No. 44: The Two Magicians
[There are no US or Canadian versions of this ballad and few traditional English/Scottish versions. I've incuded the related song/ballad "Hares on the Mountain" as an Appendix (see 44 A.)]
CONTENTS:
1. Child's Narrative
2. Footnotes {moved to the end of Child's Narrative}
3. Brief (Kittredge)
4. Child's Ballad Text A.
5. Additions and Corrections
ATTACHED PAGES (see left hand column):
1. Recordings & Info: The Two Magicians
A. Roud Number 1350: Twa Magicians (30 listings)
2. English and Other Versions (Including Child versions A with additional notes)]
3. Sheet Music: The Two Magicians (Bronson's texts and some music examples)
Child's Narrative
A. Buchan's Ballads of the North of Scotland, I, 24; Motherwell's Manuscript, p. 570.
A base-born cousin of a pretty ballad known over all Southern Europe, and elsewhere, and in especially graceful forms in France.
The French ballad generally begins with a young man's announcing that he has won a mistress, and intends to pay her a visit on Sunday, or to give her an aubade. She declines his visit, or his music. To avoid him she will turn, e.g., into a rose; then he will turn bee, and kiss her. She will turn quail; he sportsman, and bag her. She will turn carp; he angler, and catch her. She will turn hare; and he hound. She will turn nun; he priest, and confess her day and night. She will fall sick; he will watch with her, or be her doctor. She will become a star; he a cloud, and muffle her. She will die; he will turn earth, into which they will put her, or St. Peter, and receive her into Paradise. In the end she says, Since you are inevitable, you may as well have me as another; or more complaisantly, Je me donnerai à toi, puisque tu m'aimes tant.
This ballad might probably be found anywhere in France, but most of the known versions are from south of the Loire. A. Romania, X, 390, E. Legrand, from Normandy; also known in Champagne. B. 'Les Transformations,' V. Smith, Vielles Chansons du Velay et du Forez, Romania, VII, 61 ff. C. Poésies populaires de la France, Manuscript, III, fo1. 233, Vienne. D. The same, II, fol. 39, Guéret, Creuse. E, F. The same volume, fol. 41, fo1. 42. G. 'La maitresse gagnée,' the same volume, fol. 38: "on chante cette chanson sur les confines du département de l'Ain qui le séparent de la Savoie."[1] H. 'J'ai fait une maitresse,' Champfleury, Chansons populaires des Provinces, p. 90, Bourbonnais. I. 'Adiu, Margaridoto,' Bladé, Poésies pop. de la Gascogne, II, 361. J. Mélusine, col. 338 f, Carcasonne. K. Montel et Lambert, Chansons pop. du Languedoc, p. 544-51, and Revue des Langues romanes, XII, 261-67, four copies. L. 'Les Transfourmatiens,' Arbaud, II, 128. The Provençal ballad is introduced by Mistral into Mirèio, Chant III, as the song of Magali. M. 'La Poursuite d'Amour,' Marelle, in Archiv für das Studium der neueren Sprachen, LVI, 191. N. 'J'ai fait une maitresse,' Gagnon, Chansons populaires du Canada, p. 137, and Lovell, Recueil de Chansons canadiennes, 'Chanson de Voyageur,' p. 68. O. Gagnon, p. 78.
Catalan. Closely resembling the French: A. 'La Esquerpa,' Briz, Cansons de la Terra, I, 125. B, C, D. 'Las Transformaciones,' Milá, Romancerillo Catalan, p. 393, No 513.
Italian. Reduced to a rispetto, Tigri, Canti popolari toscani, ed. 1860, p. 241, No 861.
Roumanian. 'Cucul si Turturica,' Alecsandri, Poesiĕ populare ale Românilor, p. 7, No 3; French version, by the same, Ballades et Chants populaires, p. 35, No 7; Schuller, Romänische Volkslieder, p. 47. The cuckoo, or the lover under that style, asks the dove to be his mistress till Sunday. The dove, for his sake, would not say No, but because of his mother, who is a witch, if not let alone will change in to a roll, and hide under the ashes. Then he will turn into a shovel, and get her out. She will turn into a reed, and hide in the pond. He will come as shepherd to find a reed for a flute, put her to his lips and cover her with kisses. She will change to an image, and hide in the depths of the church. He will come every day in the week, as deacon or chorister, to kiss the images (a pious usage in those parts), and she will not thus escape him. Schuller refers to another version, in Schuster's unprinted collection, in which youth and maid carry on this contest in their proper persons, and not under figure.
Ladin. Flugi, Die Volkslieder des Engadin, p. 83, No 12. "Who is the younker that goes a-field ere dawn? Who is his love?" "A maid all too fair, with dowry small enough," "Maid, wilt give me a rose?" "No; my father has forbidden." "Wilt be my love?" "Rather a seed, and hide in the earth." " Then I will be a bird, and pick thee out," etc.
Greek. Tommaseo, III, 61, Passow, p. 431, No 574a. A girl tells her mother she will kill herself rather than accept the Turk: she will turn swallow, and take to the woods. The mother replies, Turn what you will, he will turn hunter, and take you from me. The same kernel of this ballad of transformations in Comparetti, Saggi dei Dialetti greci dell' Italia meridionale, p. 38, No 36, as M. Paul Meyer has remarked, Revue Critique, II, 302.
The ballad is well known to the Slavic nations.
Moravian. Čelakovsky, p. 75, No 6, Wenzig, Slawische Volkslieder, p. 72, Bibliothek slavischer Poesien, p. 92. A youth threatens to carry off a maid for his wife. She will fly to the wood as a dove. He has a rifle that will bring her down. She will jump into the water as a fish. He has a net that will take the fish. She will turn to a hare; he to a dog; she cannot escape him.
Polish. Very common. A a. Wacław z Oleska, p. 417, No 287; Konopka., p. 124. A young man says, though he should ride night and day for it, ride his horse's eyes out, the maid must be his. She will turn to a bird, and take to the thicket. But carpenters have axes which can fell a wood. Then she will be a fish, and take to the water. But fishermen have nets which will find her. Then she will become a wild duck, and swim on the lake. Sportsmen have rifles to shoot ducks. Then she will be a star in the sky, and give light to the people. He has a feeling for the poor, and will bring the star down to the earth by his prayers. "I see," she says, "it 's God's ordinance; whithersoever I betake myself, you are up with me; I will be yours after all." Nearly the same mutations in other versions, with some variety of introduction and arrangement. A b. Kolberg, Lud, VI, 129, No 257. A c. "Przyjaciel ludu, 1836, rok 2, No 34; "Lipiński, p. 135; Kolberg, Lud XII, 98, No 193. B. Pauli, Piesńi ludu polskiego, I, 135. C. The same, p. 133. D. Kolberg, Lud, XII, 99, No 194. E. Lud, IV, 19, No 137. F. Lud, XII, 97, No 192. G. Lud, II, 134, No 161. H. Lud, VI, 130, No 258. I. Woicicki, I, 141, Waldbrühl, Slawische Balalaika, p. 433. J. a, b. Roger, p. 147, No 285, p. 148, No 286.
Servian. Karadshitch, I, 434, No 602; Talvj, II, 100; Kapper, II, 208; Pellegrini, p. 37. Rather than be her lover's, the maid will turn into a gold-jug in a drinking-house; he will be mine host. She will change into a cup in a coffee-house; he will be cafetier. She will become a quail, he a sportsman; a fish, he a net. Pellegrini has still another form, 'La fanciulla assediata,' p. 93. An old man desires a maid. She will rather turn into a lamb; he will turn into a wolf. She will become a quail; he a hawk. She will change into a rose; he into a goat, and tear off the rose from the tree.
There can be little doubt that these ballads are derived, or take their hint, from popular tales, in which (1) a youth and maid, pursued by a sorcerer, fiend, giant, ogre, are transformed by the magical powers of one or the other into such shapes as enable them to elude, and finally to escape, apprehension; or (2) a young fellow, who has been apprenticed to a sorcerer, fiend, etc., and has acquired the black art by surreptitious reading in his master's books, being pursued, as before, assumes a variety of forms, and his master others, adapted to the destruction of his intended victim, until the tables are turned by the fugitive's taking on the stronger figure and despatching his adversary.
Specimens of the first kind are afforded by Gonzenbach, Sicilianische Märchen, Nos 14, 15, 54, 55; Grimms, Nos 51, 56, 113; Schneller, No 27; Pitrè, Fiabe, Novelle e Racconti siciliani, No 15; Imbriani, Novellaja milanese, No 27, N. fiorentana, No 29; Maspons y Labrös, Rondallayre, I, 85, II, 30; Cosquin, Contes lorrains, in Romania, V, 354; Ralston's Russian Folk-Tales, p. 129 f, from Afanasief V, No 23; Bechstein, Märchenbuch, p. 75, ed. 1879, which combines both. Others in Köhler's note to Gonzenbach, No 14, at II, 214.
Of the second kind, among very many, are Straparola, viii, 5, see Grimms, III, 288, Louveau et Larivey, II, 152; Grimms, Nos 68, 117; Müllenhoff, No 27, p. 466; Pröhle, Märchen für die Jugend, No 26; Asbjørnsen og Moe, No 57; Grundtvig, Gamle danske Minder, 1854, Nos 255, 256; Hahn, Griechische Märchen, No 68; the Breton tale Koadalan, Luzel, in Revue Celtique, I, 106/107; the Schotts, Walachische Mærchen, No 18;[2] Woicicki, Klechdy, II, 26, No 4; Karadshitch, No 6; Afanasief, V, 95 f, No 22, VI, 189 ff, No 45 a, b, and other Russian and Little Russian versions, VIII, 340. Köhler adds several examples of one kind or the other in a note to Koadalan, Revue Celtique, I, 132, and Wollner Slavic parallels in a note to Leskien und Brugman, Litauische Volkslieder und Märchen, p. 537 f.
The usual course of events in these last is that the prentice takes refuge in one of many pomegranate kernels, barley-corns, poppy-seeds, millet-grains, pearls; the master becomes a cock, hen, sparrow, and picks up all of these but one, which turns into a fox, dog, weasel, crow, cat, hawk, vulture, that kills the bird.
The same story occurs in the Turkish Forty Viziers, Behrnauer, p. 195 ff, the last transformations being millet, cock, man, who tears off the cock's head. Also in the introduction to Siddhi-Kür, Jülg, pp 1-3, where there are seven masters instead of one, and the final changes are worms, instead of seeds, seven hens, a man with a cane who kills the hens.[3]
The pomegranate and cock (found in Straparola) are among the metamorphoses in the contest between the afrite and the princess in the tale of the Second Calender in the Arabian Nights.
Entirely similar is the pursuit of Gwion the pigmy by the goddess Koridgwen, cited by Villemarqué, Barzaz Breiz, p. lvi, ed. 1867, from the Myvyrian Archaiology of Wales, I, 17. Gwion having, by an accident, come to the knowledge of superhuman mysteries, Koridgwen wishes to take his life. He flees and turns successively into a hare, fish, bird: she follows, in the form of hound, otter, hawk; finally he becomes a wheaten grain, she a hen, and swallows the grain.
The ordinary tale has found its way into rhyme in a German broadside ballad, Longard, Altrheinländische Mährlein und Liedlein, p. 76, No 40, 'Von einem gottlosen Zanberer und seiner unschuldigen Kindlein wunderbarer Erlösung.' The two children of an ungodly magician, a boy and a girl, are devoted by him to the devil. The boy had read in his father's books while his father was away. They flee, and are pursued: the girl becomes a pond, the boy a fish. The wicked wizard goes for a net. The boy pronounces a spell by which the girl is turned into a chapel, and he into an image on the altar. The wizard, unable to get at the image, goes for fire. The boy changes the girl into a threshing-floor. himself into a barley-com . The wizard becomes a hen, and is about to swallow the grain of barley. By another spell the boy changes himself into a fox, and then twists the hens, neck.
Translated by Gerhard, p. 18.
Footnotes:
1. There are two other versions in this great collection besides the five cited, but either I have overlooked these, or they are in Volume VI, not yet received.
2. The Schotts are reminded by their story that Wade puts his son Weland in apprenticeship to Mimir Smith, and to the dwarfs. They might have noted that the devil, in the Wallachian tale, wishes to keep his prentice a second year, as the dwarfs wish to do in the case of Weland. That little trait comes, no doubt, from Weland's story; but we will not, therefore, conclude that our smith is Weland Smith, and his adventure with the lady founded upon that of Weland with Nidung's daughter.
3. See Benfey, Pantschatantra, I, 410 f, who maintains the Mongol tale to be of Indian origin, and thinks the story to have been derived from the contests in magic between Buddhist and Brahman saints, of which many are related in Buddhist legends.
Brief Description by George Lyman Kittredge
This is a base-born cousin of a pretty ballad known over all Southern Europe, and elsewhere (as among 1 the Slavs), but in especially graceful forms in France. The French ballad generally begins with a young man's announcing that he has won a mistress, and intends to pay her a visit on Sunday, or to give her an aubade. She declines his visit or his music. To avoid him she will turn, for example, into a rose; then he will turn bee, and kiss her. She will turn quail; he sportsman, and bag her. She will turn carp; he angler, and catch her. She will turn hare; and he hound. She will turn nun; he priest, and confess her day and night. She will fall sick; he will watch with her, or be her doctor. She will become a star; he a cloud, and muffle her. She will die; he will turn earth, into which they will put her, or St. Peter, and receive her into Paradise. In the end she says, "Since you are inevitable, you may as well have me as another;" or more complaisantly, "Je me donnerai á toi, puisque tu m'aimes tant."
There can be little doubt that the ballads are derived, or take their hint, from popular tales, in which (1) a youth and maid, pursued by a sorcerer, fiend, giant, ogre, are transformed by the magical powers of one or the other into such shapes as enable them to elude, and finally to escape, apprehension; or (2) a young fellow, who has been apprenticed to a sorcerer, fiend, etc., and has acquired the black art by surreptitious reading in his master's books, being pursued, as before, assumes a variety of forms, and his master others, adapted to the destruction of his intended victim, until the tables are turned by the fugitive's taking on the stronger figure and despatching his adversary.
Child's Ballad Text A
'The Twa Magicians'- Version A
Buchan's Ballads of the North of Scotland, I, 24; Motherwell's Manuscript, p. 570.
1 The lady stands in her bower door,
As straight as willow wand;
The blacksmith stood a little forebye,
Wi hammer in his hand.
2 'Weel may ye dress ye, lady fair,
Into your robes o red;
Before the morn at this same time,
I'll gain your maidenhead.'
3 'Awa, awa, ye coal-black smith,
Woud ye do me the wrang
To think to gain my maidenhead,
That I hae kept sae lang!'
4 Then she has hadden up her hand,
And she sware by the mold,
'I wudna be a blacksmith's wife
For the full o a chest o gold.
5 'I'd rather I were dead and gone,
And my body laid in grave,
Ere a rusty stock o coal-black smith
My maidenhead shoud have.'
6 But he has hadden up his hand,
And he sware by the mass,
'I'll cause ye be my light leman
For the hauf o that and less.'
6b O bide, lady, bide,
And aye he bade her bide;
The rusty smith your leman shall be,
For a' your muckle pride.
7 Then she became a turtle dow,
To fly up in the air,
And he became another dow,
And they flew pair and pair.
7b O bide, lady, bide, etc&.
8 She turnd hersell into an eel,
To swim into yon burn,
And he became a speckled trout,
To gie the eel a turn.
8b O bide, lady, bide, etc&.
9 Then she became a duck, a duck,
To puddle in a peel,
And he became a rose-kaimd drake,
To gie the duck a dreel.
9b O bide, lady, bide, etc&.
10 She turnd hersell into a hare,
To rin upon yon hill,
And he became a gude grey-hound,
And boldly he did fill.
10b O bide, lady, bide, etc&.
11 Then she became a gay grey mare,
And stood in yonder slack,
And he became a gilt saddle,
And sat upon her back.
11b Was she wae, he held her sae,
And still he bade her bide;
The rusty smith her leman was,
For a' her muckle pride.
12 Then she became a het girdle,
And he became a cake,
And a' the ways she turnd hersell,
The blacksmith was her make.
12b Was she wae, etc.
13 She turnd hersell into a ship,
To sail out ower the flood;
He ca'ed a nail intill her tail,
And syne the ship she stood.
13b Was she wae, etc.
14 Then she became a silken plaid,
And stretchd upon a bed,
And he became a green covering,
And gaind her maidenhead.
14b Was she wae, etc.
Additions and Corrections
P. 400 a. Add to the French ballads: P, 'Mignonne,' Guillon, p. 248, Ain; Q, Mélusine, I, 338 f, Carcasonne.
401. Persian. Chodzko, Specimens of the Popular Poetry of Persia, p. 487, No 61, Songs of the Ghilanis. This and French Q are noted by Hasdek in the Roumanian periodical Columna lui Traian, 1876, p. 44, 1877, p. 301, apropos of 'Cucul si Turturica.' Dalmatian. Francesco Carrara, Canti del popolo dalmata, Zara, 1849, p. ix. Revue des Traditions populaires, I, 98. R. Köhler.
402 a, last paragraph. The Welsh text, with an English translation, is given by Stephens, Literature of the Kymry, p. 170: cf. pp. 174, 175. G. L. K.
401. In the Kalevala, Ilmarinen, after the death of his first wife, steals her younger sister, who is very unwilling to accompany him. She threatens to break his sledge to pieces, but it is made of iron. She will turn into a salmon (Schnapel) in the sea; he will give chase in the form of a pike. She will become an ermine; he an otter, and pursue her. She will fly off as a lark; he will follow as an eagle. Here the talk of transformation ends: Rune 37, vv. 148-178. The next morning Ilmarinen in his wrath turns the maid into a gull. Kalewala, ubertragen von Schiefner, pp. 226-228. G.L.K.
P. 400 a, II, 506 b. E, F, partly, in Revue des Traditions populaires, I, 104 f. (Q was previously cited as J.) Q. 'Les Transformations,' Avenay, Marne, Gaston Paris, in Rev. des Trad, pop., I, 98; R, Haute-Bretagne, Sébillot, the same, p. 100; S, Le Morvan, Tiersot, p. 102; T, Tarn-et-Garonne, the same, II, 208. U. 'Les Métamorphoses,' Finistere, Rolland, IV, 32, c; V, environs de Brest, the same, p. 33, d. E is printed by Rolland, IV, 30, b.
Italian. A ballad in Nigra, No 59, p. 329, 'Amore inevitabile.'
401 a. Vuk, I, No 602, is translated in Bowring's Servian Popular Poetry, p. 195.
In a Magyar-Croat ballad the lover advises the maid, who has been chidden by her mother on his account, if her mother repeats the scolding, to turn herself into a fish, then he will be a fisherman, etc. Kurelac, p. 309, XV, 2. (W.W.)
401 b, last two paragraphs.
Other specimens of the first kind (not in Köhler's note to Gonzenbach, II, 214) are:
Luzel, Annuaire de la Société des Traditions populaires, II, 56; Baissac, Folk-Lore de l'Île Maurice, p. 88 ff.; Wigström, Sagor ock Äfventyr uppt. i Skåne, p. 37; Luzel, Revue des Traditions populaires, I, 287, 288; Luzel, Contes pop. de Basse-Bretagne, II, 13, 41 ff., cf. 64-66; Vernaleken, Kinder- u. Hausmärchen, No 49, p. 277; Bladé, Contes pop. de la Gascogne, II, 26-36; Carnoy, Contes populaires picards, Romania, VIII, 227. Cf. also Ortoli, Contes pop. de l'Île de Corse, pp. 27-29, and Cosquin's notes (which do not cite any of the above-mentioned places), Contes pop. de Lorraine, I, 105 ff.
Other specimens of the second kind:
Luzel, Contes pop. de Basse-Bretagne, II, 92-95, and note; Haltrich, Deutsche Volksmärchen aus dem Sachsenlande, u.s.w., 3d ed., 1882, No 14, p. 52 f.. (G.L.K.)
402 a, last paragraph. "The pursuit in various forms by the witch lady has an exact counterpart in a story of which I have many versions and which I had intended to give if I had room. It is called 'The Fuller's Son,' 'The Cotter's Son,' and other names, and it bears a strong resemblance to the end of the Norse tale of 'Farmer Weathersky.' " Campbell, Pop. Tales of the West Highlands, IV, 297. (G.L.K.)
To be Corrected in the Print.
400a, I. Read II, 360.
To be Corrected in the Print.
506 b, 44, 400 a. Drop Q, etc.. Note to 401, drop Revue des Traditions, etc..
P. 400 a, II, 506 b, III, 506 b. French. W, 'J'ai fait une maîtresse,' Daymard, p. 51, Quercy. X, 'Margarideto,' Soleville, Chants p. du Bas-Quercy, p. 94.
Italian. Add to Tigri's rispetto: Vigo, Canti p. siciliani, 1870-74, No 1711, Pitrè, Studj di Poesia pop., p. 76; Casetti e Imbriani, C. p. delle Provincie meridionali, p. 187: all cited by d'Ancona, Poesia pop., p. 341.
400 b. Bohemian. Waldau, Böhmische Granaten, II, 75, No 107, dove, gun; fish, hook; hare, dog.
401 b. Tale in Curtin's Myths and Folk-Lore of Ireland, pp. 152-6.
Cf. also Notes and Queries, 7th Series, IX, 101, 295; Clouston, Popular Tales and Fictions, I, 413 ff. (G. L. K.)
To be Corrected in the Print.
401 b, fourth paragraph, line 3 f. Read No 68, III, 117.
P. 400 a, III, 506 b, IV, 459 b. French. Y. 'Les Transformations,' Wallonia, I, 50.
401 b, 3d paragraph. Say: Cosquin, Contes lorrains, I, 103, No 9, and notes.
402 a, last paragraph, Gwion. See the mabinogi of Taliesin in Lady Charlotte Guest's Mabinogion, Part VII, p. 358 f.
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[P. 400. Greek. Cf. 'Les Transformations,' Georgeakis et Pineau, Folk-lore de Lesbos, p. 210 ff. (no mention of the Turk's transforming himself).]
401. Polish. Add: Kolberg, Lud, XXT, 27, No 50; XXII, 102, No 157; Kolberg, Mazowsze, II, 54 f., Nos 131, 132; III, 247, 321; IV, 274, No 240.
401 b, II, 506 b, III, 506 f., IV, 459 b, V, 216 a. Transformations during flight. Add R. Köhler's notes to L. Gonzenbach's Sicilianische Märchen, now published by J. Bolte, Zeitschrift des Vereins für Volkskunde, VI, 65.
The incidents of the flight of the girl and her lover, the pursuit and the transformations, and of the Devil outwitted by his pupil are discussed by G. Rua, Novelle del "Mambriano" del Cieco da Ferrara, p. 95. See also M. Wardrop, Georgian Tales, p. 4, No. 1. G. L. K.