint Joseph's Hermitage Is high in the desert Is elevated in the desert In going to Spain. Going to Spain. There is my resting-place, Here is my resting place, There have I looked behind, and There I have looked back, and The sigh is frequent. The sigh happens often. 3.Sigh, go Sigh, let's go To the door of my beloved. To the door of my love. Go, and tell her Go tell her It is I who send you: It’s me sending you: Enter into her heart, Enter her heart, As she (is) in mine.21 As she is in mine. __A_TAG_PLACEHOLDER_0__ |
The songs of the Agots, or Cagots, those Pariahs of the Pyrénées, who dwelt apart shunned and despised by all, are, as might be expected, uniformly sad. The misery of the labourer’s lot, and even of that of the contrabandista, is more [263]frequently dwelt upon than the compensations to the poverty of the one, or the transient gleams of good fortune of the other. At least, such is the case in all those which are really songs of the people. In these there are not many delights of “life under the greenwood tree,” as in Robin Hood, or our factitious gipsies’ songs. The forest is an object of dread to the Basque poet, and it requires courage and all the powerful attraction of a loved one to induce him to traverse by night its gloomy shades; but then—
The songs of the Agots, or Cagots, those outcasts of the Pyrénées, who lived isolated and were shunned by everyone, are predictably sad. The struggles of the laborer's life, and even that of the smuggler, are much more often focused on than the few perks that come with the poverty of one, or the brief moments of good luck for the other. At least, that’s true for all the songs that are genuinely from the people. In these songs, there aren’t many joys of “life under the greenwood tree,” like in Robin Hood, or in our made-up gypsy songs. The forest is something the Basque poet fears, and it takes a lot of courage and the strong pull of a loved one to get him to travel through its dark shadows at night; but then—
Mortu, oihan illuna Mortu, oihan illuna Deusere ez da neretzat. Deusere isn't for me. |
Deserts and forests dark Dark deserts and forests They are then nought to me. They don’t mean anything to me. |
The following is an illustration of the Cagots’ or Agots’ songs. This piece, of which the author was the hero, was written about 1783, when he was eighteen years old. Cf. Fr. Michel, “Les Races Maudites de France et de l’Espagne,” vol. ii. p. 150, and “Le Pays Basque,” p. 270; and, for the music, Sallaberry, “Chants Populaires du Pays Basque,” p. 172.22
The following is an example of the songs of the Cagots or Agots. This piece, where the author is the protagonist, was written around 1783 when he was eighteen years old. Cf. Fr. Michel, “The Cursed Races of France and Spain,” vol. ii. p. 150, and “Basque Country,” p. 270; and for the music, Sallaberry, “Basque Country Folk Songs,” p. 172.22
1.—Argi askorrian jinik ene arresekila, —Argi askorrian jinik ene arresekila, Bethi beha entzün nahiz numbaitik zure botza; Bethi beha entzün nahiz numbaitik zure botza; Ardiak nun ützi tüzü? Zerentako errada Ardiak, are you still here? What's the issue? Nigarrez ikhusten deizüt zure begi ederra? Nigarrez ikusten deizute zure begi ederra? 2.—Ene aitaren ichilik jin nüzü zure gana, —Ene aitaren ichilik jin nüzü zure gana, Bihotza erdiratürik, zihauri erraitera, Bihotza erdiratürik, zihauri erraitera, Khambiatü deitadala ardien alhagia, Khambiatü deitadala ardien alhagia, Sekülakoz defendatü zureki minzatzia. Sekülakoz defendatü zurekin minzatzia. 3.—Gor niza, ala entzün düt? erran deitadazia? —Gor niza, can you hear me? What's the situation? Sekülakoz jin zaiztala adio erraitera? Sekülakoz jin zaiztala adio erraitera? Etziradia orhitzen gük hitz eman dügüla Etziradia orhitzen gük hitz eman dügüla Lürrian bizi gireno alkharren maithtzia? Lürrian, are you coming with us? 4.—Atzo nurbait izan düzü ene ait’ ametara, Atzo, alguien fue a ver a mi padre. Gük alkhar maite dügüla haien abertitzera; Gük alkhar maite dügüla haien abertitzera; Hürüntaaztez alkhar ganik fite ditin lehia Hürüntaaztez alkhar ganik fite ditin lehia Eta eztitian jünta kasta Agotarekila. Eta eztitian jünta kasta Agotarekila. 5.—Agotak badiadila badizüt entzütia; —Agotak badiadila badizüt entzütia; Zük erraiten deitadazüt ni ere banizala: Zük erraiten deitadazüt ni ere banizala: Egündano ükhen banü demendren leiñhüria Egündano ükhen banü demendren leiñhüria Enündüzün ausartüren begila so’ gitera. Enündüzün ausartüren begila so’ gitera. 6.—Jentetan den ederrena ümen düzü Agota: —Jentetan den ederrena ümen düzü Agota: Bilho holli, larrü churi eta begi ñabarra. Bilho holli, larrü churi eta begi ñabarra. Nik ikhusi artzaiñetan zü zira ederrena: Nik ikhusi artzaiñetan zü zira ederrena: Eder izateko aments Agot izan behar da? Eder izateko, ametsak egin behar dira? 7.—So’ izü nuntik ezagützen dien zuiñ den Agota: [265] —So’ izü nuntik ezagützen dien zuiñ den Agota: [__A_TAG_PLACEHOLDER_0__] Lehen sua egiten zaio hari beharriala; Lehenik behar du egin. Bata handiago dizü, eta aldiz bestia Bata handiago es una, y la otra es bestia. Biribil et’ orotarik bilhoz üngüratia. Biribil et’ orotarik bilhoz üngüratia. 8.—Hori hala balimbada haietarik etzira, —Hori is causing issues, Ezi zure beharriak alkhar üdüri dira. Ezi zure beharriak alkhar üdüri dira. Agot denak chipiago badü beharri bata, Agot denak chipiago badü beharri bata, Aitari erranen diot biak bardin tuzüla. Aitari erranen diot biak bardin tuzüla. 9.—Agot denak bürüa aphal, eta dizü begia —Agot denak bürüa aphal, eta dizü begia Lürrean bethi sarturik gaizki egüinak bezala. Lürrean bethi sarturik gaizki egüinak bezala. Izan banintz ni aberatz zü zira din bezala, Izan banintz ni aberatz zü zira din bezala, Aitak etzeyzün erranen ni Agobat nizala. Aitak etzeyzün erranen ni Agobat nizala. |
1.Since daybreak arrived here with my flock, Since daybreak came here with my flock, Always listening, wishing to hear somewhere thy voice. Always listening, hoping to hear your voice somewhere. Where have you left the sheep? Whence is it Where did you leave the sheep? Where is it? I see your beautiful eye full of tears? I see your beautiful eye full of tears. 2.Unknown to my father I have come towards you, Unknown to my father, I've come to you, Heart-broken, to tell you yourself Heartbroken, to tell you yourself That he has changed for me the sheep-pasture, That he has changed the sheep pasture for me, Forbidden me for ever speaking with you. Forbidden me from ever speaking with you. 3.Am I deaf, or have I heard it? Did you say it? Am I deaf, or did I actually hear that? Did you say it? That you are come to bid farewell for ever? Are you here to say goodbye forever? Do you not remember that we have given our word Do you not remember that we promised To love each other as long as we live upon the earth? To love each other for as long as we live on this planet? 4.Yesterday some one came to my father and mother Yesterday, someone came to my mom and dad. To warn them that we loved each other; To let them know that we loved each other; That they should hasten at once to separate us from each other, That they should quickly work to separate us from each other, And that they should not ally themselves with the Agots’ caste. And that they shouldn't team up with the Agots’ caste. 5.That there are Agots I have heard tell; That there are Agots, I've heard about. You tell me, too, that I am of them! You’re telling me, too, that I’m one of them! If I had ever had only the shadow of them, If I had ever just had a hint of them, I had not had the boldness to lift my eyes to you. I didn’t have the courage to look you in the eye. 6.Of all men, they say, the Agot is the handsomest; Of all men, they say, the Agot is the most attractive; Fair hair, white skin, and blue eye. Fair hair, light skin, and blue eyes. Of the shepherds I have seen you are the handsomest: Of all the shepherds I've seen, you are the most handsome: In order to be handsome, must one be an Agot? In order to be attractive, must one be an Agot? 7.It is by this one recognises who is an Agot— It is by this that one recognizes who is an Agot— One gives the first glance at his ear; One takes a first look at his ear; He has one too large, and, as for the other, He has one that's too big, and about the other, 8.If that is so, you are not of those folk; If that's the case, you're not one of those people; For your ears resemble each other perfectly. For your ears look exactly the same. If he who is Agot has one of his ears smaller, If Agot has one of his ears smaller, I will tell my father you have the two alike. I’ll tell my dad you both look the same. 9.The Agot walks with his head low, and his eye The Agot walks with his head down, and his eye Is fixed on the earth like a criminal. Is stuck on the ground like a criminal. If I had been rich, like you, If I had been wealthy, like you, Your father would not have said that I was Agot. Your dad wouldn't have called me Agot. |
There are, too, verses of grim and bitter humour, which tell better than the pen of the historian how wretched was formerly the lot of the peasant, even in this favoured corner of France. Famine is personified, and has a name given it, drawn in biting irony from that of the highest Saint of the Church Calendar, Petiri Sanz (S. Peter). He wanders round the country seeking where to settle permanently; at one place he is driven off by (the sale of) rosin, at another [266]little maize, at another by cheese and cherries; but at last he fixes his abode definitively at St. Pée (another form of Peter), on the Nivelle, where they have nothing at all to sell, and where he torments the inhabitants by forcing them to keep many a fast beyond those of ecclesiastical obligation. The same strain of gloomy humour appears in another form in a poem entitled “Mes Méditations,”24 in which a young priest of Ciboure, slowly dying of consumption, traces in detail all the physical and mental agonies of his approaching dissolution. A much less grim example, however, is contained in the following, which we quote mainly because of its brevity. It may remind some of our readers of a longer but similar strain which used often to be sung at harvest-homes in the Midland Counties:—
There are also verses filled with dark and bitter humor that reveal, better than any historian's writing, how miserable life used to be for peasants, even in this fortunate part of France. Famine is personified and given a name that ironically references the highest Saint in the Church Calendar, Petiri Sanz (S. Peter). He roams the countryside looking for a permanent home; in one place, he’s chased away by the sale of rosin, in another by a bit of maize, and in yet another by cheese and cherries. Eventually, he settles down permanently at St. Pée (a variation of Peter) on the Nivelle, where there’s absolutely nothing to sell, and where he forces the locals to endure fasts beyond what is required by the church. The same dark humor shows up in a different way in a poem called “My Meditations,”24 where a young priest from Ciboure, slowly dying from tuberculosis, details all the physical and mental pain of his impending death. A much lighter example, however, can be found in the following, which we quote mainly for its brevity. It may remind some readers of a longer but similar tune that used to be sung at harvest celebrations in the Midland Counties:—
Dote Galdia.251.Aitac eman daut dotia, Aitac eman daut dotia, Neuria, neuria, neuria; Neuria, neuria, neuria; Urdeño bat bere cherriekin, Urdeño bat bere cherries, Oilo corroca bere chituekin, Oilo corrupts its surroundings, Tipula corda hayekin. Tipula corda hayekin. 2.Oxuac jan daut urdia, Oxuac is just another word, Neuria, neuria, neuria; Neuria, neuria, neuria; Acheriac oilo coroca, Acheriac oilo coroca, Garratoinac tipula corda; Garratoinac tipula corda; Adios ene dotia. Goodbye, you moron. |
The Lost Dowry.1.My father has given me my dowry, My dad has given me my dowry, Mine, mine, mine; Mine, mine, mine; A sow with pigs ten, A sow with ten piglets, Her chicks with the hen, Her chicks with the mom, And of onions a rope to stow by. And a rope of onions to store away. 2.But the wolf has devoured my sow, But the wolf has eaten my pig, Mine, mine, mine; Mine, mine, mine; My chickens are killed by the cats, My chickens are being killed by the cats. My onions are gnawn by the rats; My onions are gnawed by the rats; Good-bye to my dowry now. Goodbye to my dowry now. |
More literally:—
More literally:—
1.
My father has given me the dowry,
My dad has given me the dowry,
Mine, mine, mine;
Mine, mine, mine;
A sow with her little pigs,
A mother pig with her piglets,
A brood hen with her chickens,
A mother hen with her chicks,
A cord of onions with them.
A string of onions with them.
2.
The wolf has eaten my sow,
The wolf has eaten my pig,
Mine, mine, mine;
Mine, mine, mine;
The fox my brood hen,
The fox caught my hen,
The rats my cord of onions,
The rats my bunch of onions,
Good-bye, my dowry.
Goodbye, my dowry.
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The lack of good poetry in Basque is certainly not due to want of encouragement. Moreover, the wish to produce it is there, but the power seems lacking. For over twenty years prizes have been annually given, first at Urrugne, and then at Sare, by M. Antoine d’Abbadie, of Abbadia. But among the multitude of competing poems few have been of any real value, and both in merit and in the number presented they seem to diminish annually. The best of them have been written by men of the professional class, whose taste has been formed on French, or Spanish, or classical, rather than on native models. The following is considered by native critics to be among the best, though several others are very little, if at all, inferior26:—
The lack of good poetry in Basque definitely isn't for a lack of encouragement. Plus, there's a desire to create it, but it seems there's a shortage of skill. For over twenty years, prizes have been awarded every year, first in Urrugne and then in Sare, by M. Antoine d’Abbadie, of Abbadia. However, among the many poems submitted, few have had real value, and both their quality and quantity seem to decline each year. The best pieces have come from professional writers whose tastes have been shaped by French, Spanish, or classical influences rather than native ones. The following is regarded by local critics as one of the best, although there are several others that are just as good, if not better26:—
Artzain Dohatsua.1.Etchola bat da ene jauregia Etchola is in this palace. Aldean, salhatzal, hariztegia; Aldean, salhatzal, park; Arthalde bat Arthalde bat Halakorik ez baita hambat, Halakori ez baita hant, Bazait niri behar besembat. Bazait niri behar besembat. Ai! etzait itsusi! Ai! that's insane! Ni naiz etchola huntako nausi Ni naiz etchola huntako nausi 2.Goiz-arratsak bethi deskantsu ditut, Morning prayers always uplift me, Deuseren beldurrik nihondik ez dut; Deuseren beldurrik nahi dut; Hemen nago, I'm here, Erregue baino fierrago. Erregue but fiercer. Nik zer behar dut gehiago? Do I need anything else? Ha! ez da itsusi! Ha! that's not ugly! Etchola huntan Piarrez nausi. Etchola hunts Piarrez now. 3.Goizetan jaikirik argialdera, In the morning light, Igortzen ditut ardiak larrera; I send the sheep to pasture; Eta gero See you later Itzalpean jarririk nago, I'm on the lookout. Nor da ni baino urusago? Is it better than us? Ez! etzait itsusi! Ez! it's tea time! Ni naiz arthalde huntako nausi. Ni naiz arthalde honetako nagusi. 4.Aitoren semeak gasteluetan, Aitor's sons in the castles, Bihotzak ilhunik daude goguetan. The hearts are open to them. Alegera Alegera (Bethi naiz; tristatucera)27 (Bethi naiz; tristatucera)__A_TAG_PLACEHOLDER_0__ Nik ez dut dembora sobera. No tengo tiempo de sobra. Ai! etzait itsusi! Ai! it’s so cute! Etcholan nor da ni baizen nausi. Etcholan nor da ni baizen nausi. 5.Jan onegiak barnea betherik, Jan onegiak barnea betherik, Aberatsak nihoiz ez du goserik; Aberatsak nihoiz ez du goserik; Eta bethi Eta bethi Ene trempuaz da bekhaizti; Ene trempuaz da bekhaizti; Diruz ez baitaite erosi. Yesterday I bought it. Ha! ez da itsusi! Ha! it's not ugly! Etchola gasteluaren nausi. Etchola is the main one. 6.Noizbait Jaunari nik dainu egunik, Noizbait January I'll sing a song, Igortzen banindu aberasturik; Igortzen enjoyed being wealthy; Zorigaitzez Zorigaitzez Hesturik nindauke bihotzez, [269] Hesturik nindauke bihotzez, [__A_TAG_PLACEHOLDER_0__] Ene etchola hemen minez. Ene etchola hemen minez. Jauna! ba ha niri! Jauna! What’s going on? Utz nezazu etcholako nausi. Utz nezazu etcholako nausi. |
The Happy Shepherd.1.A cottage my castle is, A cottage is my castle. By the side of willows, wood, and oak copse; By the edge of the willows, woods, and oak grove; A flock A group Such as mine is of no great worth, Such as mine isn't worth much, Yet it is all I need. It's all I need. Ah! my lot is not so bad! Ah! My situation isn't so bad! I am master of this little house. I am the master of this little house. 2.Tranquil I live by night and day, Tranquil I live by night and day, Of aught from no quarter afraid am I; Of anything, I'm not afraid of any corner; Here dwell Here lives No king more proud. No king more arrogant. What need I more? What more do I need? Ha! it is not so bad! Haha! It's not that bad! Peter is master in this little house. Peter is the master of this little house. 3.Almost at daybreak each morn I rise, Almost at daybreak each morning I get up, My sheep I drive to the pastures; My sheep I take to the fields; And then And then ’Neath the shade reclined I pass the day. ’Neath the shade, I relax and spend the day. Where is there one more happy than I? Where is there anyone happier than I am? No! my lot is not so bad! No! My situation isn't that bad! I of my flock the master am. I am the master of my flock. 4.The sons of the nobles in the castles, The sons of the nobles in the castles, Their hearts are black, their thoughts dull. Their hearts are cold, their thoughts lifeless. Joyful Happy (Always am I; to be sad) (Always am I; to be sad) I have not time enough for that. I don’t have enough time for that. Ah! my lot is not so bad! Ah! My situation isn't so bad! In the cottage of which I the master am. In the cottage that I own. 5.Eating too much, and ever full, Eating too much and always feeling full, The rich they never feel hunger; The rich never go hungry; Yet always Yet always My rude good health they envy; My great health makes them jealous; With money they cannot purchase that. With money, they can’t buy that. Ha! it is not so bad! Ha! It's not that bad! The cottage the lord of the castle is. The cottage is where the lord of the castle lives. 6.Once on a time I grieved the Lord, Once upon a time I made the Lord sad, Sending me full of riches; Sending me filled with wealth; Of sorrow Of sadness Full then was I at heart, Full then was I at heart, My little house here suffering. My small house here is struggling. Lord! spare me! Lord, save me! Leave me the master of my little house. Leave me the owner of my small home. |
A pretty cradle song, “Lo! Lo! ene Maitea” (“Sleep! Sleep! my Darling”), by M. Larralde, a physician of St. Jean de Luz, won the prize at Urrugne in 1859. It is written to a tune composed by the Vicomte de Belzunce; the words have been printed in the “Lettres Labourdines,” par H. L. Fabre (Bayonne, 1869).
A lovely lullaby, “Hey! Hey! it's Maitea” (“Sleep! Sleep! my Darling”), by M. Larralde, a doctor from St. Jean de Luz, won the prize at Urrugne in 1859. It's set to a melody created by the Vicomte de Belzunce; the lyrics were published in “Labourdine Letters,” by H. L. Fabre (Bayonne, 1869).
1.Lo! Lo! nere maitea! Look! Look! near the table! Lo! ni naiz zurekin! Lo! I’m here with you! Lo! Lo! paregabea! Lo! Lo! paregabea! Nigarrik ez-eghin; Not enough context Goizegui da! Munduko Good morning! World Gelditzen bazira, If it's official, Nigarretan urtzeco Under the sky Baduzu dembora. Bad news. 2.Lo! nik zaitut higitzen, Look! I have the oil. Lo! Lo! nombait goza. Look! Look! nambait goza. Es duzuya ezagutzen Es duzuya ezagutzen Amattoren boza? Am I annoying you? Exai guzietaric Exai guezitaric Zure begiratzen Zure begira Bertze lanak utzirik. Bertze tidak digunakan. Egonen naiz hemen. Egon naiz hemen. 3.Lo! Lo! nere aingerua! Lo! Lo! near aingerua! Bainan amexetan, Bainan amexetan, Dabilkasu burua; Dabilkasu head; Hirria ezpainetan; Hirria ezpainetan; Norekin othe zare? Norekin or the zare? Non othe zabiltza? No other options? Ez urrun ama-gabe Ez urrun ama-gabe Gan ene bihotza. Heart is weak. 4.Lo! Lo! zeruetarat Lo! Lo! zeruetarat Airatu bazare, Airatu bazare, Ez bihar zu lurrerat Ez bihar zu lurrerat Ardiexi-gabe Ardiexi-gabe Ungi zure altchatzeko Ungi to change your alt Enetzat gracia; Enetza gracias; Guciz eni hortako Guciz is the new cool Zait ezti bizia! Eat this bread! 5.Lo! Lo! gauak oraindik, Lo! Lo! the cow still, Nombait du eguna; Nombait du eguna; Ez da nihon argirik Ez da nihon argirik Baizik izarrena. Baizik isarrena. Izarrez! mintzazean Izarrez! in conversation Zutaz naiz orhoitzen; Zutaz naiz orhoitzen; Zein guti, zure aldean Zein ondo, zure inguruan Duten distiratzen! Duten is annoying! 6.Lo! Lo! dembora dela! Look! Look! her beauty! Iduri zait albak Iduri has the boots Histen hari tuela Histen hari tuela Ekhi gabazkoak. Dual speakers. Choriac arboletan Choriac shrub Kantaz hasi dire; Kantaz hasi dire; Laster nere besoetan Laster n'ere besoetan Gochatuko zare. Gochatuko zare. 7.Bainan atzarri zare Bainan atzarri zare Uso bat iduri. Use bad habits. Una nik zembat lore(ac) Una nik zembat lore(ac) Zuretzat ekharri! Zuretzat ekharri! Ametsetan ait-amez Ametsetan ait-amez Othe zare orhoitu? Othe zare orhoitu? Ai! hirri maite batez Ai! it's just one love Baietz erradazu! Baietz, let's go! |
1.Sleep! Sleep! my darling! Rest! Rest! my darling! Sleep! I am with thee! Sleep! I'm with you! Sleep! Sleep! without peer! Sleep! Sleep! like no other! Shed no tears; Don't cry; It is too soon! Of the world, It’s too soon! Of the world, If thou seest long days, If you see long days, For tears thou wilt have For tears you will have Enough time. Enough time. 2.Sleep! I am rocking thee, Sleep! I'm rocking you, Sleep! Sleep! and be still. Sleep! Sleep! and be quiet. Dost thou not recognise Do you not recognize Of thy mother the voice? Your mother's voice? From every foe From every enemy To guard thee To protect you I quit all else. I quit everything else. I am watching here. I'm watching here. 3.Sleep! Sleep! my angel! Sleep, my angel! But borne on the wings of a dream But carried on the wings of a dream Thy spirit far away flies; Your spirit flies far away; A smile plays on thy lips; A smile curls on your lips; Who are with thee? Who is with you? Where dost thou wander? Where do you wander? Not far without your mother Not far without your mom Go my (dear) heart. Go, my dear heart. 4.Sleep! Sleep! toward the heavens Sleep! Sleep! to the skies If thy spirit has flown, If your spirit has flown, Do not to earth return Don't return to Earth. Without having obtained Without getting To bring thee up well To raise you well For me the favour; Do me a favor; This duty is all This duty is everything That is life to me! That's life for me! 5.Sleep! Sleep! now it is night, Sleep! Sleep! It’s nighttime now, The day is still distant; The day is still far off; There is no other light There's no other light. Than that of the stars. Than that of the stars. The stars! At the word The stars! At the mention I am thinking of thee; I'm thinking of you; And (I say) than thee And (I say) than you A star is less bright. A star is dimmer. 6.Sleep! Sleep! while there is time! Sleep! Sleep! while you can! I see that the dawn I see the sunrise Is making pale Is becoming pale The stars of the night. The night stars. The birds in the trees The birds in the trees Their songs have begun; Their songs have started; Soon on my bosom Soon in my arms Thou wilt begin to play. You will start to play. 7.But thou art waking But you are waking Like a sweet dove. Like a cute dove. See what flowers Check out the flowers I have gathered for thee I've gathered for you Tell me, in thy dream Tell me in your dream Didst thou think of me? Did you think of me? Ah! what a dear smile Ah! what a lovely smile Doth answer me, Yes! Answer me, Yes! |
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The following belongs to a more quaint and popular class of lullaby, or cradle songs; as it is so simple we do not give the Basque:—
The following is part of a simpler and well-loved type of lullaby, or cradle song; since it is so straightforward, we won't include the Basque:—
Little Peter.28
1.
Ah, my little Peter,
Ah, my dear Peter,
I am sleepy, and—
I'm sleepy, and—
Shall I go to bed?
Should I go to bed?
Go on spinning, and—
Keep spinning, and—
Then, then, then,
Then, then, then
Go on spinning, and—
Keep spinning, and—
Then, then, yes.
Then, yes.
2.
Dear little Peter,
Dear little Peter,
I have spun, and—
I have spun, and—
Shall I go to bed?
Should I go to bed?
Put the thread up in skeins, and—
Put the thread in skeins, and—
Then, then, then,
Then, then, then
Put the thread up in skeins, and—
Put the thread in skeins, and—
Then, then, yes.
Then, yes.
3.
Dear little Peter,
Dear little Peter,
I have put it in skeins, and—
I’ve put it in skeins, and—
Shall I go to bed?
Should I go to bed?
Wind off the thread, and—
Wind the thread off, and—
Then, then, then,
Then, then, then
Wind off the thread, and—
Cut the thread, and—
Then, then, yes.
Then, yes.
4.
Dear little Peter,
Dear little Peter,
I have wound it off, and—
I have taken it off, and—
Shall I go to bed?
Should I go to bed?
Bleach it, and—
Bleach it, and—
Then, then, then,
Then, then, then.
Bleach it, and—
Bleach it, and—
Then, then, yes.
Then, yes.
5.
Dear little Peter,
Dear little Peter,
I have bleached it, and—
I bleached it, and—
Shall I go to bed?
Should I go to bed?
Weave it, and—
Weave it, and—
Then, then, then,
Then, then, then
Weave it, and—
Weave it, and—
Then, then, yes.
Then, yes.
6.
Dear little Peter,
Hey there, little Peter,
I have woven it, and—
I've woven it, and—
Shall I go to bed?
Should I go to bed?
Cut it, and—
Cut it, and—
Then, then, then,
Then, then, then
Cut it, and—
Cut it, and—
Then, then, yes.
Then, yes.
7.
Dear little Peter,
Dear little Peter,
I have cut it, and—
I’ve cut it, and—
Shall I go to bed?
Should I go to bed?
Sew it, and—
Sew it, and—
Then, then, then,
Then, then, then,
Sew it, and—
Sew it, and—
Then, then, yes.
Then, yes.
8.
Oh! my little Peter,
Oh! my little buddy,
I have sewn it, and—
I’ve sewn it, and—
Shall I go to bed?
Should I go to bed?
It is daylight! and—
It's daylight! And—
Then, then, then,
Then, then, then.
It is daylight! and—
It's daylight! and—
Then, then, yes!
Then, yes!
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The best living Basque poets are—on the French side, Captain Elisamboure, of Hendaye; and Iparraguirre, of San Sebastian, among the Spanish Basques. Iparraguirre is now very old. He is the author of the song “Guernicaco Arbola” (“The Tree of Guernica,” in Biscay), an oak under which the Lords of Biscay swore fidelity to the Fueros. This has become almost the national song of the Basques.29 A few words on two other classes of songs, the drinking and the macaronic, must conclude our remarks. The most spirited drinking song is the following.30 It must be remembered, in excuse, that the shepherds live a very hard life on the mountains the greater part of the year, and taste little wine there.
The best living Basque poets are—on the French side, Captain Elisamboure from Hendaye; and Iparraguirre from San Sebastian, among the Spanish Basques. Iparraguirre is now very old. He is the author of the song “Guernica Tree” (“The Tree of Guernica,” in Biscay), an oak tree under which the Lords of Biscay pledged loyalty to the Fueros. This song has become almost the national anthem of the Basques.29 A few words about two other types of songs—drinking songs and macaronic songs—must wrap up our discussion. The most spirited drinking song is the following.30 It's important to remember that the shepherds endure a very tough life in the mountains for most of the year and don't get to drink much wine there.
Artzain Zaharrac.1.Tam, tam, tam, tam, Tam, tam, tam, tam, Rapetanplan. Rap battle plan. Artzain zaharrac tafarnan. Old shepherds in taverns. Hordi gira? Hordes attacking? Ez, ezgira. Ez, ezgira. Basoak detzagun bira! Basoak detzagun bira! Iohoho! Iohoho! Iohoho! Iohoho! Iohoho! Iohoho! Basoak detzagun bira! Basoak detzagun bira! 2.Tam, tam, tam, tam, Tam, tam, tam, tam, Rapetanplan. Rapetan plan. Nork joiten derauku borthan? Nork joiten derauku borthan? Behabada Behabada Otsoa da! It's great! Nihor ez gaiten athera! Nihor is not allowed! Iohoho! Iohoho! Iohoho! Iohoho! Iohoho! Iohoho! Basoak detzagun bira! Basoak detzagun bira! 3.Tam, tam, tam, tam, Tam, tam, tam, tam, Rapetanplan. Rapetanplan. Uria hari karrikan. Uria is going home. Gauden hemen, Gauden now, Arno hunen Arno is a beast Gostu onean edaten. Gostu onean edaten. Iohoho! Iohoho! Iohoho! Iohoho! Iohoho! Iohoho! Gauden gostuan edaten! Gauden Student Discount! 4.Tam, tam, tam, tam, Tam, tam, tam, tam, Rapetanplan. Rap battle plan. Babazuza tarrapatan! Babazuza tarrapatan! Dugun edan Wedding ceremony Hamarretan. Hamarattan. Aberats gira gau huntan. Aberats gira gau huntan. Iohoho! Iohoho! Iohoho! Iohoho! Iohoho! Iohoho! Aberats gira gau hutan. Aberats go to the woods. 5.Tam, tam, tam, tam, Tam, tam, tam, tam, Rapetanplan. Rapetan plan. Ez dut minik sabeletan! Ez dut minik jakin! Nahi nuke Nahi nuke Ehun urthe, Ehun years, Hola egon banindaite! Hola, ¿qué tal? Iohoho! Iohoho! Iohoho! Iohoho! Iohoho! Iohoho! Hola egon banindaite! Hola egon banindaite! 6.Tam, tam, tam, tam, Tam, tam, tam, tam, Rapetanplan. Rap Battle Plan. Arnorik ez da boteilan! Arnorik isn't in the bottle! Ostalera, Ostalera, Ez ikhara, Ez ikhara, Arnoko bethi sos bada! Arnoko says it's great! Iohoho! Iohoho! Iohoho! Iohoho! Iohoho! Iohoho! Arnoko bethi sos bada! Arnoko, get the food ready! 7.Tam, tam, tam, tam, Tam, tam, tam, tam, Rapetanplan. Rapetan plan. Zer othe dut beguietan? What are the other duties? Non da bortha? Don't you want to go? Airatu da. Airatu yes. Mahaya dantzan dabila! Mahaya dantzan dabila! Iohoho! Iohoho! Iohoho! Iohoho! Iohoho! Iohoho! Mahaya dantzan dabila! Mahaya dantzan is great! 8.Tam, tam, tam, tam, Tam, tam, tam, tam, Rapetanplan. Rapetanplan. Zangoak amor bidean! Zangoak love on the road! Hanketan min! Hanketan min! Gaizo, Martin, Gaizo, Martin, Urkatsik ez dirok egin! Don’t spread rumors! Iohoho! Iohoho! Iohoho! Iohoho! Iohoho! Iohoho! Urkatsik ez dirok egin! Urkatsik don't cause trouble! 9.Tam, tam, tam, tam, Tam, tam, tam, tam, Rapetanplan. Rap battle plan. Eri-tchar naiz hilzekotan. Eri-tchar naiz hilzekotan. Sendo nintzan Sendo nintzan Aski edan; Asking for help; Izan banu gau hunetan, Izan banu gaueko orduetan, Iohoho! Iohoho! Iohoho! Iohoho! Iohoho! Iohoho! Aski edan gau hunetan! Ask for help! |
The Old Shepherds.1.Tam, tam, tam, tam, Tam, tam, tam, tam. Rapetanplan. Rap battle plan. The old shepherds (are) at the inn. The old shepherds are at the inn. Are we drunk? Are we buzzed? No, we are not. No, we aren't. Long live the glass! Cheers to the glass! Hohoho! Hohoho! Hohoho! Ho ho ho! Ho ho ho! Ho ho ho! Long live the glass! Long live glass! 2.Tam, tam, tam, tam, Tam, tam, tam, tam, Rapetanplan. Rapetanplan. Who knocks at the door? Who’s at the door? Perhaps Maybe It’s the wolf! It's the wolf! We won’t go to the door, not one (of us)! We won’t go to the door, not a single one of us! Hohoho! Hohoho! Hohoho! Ho ho ho! Ho ho ho! Ho ho ho! Long live the glass! Cheers to the glass! 3.Tam, tam, tam, tam, Tam, tam, tam, tam, Rapetanplan. Rap battle plan. The rain begins in the street. The rain starts on the street. Let us stop the night here, Let’s pause for the night here, This good wine This great wine To drink with pleasure. Drink for enjoyment. Hohoho! Hohoho! Hohoho! Ho ho ho! Ho ho ho! Ho ho ho! In the night to drink with pleasure! In the night to drink and enjoy! 4.Tam, tam, tam, tam, Tam, tam, tam, tam Rapetanplan. Rap battle plan. The hail comes rattling down! The hail is coming down! Let us drink Let's drink For the tenth time. For the tenth time. We are rich to-night. We are rich tonight. Hohoho! Hohoho! Hohoho! Ho ho ho! Ho ho ho! Ho ho ho! We are rich this night. We're rich tonight. 5.Tam, tam, tam, tam, Tam, tam, tam, tam, Rapetanplan. Rap playlist. I am so jolly inside! I'm so happy inside! I wish (I could live) I wish I could live A hundred years, A century, If I might remain like this! If only I could stay like this! Hohoho! Hohoho! Hohoho! Ho ho ho! Ho ho ho! Ho ho ho! If I might remain like this! If only I could stay like this! 6.Tam, tam, tam, tam, Tam, tam, tam, tam Rapetanplan. Rap battle plan. There’s no more wine in the bottle! There’s no wine left in the bottle! Landlord, Landlord, Don’t be afraid, Don't worry, There’s always money for wine! There's always cash for wine! Hohoho! Hohoho! Hohoho! Ho ho ho! Ho ho ho! Ho ho ho! There’s always money for wine! There's always cash for wine! 7.Tam, tam, tam, tam, Tam, tam, tam, tam, Rapetanplan. Rapetanplan. What’s gone wrong with my eyes? What’s wrong with my eyes? Where’s the door? Where's the door? It has flown away. It's flown away. The table’s beginning to dance! The table's starting to dance! Hohoho! Hohoho! Hohoho! Ho ho ho! Ho ho ho! Ho ho ho! The table’s beginning to dance! The table is starting to dance! 8.Tam, tam, tam, tam, Tam, tam, tam, tam Rapetanplan. Rap sheet. My feet won’t go straight on the road! My feet won't go straight on the road! I’m bad in my legs! My legs are weak! To-morrow, Martin, Tomorrow, Martin, You will not be able to walk at all! You won't be able to walk at all! Hohoho! Hohoho! Hohoho! Ho ho ho! Ho ho ho! Ho ho ho! You will not be able to walk at all! You won't be able to walk at all! 9.Tam, tam, tam, tam, Tam, tam, tam, tam, Rapetanplan. Rap plan. I am very ill, I am like to die. I am very sick; I feel like I'm going to die. I should have been cured I should have been healed Had I drunk enough; Had I drunk enough? If I had but this night, If I only had this night, Hohoho! Hohoho! Hohoho! Ho ho ho! Ho ho ho! Ho ho ho! Drunk enough this night! Drunk enough tonight! |
It is not at all uncommon in a country where, within the space of some twenty miles, the traveller may hear at least four languages—French, Gascoun, Basque, and Spanish—to find two or more of these mixed in the same poem, and sometimes with a little Latin as well. This occurs frequently in the noëls, where the angel speaks in French or Latin, and the shepherds reply in Gascoun or Basque; also sometimes in the love songs, where the French or Spanish lover will try to soften the heart of a Basque maiden by compliments in French or Spanish, while she [275]greatest tour de force of this kind we know, both as to language and rhyme, is the song given in Fr. Michel’s “Le Pays Basque,” p. 429. We quote the first verse only; but the song continues with twenty-eight successive Basque rhymes in “in,” and the last seven in “en.”
It's quite common in a country where, within just twenty miles, travelers can hear at least four languages—French, Gascoun, Basque, and Spanish—to find two or more of these languages mixed in the same poem, and sometimes a bit of Latin as well. This happens often in the noëls, where the angel speaks in French or Latin, and the shepherds respond in Gascoun or Basque; it's also sometimes seen in love songs, where a French or Spanish lover tries to win the heart of a Basque maiden with compliments in French or Spanish, while she [__A_TAG_PLACEHOLDER_0__]. The greatest tour de force of this kind we know, both in terms of language and rhyme, is the song featured in Fr. Michel’s “Le Pays Basque,” p. 429. We quote the first verse only; but the song continues with twenty-eight consecutive Basque rhymes in “in,” and the last seven in “en.”
Latin. | Sed libera nos a malo. Sit nomen Domini. | Deliver us from evil. God’s holy Name be praised; |
Spanish. | Vamos á cantar un canto para diverti. | Let’s sing a song, my friends, and a joyous clamour raise; |
Basque. | Jan dugunaz gueroz chahalki houneti | For we of rare good meat have eaten to our fill, |
Basque. | Eta edan ardoa Juranzouneti. | And the good wine of Jurançon |
French. | Chantons, chantons, mes chers amis, je suis content pardi! | have drunken at our will. Then sing, friends, sing, i’faith, I’m right well pleased! |
Gascoun. | Trinquam d’aquest boun bi, | Let’s hear the glasses ring, |
Basque. | Eta dezagun canta cantore berri. | And our new song, my friends, let’s all together sing. |
Almost every one of these Basque songs, like all true lyrics, has been adapted to some tune, either older than the words, or composed specially by the author. The music is often superior to the words. In the Nineteenth Century for August, 1878, Grant-Duff speaks of some of the Basque airs sung by the Béarnais tenor, Pascal Lamazou, as “extraordinarily beautiful.”31 Lamazou died at Pau in May, 1878. His répertoire consisted of fifty Pyrenean songs, of which thirty-four are Béarnais, fourteen Basque, and two [276]are from the “Pyrénées Orientales.”32 One of the Basque airs “Artzaina,” has somehow got attached to the popular American hymn, “I want to be an angel.” Another, and larger collection, including more correct renderings of some of Lamazou’s fourteen, is that of Sallaberry, “Chants Populaires du Pays Basque” (Bayonne, 1870). But, long before this, a collection of Basque Songs, Zorzicos, and dance music was published in San Sebastian, by J. D. Iztueta, in 1824 and 1826. Excellent reviews of these two works, with translations of some of the words, appeared in the Foreign Review and Continental Miscellany, vol. ii., pp. 338, 1828; and in vol. iv., p. 198. Some specimens of music are to be found at the end of Michel’s “Le Pays Basque,” in the “Cancionero Vasco”—now in course of publication, and so often referred to—and in other local publications, besides those in private hands. Basquophiles love to narrate that Rossini passed a summer in the Basque village of Cambo, and believe that they can recognise the influence of Basque airs in some of his subsequent operas. However this may be, let no one judge of Basque music by the noëls usually howled in the streets at Christmas and the New Year, or by the doleful productions of the last Carlist War. It would be equally fair to judge of English music by the serenades of the waits at Christmas. We refer those who wish to investigate further the subject of this chapter to the excellent work, “Le Pays Basque,” par M. Fr. Michel (Paris and London, 1857), for the French, to the “Cancionero Vasco,” by Don José Manterola, now in course of publication at San Sebastian, for the Spanish, Basque; and to M. Sallaberry’s “Chants Populaires du Pays Basque” for the music.
Almost every one of these Basque songs, like all genuine lyrics, has been set to a tune, either one that's older than the words or composed specifically by the author. The music is often more remarkable than the lyrics. In the Nineteenth Century for August, 1878, Grant-Duff describes some of the Basque melodies sung by the Béarnais tenor, Pascal Lamazou, as “extraordinarily beautiful.”31 Lamazou passed away in Pau in May, 1878. His répertoire included fifty Pyrenean songs, of which thirty-four are Béarnais, fourteen Basque, and two [__A_TAG_PLACEHOLDER_0__]are from the “Pyrénées-Orientales.”32 One of the Basque melodies, “Artzaina,” has somehow become linked to the popular American hymn, “I Want to Be an Angel.” Another larger collection, featuring more accurate versions of some of Lamazou’s fourteen, is that of Sallaberry, “Basque Country Folk Songs” (Bayonne, 1870). Long before this, a collection of Basque songs, Zorzicos, and dance music was published in San Sebastian by J. D. Iztueta in 1824 and 1826. Excellent reviews of these two works, along with translations of some of the lyrics, appeared in the Foreign Review and Continental Miscellany, vol. ii., pp. 338, 1828; and in vol. iv., p. 198. Some examples of music can be found at the end of Michel’s “Basque Country,” in the “Cancionero Vasco”—currently being published and frequently referenced—and in other local publications, in addition to private collections. Basquophiles love to tell that Rossini spent a summer in the Basque village of Cambo, and they believe they can identify the influence of Basque melodies in some of his later operas. Regardless of this, no one should evaluate Basque music based on the noëls typically sung loudly in the streets during Christmas and the New Year, or by the somber works from the last Carlist War. It would be just as fair to judge English music by the serenades of the waits at Christmas. We direct those interested in exploring this chapter's topic further to the excellent work, “The Basque Country,” by M. Fr. Michel (Paris and London, 1857), for the French, to the “Cancionero Vasco,” by Don José Manterola, currently being published in San Sebastian, for the Spanish, Basque, and to M. Sallaberry’s “Popular Songs of the Basque Country” for the music.
1 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.
1 The names of some of the most famous improvisatori, or Coblacaris, as they are known in Basque, have been kept alive: Fernando Amezquetarra, from the Spanish Provinces; and Pierre Topet dit Etchehun, along with Bernard Mardo from Barcus, in the French Basque Country.
2 An exception is occasionally made in the case of the “Satans,” as the part is almost too fatiguing for girls.
2 Sometimes, an exception is made for the “Satans,” since the role is nearly too exhausting for girls.
3 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.
3 This little wand plays a significant role on its own. In many of its applications, it resembles the Caduceus of Mercury; a touch from it can make someone invisible, cause death, or bring them back to life at the whim of its demonic owner. It also appears as a gift to the hero in many of the “Legends;” cf. pp. 34, 35, above.
4 An account of the acting of Richard Sans Peur, at Larrau, in June 1864, is given in Macmillan’s Magazine, January, 1865.
4 A description of Richard Sans Peur's performance at Larrau in June 1864 can be found in Macmillan’s Magazine, January 1865.
6 This MS. was kindly lent by M. J. Vinson, to whom we have been so often indebted.
6 This manuscript was generously loaned to us by M. J. Vinson, to whom we have often been grateful.
7 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.
7 Ercilla, the writer of “Araucana,” was of Basque descent, and Basque names are common among the poets and playwrights of Spain, especially in recent years.
8 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.”
8 The claim made in the “Revista Euskara,” p. 61, April, 1878, can be fully accepted:—”Yes, this is the unique feature of Basque poetry: its remarkable morality. You won’t find anything in it that resembles an apology for wrongdoing or a justification for crime.”
9 “Cancionero Vasco, acompañado de traducciones castellanas, juicios criticos,” etc., por José Manterola. San Sebastian. 1877–8. Serie I., 2, p. 39.
9 “Cancionero Vasco, along with Spanish translations, critical reviews,” etc., by José Manterola. San Sebastian. 1877–8. Series I., 2, p. 39.
10 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.
10 The reader will notice that there isn’t really any authority for viewing these words as proper names. However, this is the common understanding among Basques.
11 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.
11 Ibargüen’s words after quoting the song are: “Following this order and this song, which narrates the entire history mentioned earlier in this chapter about the civil wars fought by Octavian Caesar Augustus in this Cantabric Province over five years, I have only included the first sixteen verses of this hereciat (historical song), as the others have been worn away. I’m sharing these for anyone who is Basque, choosing to limit myself to these to prevent unnecessary length in the rest, since the parchment is very worn and old.,” cited in the “Basque Songbook,” 2, iii., pp. 4, 5.
12 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.
12 See. Alexandre Dihinx in the Impartial de Bayonne, in 1873. These articles have been republished by M. J. Vinson in L’Avenir de Bayonne, May, 1878.
13 “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.”
13 “The head of the household,” the typical respectful term for a Basque owner of any status. His wife is “Etcheco Anderea,” “The lady of the house.”
14 Altabiscar is the mountain on the East, Ibañeta that on the West of the supposed scene of conflict.
14 Altabiscar is the mountain in the East, and Ibañeta is the one in the West of the supposed conflict scene.
15 Of course it ought to be “vultures.” The Basque is distinctly “eagles;” an error which no Basque shepherd could have made.
15 Obviously, it should be “vultures.” The Basque word is clearly “eagles,” a mistake that no Basque shepherd would have made.
16 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.”
16 The use of rocks “is confirmed by the Basque ballad of Altabiscar, in which, however, there is no mention of the strong temptation of treasure.”
17 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.
17 There are other instances of similar confusion in later Basque literature. “The Echoes of the Pas de Roland,” by J. B. Dasconaguerre, Bayonne, 1868, claims in the title to be “translated from Basque”; however, the “Atheko-gaitzeko Notifications” (the echoes of the bad door or pass), Bayonne, 1870, is actually a translation from the French. The Basques are not familiar with the name of Roland in relation to this beautiful ravine. M. Fr. Michel’s “The Basque Country Romancero,” Didot, Paris, 1859, is hardly less an embellishment on themes where the foundation is merely Basque.
19 An exact reprint of Echepare’s “Poems,” edited by M. Vinson, was published by Cazals, Bayonne, 1874.
19 A precise reprint of Echepare’s “Poems,” edited by M. Vinson, was released by Cazals, Bayonne, 1874.
20 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.
20 The most interesting thing to note in these hymns is how quickly after their deaths the Jesuit Fathers, Ignatius de Loyola and François de Xavier, were honored and referred to as saints in Basque poetry.
21 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.
21 This song is beautifully translated in Miss Costello’s “Béarn and the Pyrénées,” London, 1844, which also includes translations of several other Basque songs, the originals of which I have been unable to find.
1.
Borne on thy wings amidst the air,
Borne on your wings through the air,
Sweet bird, where wilt thou go?
Sweet bird, where will you go?
For if thou wouldst to Spain repair,
For if you want to go to Spain,
The ports are filled with snow.
The ports are covered in snow.
Wait, and we will fly together,
Wait, and we'll fly together,
When the Spring brings sunny weather.
When spring brings sunny days.
2.
St. Joseph’s Hermitage is lone,
St. Joseph’s Hermitage is solitary,
Amidst the desert bare,
In the barren desert,
And when we on our way are gone,
And when we're on our way,
Awhile we’ll rest us there;
We'll rest there for a while;
As we pursue our mountain track,
As we follow our mountain trail,
Shall we not sigh as we look back?
Shall we not sigh as we reflect?
3.
Go to my love, oh! gentle sigh,
Go to my love, oh! soft sigh,
And near her chamber hover nigh;
And near her room hover close;
Glide to her heart, make that thy shrine,
Glide to her heart, make that your shrine,
As she is fondly kept in mine.
As I keep her close to my heart.
Then thou may’st tell her it is I
Then you can tell her it's me
Who sent thee to her, gentle sigh!
Who sent you to her, gentle sigh!
22 For the most recent theory on the Cagots, see “Les Parias de France et de l’Espagne,” par M. de Rochas (Hachette, Paris, 1876).
22 For the latest theory on the Cagots, see “The Outcasts of France and Spain,” by M. de Rochas (Hachette, Paris, 1876).
23 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.
23 People often said that the Cagots had either totally round ears, really long earlobes, or lobes that were stuck to their heads. We've encountered examples of all these features in the Basque country, but they aren't unique to the Cagots. We've never come across a case like the one described in the verse above.
26 I owe the MS. of this song to the kindness of M. Achille Fouquier, author, sportsman, and artist.
26 I owe the manuscript of this song to the generosity of M. Achille Fouquier, who is an author, athlete, and artist.
27 A line has dropped out of the MS. here. We supply the probable meaning. The composer is one P. Mendibel, 1859.
27 A line has gone missing from the manuscript here. We provide the likely meaning. The composer is a P. Mendibel, 1859.
28 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.
28 Documented by M. J. Vinson, February 21, 1874. See “Béarn Proverbs,” by V. Lespy (Montpellier, 1876), p. 84, for another song about “Little Peter” in Gascoun.
29 Cf. Fr. Michel, “Le Pays Basque,” p. 260. “Cancionero Vasco,” Series 2, iii., 82, etc.
29 See. Fr. Michel, “The Basque Country,” p. 260. “Basque Songbook,” Series 2, iii., 82, etc.
30 From the MS. of M. A. Fouquier. This song took the prize at Urrugne, 1858.
30 From the manuscript of M. A. Fouquier. This song won the award at Urrugne, 1858.
31 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.)
31 The latest traveler in the Basque countries confirms this. Major Campion writes, “I had no idea how beautiful the old Basque songs, or, more accurately, chants, were; some of them are simply delightful.” —“On Foot in Spain,” by J. S. Campion, p. 73. (Chapman and Hall, 1879.)
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Page | Source | Correction |
---|---|---|
xii | [Not in source] | ” |
xv | Muller | Müller |
24 | Fleur-de-lys | Fleur-de-lis |
30 | Guachos | Gauchos |
32, 248 | recal | recall |
105 | has | had |
142 | summonses | summons |
237 | recals | recalls |
250 | [Not in source] | ; |
252 | ) | ( |
252 | ? | (?) |
266 | aboded efinitively | abode definitively |
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