[500] Parthenius Erotica, chap. xxix.

[501] Aulularia, Prologue.

[502] See our Mythology of Greece and Italy, p. 543; and our Ovid's Fasti, Excursus iv.

[503] Satyricon, ch. 38. Sunt qui eundem (Hercules) Incubonem esse velint. Schol. Hor.

Sat. ii. 6, 13.

[504] Viessieux, Italy and the Italians, vol. i. pp. 161, 162.

[505] L'huorco, the Orco of Bojardo and Ariosto, probably derived from the Latin Orcus: see Mythol. of Greece and Italy, p. 527. In this derivation we find that we had been anticipated by Minucci in his notes on the Malmantile Racquistato, c. ii.

st. 50.

In a work, from which we have derived some information (Lettres sur les Contes des Fées, Paris, 1826), considerable pains are taken, we think to little purpose, to deduce the French Ogre from the Oïgours, a Tartar tribe, who with the other tribes of that people invaded Europe in the twelfth century. In the Glossaire de la Langue Romaine, Ogre is explained by Hongrois. Any one, however, that reads the Pentamerone will see that the ugly, cruel, man-eating Huorco is plainly an Ogre; and those expert at the tours de passe passe of etymology will be at no loss to deduce Ogre from Orco. See Tales and Popular Fictions, p. 223.

[506] In another of these tales, it is said of a young man, who, on breaking open a cask, found a beautiful maiden in it, that he stood for a while comme o chillo che ha visto lo Monaciello.

[507] See Tales and Popular Fictions, chap. ix. p. 269; see also Spain and France.

[508] Vincentius apud Kornmann, de Miraculis Vivorum.

[509] This being, unknown to classic mythology, is first mentioned by Lactantius. It was probably from Boccaccio's Genealogia Deorum that Bojardo got his knowledge of him.

[510] I Cinque Canti, c. i. st. l. seq.

[511] Lib. ii. xvii. 56, seq.

[512] There is, however, a Maga or Fata named Falsirena in the Adone of Marini.

[513] La Sabia and La Desconocida of the original romance, which Tasse follows very closely in everything relating to Amadis and Oriana.

[514] Few of our readers, we presume, are acquainted with this poem, and they will perhaps be surprised to learn that it is, after the Furioso, the most beautiful romantic poem in the Italian language, graceful and sweet almost to excess. It is strange that it should be neglected in Italy also. One cause may be its length (One Hundred Cantos), another the constant and inartificial breaking off of the stories, and perhaps the chief one, its serious moral tone so different from that of Ariosto. It might be styled The Legend of Constancy, for the love of its heroes and heroines is proof against all temptations. Mr.

Panizzi's charge of abounding in scandalous stories, is not correct, for it is in reality more delicate than even the Faerie Queene. Ginguené, who admired it, appreciates it far more justly.

[515] See Tales and Popular Fictions, p. 183. The Pentamerone we may observe, was not a title given to it by the author; in like manner the only title Fielding gave his great work was The History of a Foundling.

[516] He was brother to Adriana and uncle to Leonora Baroni, the ladies whose musical talents Milton celebrates.

[517] Ex. gr. Fiume is shiume; Fiore, shiure; Piaggia, chiaja; Piombo, chiummo; Biondo, ghiunno. There are likewise numerous Hispanicisms. Thus gaiola in Gagliuso which we all rendered coffin, is the Spanish jaula, cage, and the meaning apparently is that he would have the cat stuffed and put in a glass-case; in like manner calling the eyes suns (as in na bellezza a doje sole) occurs in the plays of Calderon.

[518] In the Taschenbuch für altdeutscher Zeit und Kunst, 1816.

[519] Otia Imperialia, p. 982. The Demons must have been some kind of fairies: see above, p. 4.

[520] Related by Sir Francis Palgrave, but without giving any authority, in the Quarterly Review, vol. xxii. See France.

[521] In Don Quixote (part i. chap. 50) we read of "los siete castillos de las siete Fadas" beneath the lake of boiling pitch, and of the fair princess who was enchanted in one of them.

[522] Fada is certainly the elided part. of this verb, for the Latin mode of elision (see above p. 7. ) was retained in Spanish as well as Italian. Thus quedo, junto, harto, marchito, vacio, enjuto, violento, &c.

, come from quedar, juntar, hartar, &c. As the Spanish, following the Latin, also frequently uses the past as a present participle, as un hombre atrevido, "a daring man;" and the same appears to take place in Italian, as un huomo accorto, saputo, avveduto, dispietato; and even in French, as un homme réfléchi, désespéré; may we not say that fada, fata, fée, is enchanting rather than enchanted?

[523] Montina is a small wood.

[524] Romancero Castellano por Depping, ii. p. 198, 2nd edit. A translation of this romance will be found in Thoms's Lays and Legends of Spain.

[525] i. e. Joey the Hunchback. Pepito is the dim. of Pepe, i.

e. José, Joseph.

[526] See Thoms's Lays and Legends of Spain, p. 83. It was related, he says, to a friend of his by the late Sir John Malcolm, who had heard it in Spain. It is also briefly related (probably on the same authority) in the Quarterly Review, vol. xxii.

(see above pp. 364, 438). Redi, in his Letters, gives another form of it, in which the scene is at Benevento, the agents are witches, and the hump is taken off, senza verun suo dolor, with a saw of butter. Y Domingo siete is, we are told, a common phrase when any thing is said or done mal à propos.

[527] Teatro Critico, tom. ii. His object is to disprove their existence, and he very justly says that the Duende was usually a knavish servant who had his own reasons for making a noise and disturbing the family. This theory will also explain the Duende-tales of Torquemada.

[528] See Tales and Popular Fictions, p. 269.

[529] The change of r and n is not without examples. Thus we have αργυρον and argentum; water, English; vand, Danish; vatn, Swedish. Cristofero is Cristofano in Tuscan; homine, nomine, sanguine, are hombre, nombre, sangre, Spanish. In Duerg when r became n, euphony changed g to d, or vice versâ. The changes words undergo when the derivation is certain, are often curious.

Alguacil, Spanish, is El-wezeer Arab, as Azucena Spanish, Cecem Portuguese (white-lily) is Sûsan Arab; Guancia (cheek) Italian, is Wange German; Ναυπακτος has become Lépanto. It might not be safe to assert that the Persian gurk and our wolf are the same, and yet the letters in them taken in order are all commutable. Our God be with you has shrunk to Goodbye, and the Spanish Vuestra merced to Usted, pr. Usté. There must, by the way, some time or other, have been an intimate connexion between Spain and England, so many of our familiar words seem to have a Spanish origin.

Thus ninny is from niño; booby from bobo; pucker from puchero; launch (a boat) from lancha; and perhaps monkey (if not from mannikin) from mono, monico. We pronounce our colonel like the Spanish coronel.

[530] Otia Imperialia, p. 987: see above p. 302 et alib.

[531] Like the Irish Play the Puck, above, p. 371.

[532] Otia Imper. p. 981: see above, p. 394. It does not appear that the abode of these porpoise-knights was beneath the water.

[533] Otia Imper. p. 897. See above p. 407.

Orthone, the House-spirit, who, according to Froissart, attended the Lord of Corasse, in Gascony, resembled Hinzelmann in many points.

[534] Ibid.

[535] Hujusmodi larvarum. He classes the Fadas with Sylvans and Pans.

[536] P. 989. Speaking of the wonderful horse of Giraldus de Cabreriis; Gervase says, Si Fadus erat, i. e. says Leibnitz, incantatus, ut Fadæ, Fatæ, Fées.

[537] Cambry, Monumens Celtiques, p. 342. The author says, that Esterelle, as well as all the Fairies, was the moon. This we very much doubt. He derives her name from the Breton Escler, Brightness, Lauza, from Lac'h (Irish Cloch), a flat stone.

[538] Monuments religieux des Volces Tectosages, ap. Mlle. Bosquet, Normandie, etc. , p. 92: see above, pp.

161, 342.

[539] See Leroux de Lincy, ap. Mlle. Bosquet, p. 93, who adds "In Lower Normandy, in the arrondissement of Bayeux, they never neglect laying a table for the protecting genius of the babe about to be born;" see our note on Virg. Buc.

iv. 63. In a collection of decrees of Councils made by Burchard of Worms, who died in 1024, we read as follows: "Fecisti, ut quaedam mulieres in quibusdam temporibus anni facere solent, ut in domo tua mensam praepares et tuos cibos et potum cum tribus cultellis supra mensam poneres, ut si venissent tres illae sorores quas antiqua posteritas et antiqua stultitia Parcas nominavit, ibi reficirentur . ut credens illas quas tu dieis esse sorores tibi posse aut hic aut in futuro prodesse? " Grimm.

Deut. Mythol. Anhang, p. xxxviii. , where we are also told that these Parcæ could give a man at his birth the power of becoming a Werwolf.

All this, however, does not prove that they were the origin of the Fées: see above, p. 6.

[540] This may remind us of the Neck or Kelpie above, p. 162. It seems confirmatory of our theory respecting the Visigoths, p. 466.

[541] Greg. Tur. De Glor. Confess. ch.

xxxi. , ap. Grimm. p. 466.

[542] Pilgrimage to Auvergne, ii. p. 294, seq.

[543] Cambry, Monuments Celtiques, p. 232.

[544] It is evidently a cromleach. What is said of the nature of the stones is also true of Stonehenge.

[545] Lettres de Madame S. à sa Fille. Périgueux, 1830: by M. Jouannet of Bordeaux.

[546] See Mlle. Bosquet, La Normandie Romanesque et Merveilleuse, and the works there quoted by this learned and ingenious lady. What follows is so extremely like what we have seen above of the Korrigan of the adjacent Brittany, that we hope she has been careful not to transfer any of their traits to her Fées.

[547] Opera i. 1036; Paris, 1674, ap. Grimm, Deut. Mythol. p.

263.

[548] Ap. Grimm, ut sup. Douce (Ill. of Shak. i.

382) was, we believe, the first who directed attention to Abundia.

[549]

[550] Mr. Thoms prefers a derivation from the Cymric, Mab, boy, child.

[551] There is no satisfactory derivation of Lutin, for we cannot regard as such Grimm's à luctu. Gobelin, Goblin, or Goubelin, is evidently the same as Kobold. Follet (from fol, fou) and Farfadet, are other names. Both Gobelin and Lutin were in use in the 11th century. Orderic Vitalis, speaking of the demon whom St. Taurin drove out of the temple of Diana, says, Hunc vulgus Gobelinum appellat, and Wace (Roman de Rou, v 9715) says of the familiar of bishop Mauger who excommunicated the Conqueror

[552] Mothers also threaten their children with him. Le gobelin vous mangera, le gobelin vous emportera. Père L'Abbé, Etymologie, i. p. 262.

[553] In another French tale a man to deceive a Fée, put on his wife's clothes and was minding the child, but she said as she came in, "Non, tu ne point la belle d'hier au soir, tu ne files, ni ne vogues, ni ton fuseau ne t'enveloppes," and to punish him she turned some apples that were roasting on the hearth into peas. Schreiber ap. Grimm, p. 385.

[554] See above, p. 471.

[555] Lubin may be only another form of Lutin, and connected with the English Lob. Its likeness to loup may have given occasion to the fiction of their taking the lupine form.

[556] Chartier.

[557] See above, p. 475.

[558] Histoire de Mélusine, tirée des Chroniques de Poitou. Paris, 1698. Dobenek, des Deutschen Mittelalter und Volksglauben.

[559] i. e. Cephalonia, see above, p. 41.