III. LAMBIKIN.
Source.—Steel-Temple, Wideawake Stories, pp. 69-72, originally published in Indian Antiquary, xii. 175. The droll is common throughout the Panjab.
Parallels.—The similarity of the concluding episode with the finish of the "Three Little Pigs" (Eng. Fairy Tales, No. xiv.) In my notes on that droll I have pointed out that the pigs were once goats or kids with "hair on their chinny chin chin." This brings the tale a stage nearer to the Lambikin.
Remarks.—The similarity of Pig No. 3 rolling down hill in the churn and the Lambikin in the Drumikin can scarcely be accidental, though, it must be confessed, the tale has undergone considerable modification before it reached England.
IV. PUNCHKIN.
Source.—Miss Frere, Old Deccan Days, pp. 1-16, from her ayah, Anna de Souza, of a Lingaet family settled and Christianised at Goa for three generations. I should perhaps add that a Prudhan is a Prime Minister, or Vizier; Punts are the same, and Sirdars, nobles.
Parallels.—The son of seven mothers is a characteristic Indian conception, for which see Notes on "The Son of Seven Queens" in this collection, No. xvi. The mother transformed, envious stepmother, ring recognition, are all incidents common to East and West; bibliographical references for parallels may be found under these titles in my List of Incidents. The external soul of the ogre has been studied by Mr. E. Clodd in Folk-Lore Journal, vol. ii., "The Philosophy of Punchkin," and still more elaborately in the section, "The External Soul in Folk-tales," in Mr. Frazer's Golden Bough, ii. pp. 296- 326. See also Major Temple's Analysis, II. iii., Wideawake Stories, pp. 404-5, who there gives the Indian parallels.
Remarks.—Both Mr. Clodd and Mr. Frazer regard the essence of the tale to consist in the conception of an external soul or "life- index," and they both trace in this a "survival" of savage philosophy, which they consider occurs among all men at a certain stage of culture. But the most cursory examination of the sets of tales containing these incidents in Mr. Frazer's analyses shows that many, indeed the majority, of these tales cannot be independent of one another; for they contain not alone the incident of an external materialised soul, but the further point that this is contained in something else, which is enclosed in another thing, which is again surrounded by a wrapper. This Chinese ball arrangement is found in the Deccan ("Punchkin"); in Bengal (Day, Folk-Tales of Bengal); in Russia (Ralston, p. 103 seq., "Koschkei the Deathless," also in Mr. Lang's Red Fairy Book); in Servia (Mijatovics, Servian Folk-Lore, p. 172); in South Slavonia (Wratislaw, p. 225); in Rome (Miss Busk, p. 164); in Albania (Dozon, p. 132 seq.); in Transylvania (Haltrich, No. 34); in Schleswig-Holstein (Müllenhoff, p. 404); in Norway (Asbjörnsen, No. 36, ap. Dasent, Pop. Tales, p. 55, "The Giant who had no Heart in his Body"); and finally, in the Hebrides (Campbell, Pop. Tales, p. 10, cf. Celtic Fairy Tales, No. xvii., "Sea Maiden"). Here we have the track of this remarkable idea of an external soul enclosed in a succession of wrappings, which we can trace from Hindostan to the Hebrides.
It is difficult to imagine that we have not here the actual migration of the tale from East to West. In Bengal we have the soul "in a necklace, in a box, in the heart of a boal fish, in a tank"; in Albania "it is in a pigeon, in a hare, in the silver tusk of a wild boar"; in Rome it is "in a stone, in the head of a bird, in the head of a leveret, in the middle head of a seven-headed hydra"; in Russia "it is in an egg, in a duck, in a hare, in a casket, in an oak"; in Servia it is "in a board, in the heart of a fox, in a mountain"; in Transylvania "it is in a light, in an egg, in a duck, in a pond, in a mountain;" in Norway it is "in an egg, in a duck, in a well, in a church, on an island, in a lake"; in the Hebrides it is "in an egg, in the belly of a duck, in the belly of a wether, under a flagstone on the threshold." It is impossible to imagine the human mind independently imagining such bizarre convolutions. They were borrowed from one nation to the other, and till we have reason shown to the contrary, the original lender was a Hindu. I should add that the mere conception of an external soul occurs in the oldest Egyptian tale of "The Two Brothers," but the wrappings are absent.
V. THE BROKEN POT.
Source.—Pantschatantra, V. ix., tr. Benfey, ii. 345-6.
Parallels.—Benfey, in § 209 of his Einleitung, gives bibliographical references to most of those which are given at length in Prof. M. Müller's brilliant essay on "The Migration of Fables" (Selected Essays, i. 500-76), which is entirely devoted to the travels of the fable from India to La Fontaine. See also Mr. Clouston, Pop. Tales, ii. 432 seq. I have translated the Hebrew version in my essay, "Jewish Influence on the Diffusion of Folk-Tales," pp. 6-7. Our proverb, "Do not count your chickens before they are hatched," is ultimately to be derived from India.
Remarks—The stories of Alnaschar, the Barber's fifth brother in the Arabian Nights, and of La Perette, who counted her chickens before they were hatched, in La Fontaine, are demonstrably derived from the same Indian original from which our story was obtained. The travels of the "Fables of Bidpai" from India to Europe are well known and distinctly traceable. I have given a rough summary of the chief critical results in the introduction to my edition of the earliest English version of the Fables of Bidpai, by Sir Thomas North, of Plutarch fame (London, D. Nutt, "Bibliothèque de Carabas," 1888), where I have given an elaborate genealogical table of the multitudinous versions. La Fontaine's version, which has rendered the fable so familiar to us all, comes from Bonaventure des Periers, Contes et Nouvelles, who got it from the Dialogus Creaturarum of Nicholaus Pergamenus, who derived it from the Sermones of Jacques de Vitry (see Prof. Crane's edition, No. li.), who probably derived it from the Directorium Humanae Vitae of John of Capua, a converted Jew, who translated it from the Hebrew version of the Arabic Kalilah wa Dimnah, which was itself derived from the old Syriac version of a Pehlevi translation of the original Indian work, probably called after Karataka and Damanaka, the names of two jackals who figure in the earlier stories of the book. Prof. Rhys-Davids informs me that these names are more akin to Pali than to Sanskrit, which makes it still more probable that the whole literature is ultimately to be derived from a Buddhist source.
The theme of La Perette is of interest as showing the literary transmission of tales from Orient to Occident. It also shows the possibility of an influence of literary on oral tradition, as is shown by our proverb, and by the fact, which Benfey mentions, that La Fontaine's story has had influence on two of Grimm's tales, Nos. 164, 168.
VI. THE MAGIC FIDDLE.
Source.—A. Campbell, Santal Folk-Tales, 1892, pp. 52-6, with some verbal alterations. A Bonga is the presiding spirit of a certain kind of rice land; Doms and Hadis are low-caste aborigines, whose touch is considered polluting. The Santals are a forest tribe, who live in the Santal Parganas, 140 miles N. W. of Calcutta (Sir W. W. Hunter, The Indian Empire, 57-60).
Parallels.—Another version occurs in Campbell, p. 106 seq., which shows that the story is popular among the Santals. It is obvious, however, that neither version contains the real finish of the story, which must have contained the denunciation of the magic fiddle of the murderous sisters. This would bring it under the formula of The Singing Bone, which M. Monseur has recently been studying with a remarkable collection of European variants in the Bulletin of the Wallon Folk-Lore Society of Liège (cf. Eng. Fairy Tales, No. ix.). There is a singing bone in Steel-Temple's Wideawake Stories, pp. 127 seq. ("Little Anklebone").
Remarks.—Here we have another theme of the common store of European folk-tales found in India. Unfortunately, the form in which it occurs is mutilated, and we cannot draw any definite conclusion from it.
VII. THE CRUEL CRANE OUTWITTED.
Source.—The Baka-Jataka, Fausböll, No. 38, tr. Rhys-Davids, pp. 315-21. The Buddha this time is the Genius of the Tree.
Parallels.—This Jataka got into the Bidpai literature, and occurs in all its multitudinous offshoots (see Benfey, Einleitung, § 60) among others in the earliest English translation by North (my edition, pp. 118-22), where the crane becomes "a great Paragone of India (of t
hose that live a hundredth yeares and never mue their feathers)." The crab, on hearing the ill news "called to Parliament all the Fishes of the Lake," and before all are devoured destroys the Paragon, as in the Jataka, and returned to the remaining fishes, who "all with one consent gave hir many a thanke."
Remarks.—An interesting point, to which I have drawn attention in my Introduction to North's Bidpai, is the probability that the illustrations of the tales as well as the tales themselves, were translated, so to speak, from one country to another. We can trace them in Latin, Hebrew, and Arabic MSS., and a few are extant on Buddhist Stupas. Under these circumstances, it may be of interest to compare with Mr. Batten's conception of the Crane and the Crab (supra, p. 50) that of the German artist who illustrated the first edition of the Latin Bidpai, probably following the traditional representations of the MS., which itself could probably trace back to India.
VIII. LOVING LAILI
Source.—Miss Stokes, Indian Fairy Tales, pp. 73-84. Majnun and Laili are conventional names for lovers, the Romeo and Juliet of Hindostan.
Parallels.—Living in animals' bellies occurs elsewhere in Miss Stokes' book, pp. 66, 124; also in Miss Frere's, 188. The restoration of beauty by fire occurs as a frequent theme (Temple, Analysis, III. vi. f. p. 418). Readers will be reminded of the dénouement of Mr. Rider Haggard's She. Resuscitation from ashes has been used very effectively by Mr. Lang in his delightful Prince Prigio.
Remarks.—The white skin and blue eyes of Prince Majnun deserve attention. They are possibly a relic of the days of Aryan conquest, when the fair-skinned, fair-haired Aryan conquered the swarthier aboriginals. The name for caste in Sanskrit is varna, "colour"; and one Hindu cannot insult another more effectually than by calling him a black man. Cf. Stokes, pp. 238-9, who suggests that the red hair is something solar, and derived from myths of the solar hero.
IX. THE TIGER, THE BRAHMAN, AND THE JACKAL.
Source.—Steel-Temple, Wideawake Stories, pp. 116-20; first published in Indian Antiquary, xii. p. 170 seq.
Parallels.—No less than 94 parallels are given by Prof. K. Krohn in his elaborate discussion of this fable in his dissertation, Mann und Fuchs, (Helsingfors, 1891), pp. 38-60; to which may be added three Indian variants, omitted by him, but mentioned by Capt. Temple, l. c., p. 324, in the Bhâgavata Purâna, the Gul Bakâoli and Ind. Ant. xii. 177; and a couple more in my Aesop, p. 253: add Smeaton, Karens, p. 126.
Remarks.—Prof. Krohn comes to the conclusion that the majority of the oral forms of the tale come from literary versions (p. 47), whereas the Reynard form has only had influence on a single variant. He reduces the century of variants to three type forms. The first occurs in two Egyptian versions collected in the present day, as well as in Petrus Alphonsi in the twelfth century, and the Fabulae Extravagantes of the thirteenth or fourteenth: here the ingrate animal is a crocodile, which asks to be carried away from a river about to dry up, and there is only one judge. The second is that current in India and represented by the story in the present collection: here the judges are three. The third is that current among Western Europeans, which has spread to S. Africa and N. and S. America: also three judges. Prof. K. Krohn counts the first the original form, owing to the single judge and the naturalness of the opening, by which the critical situation is brought about. The further question arises, whether this form, though found in Egypt now, is indigenous there, and if so, how it got to the East. Prof. Krohn grants the possibility of the Egyptian form having been invented in India and carried to Egypt, and he allows that the European forms have been influenced by the Indian. The "Egyptian" form is found in Burmah (Smeaton, l. c., p. 128), as well as the Indian, a fact of which Prof. K. Krohn was unaware though it turns his whole argument. The evidence we have of other folk-tales of the beast-epic emanating from India improves the chances of this also coming from that source. One thing at least is certain: all these hundred variants come ultimately from one source. The incident "Inside again" of the Arabian Nights (the Djinn and the bottle) and European tales is also a secondary derivate.
X. THE SOOTHSAYER'S SON.
Source.—Mrs. Kingscote, Tales of the Sun (p. 11 seq.), from Pandit Natesa Sastri's Folk-Lore of Southern India, pt. ii., originally from Ind. Antiquary. I have considerably condensed and modified the somewhat Babu English of the original.
Parallels.—See Benfey, Pantschatantra, § 71, i. pp. 193- 222, who quotes the Karma Jataka as the ultimate source: it also occurs in the Saccankira Jataka (Fausböll, No. 73), trans. Rev. R. Morris, Folk-Lore Jour. iii. 348 seq. The story of the ingratitude of man compared with the gratitude of beasts came early to the West, where it occurs in the Gesta Romanorum, c. 119. It was possibly from an early form of this collection that Richard Coeur de Lion got the story, and used it to rebuke the ingratitude of the English nobles on his return in 1195. Matthew Paris tells the story, sub anno (it is an addition of his to Ralph Disset), Hist. Major, ed. Luard, ii. 413-6, how a lion and a serpent and a Venetian named Vitalis were saved from a pit by a woodman, Vitalis promising him half his fortune, fifty talents. The lion brings his benefactor a leveret, the serpent "gemmam pretiosam," probably "the precious jewel in his head" to which Shakespeare alludes (As You Like It, ii. 1., cf. Benfey, l.c., p. 214, n.), but Vitalis refuses to have anything to do with him, and altogether repudiates the fifty talents. "Haec referebat Rex Richardus munificus, ingratos redarguendo."
Remarks.—Apart from the interest of its wide travels, and its appearance in the standard mediaeval History of England by Matthew Paris, the modern story shows the remarkable persistence of folk-tales in the popular mind. Here we have collected from the Hindu peasant of to-day a tale which was probably told before Buddha, over two thousand years ago, and certainly included among the Jatakas before the Christian era. The same thing has occurred with The Tiger, Brahman, and Jackal (No. ix. supra).
XI. HARISARMAN.
Source.—Somadeva, Katha-Sarit-Sagara, trans. Tawney (Calcutta, 1880), i. pp. 272-4. I have slightly toned down the inflated style of the original.
Parallels.—Benfey has collected and discussed a number in Orient and Occident, i. 371 seq.; see also Tawney, ad loc. The most remarkable of the parallels is that afforded by the Grimms' "Doctor Allwissend" (No. 98), which extends even to such a minute point as his exclamation, "Ach, ich armer Krebs," whereupon a crab is discovered under a dish. The usual form of discovery of the thieves is for the Dr. Knowall to have so many days given him to discover the thieves, and at the end of the first day he calls out, "There's one of them," meaning the days, just as one of the thieves peeps through at him. Hence the title and the plot of C. Lever's One of Them.
XII. THE CHARMED RING.
Source.—Knowles, Folk-Tales of Kashmir, pp. 20-8.
Parallels.—The incident of the Aiding Animals is frequent in folk-tales: see bibliographical references, sub voce, in my List of Incidents, Trans. Folk-Lore Congress, p. 88; also Knowles, 21, n.; and Temple, Wideawake Stories, pp. 401, 412. The Magic Ring is also "common form" in folk-tales; cf. Köhler ap. Marie de France, Lais, ed. Warncke, p. lxxxiv. And the whole story is to be found very widely spread from India (Wideawake Stories, pp. 196-206) to England (Eng. Fairy Tales, No. xvii, "Jack and his Golden Snuff-box," cf. Notes, ibid.), the most familiar form of it being "Aladdin and the Wonderful Lamp."
Remarks.—M. Cosquin has pointed out (Contes de Lorraine, p. xi. seq.) that the incident of the rat's-tail-up-nose to recover the ring from the stomach of an ogress, is found among Arabs, Albanians, Bretons, and Russians. It is impossible to imagine that incident—occurring in the same series of incidents—to have been invented more than once, and if that part of the story has been borrowed from India, there is no reason why the whole of it should not have arisen in India, and have been spread to the West. The English variant was derived from an English Gipsy, and suggests the possibility that for this particular story the medium of transmission has been the Gipsies. This contains the incident of the loss of the ring by the faithful animal, which again c
ould not have been independently invented.
XIII. THE TALKATIVE TORTOISE.
Source.—The Kacchapa Jataka, Fausböll, No. 215; also in his Five Jatakas, pp. 16, 41, tr. Rhys-Davids, pp. viii-x.
Parallels.—It occurs also in the Bidpai literature, in nearly all its multitudinous offshoots. See Benfey, Einleitung, § 84; also my Bidpai, E, 4 a; and North's text, pp. 170-5, where it is the taunts of the other birds that cause the catastrophe: "O here is a brave sight, looke, here is a goodly ieast, what bugge haue we here," said some. "See, see, she hangeth by the throte, and therefor she speaketh not," saide others; "and the beast flieth not like a beast;" so she opened her mouth and "pashte hir all to pieces."
XIV. LAC OF RUPEES.
Source.—Knowles, Folk-Tales of Kashmir, pp. 32-41. I have reduced the pieces of advice to three, and curtailed somewhat.
Parallels.—See Celtic Fairy Tales, No. xxii., "Tale of Ivan," from the old Cornish, now extinct, and notes ibid. Mr. Clouston points out (Pop. Tales, ii. 319) that it occurs in Buddhist literature, in "Buddaghoshas Parables," as "The Story of Kulla Pauthaka."
Remarks.—It is indeed curious to find the story better told in Cornwall than in the land of its birth, but there can be little doubt that the Buddhist version is the earliest and original form of the story. The piece of advice was originally a charm, in which a youth was to say to himself, "Why are you busy? Why are you busy?" He does so when thieves are about, and so saves the king's treasures, of which he gets an appropriate share. It would perhaps be as well if many of us should say to ourselves "Ghatesa, ghatesa, kim kárana?"
Indian Fairy Tales Page 19
