A third series of versions offers the probable type of the much-corrupted Scottish ballads, and under this head come Danish E, F, H, I, L-R, T; Swedish A, B, F-I, and also C, after an introduction which belongs to the first class; Norwegian D, F. The characteristic feature is that the woman has been living eight or nine years in the hill, and has there borne her children, commonly seven sons and a daughter. She sets out to go to matins, and whether under the influence of runes, or accidentally, or purposely, takes the way to the hill. In a few cases it is clear that she does not seek the hill-man or put herself in his way, e.g., Danish N, Swedish G, but Swedish A, H, N make her apply for admission at the hill-door. In Danish I, N-R, T, Norwegian F, it is not said that she was on her way to church; she is in a field or in the hill. In Swedish F she has been two years in the cave, and it seems to her as if she had come yesterday. After her eight or nine years with the hill-man the woman longs to go home, Danish E, F, I, Swedish A, F, I, Norwegian D; to go to church, Danish L, M, N, P, T, Norwegian F; for she had heard Denmark's bells, church bells, Danish L-P, T, Swedish G, Norwegian D, F. She had heard these bells as she watched the cradle, Danish T, P, Swedish G; sat by the cradle and sang, T 4; compare English C 7. She asks the hill-man's permission, and it is granted on certain terms: she is not to talk of him and her life in the hill, Danish E, I, Swedish A, F, I, is to come back, Danish F, must not stay longer than an hour or two, Norwegian D; she is not to wear her gold, her best clothes, not to let out her hair, not to go into her mother's pew at the church, not to bow when the priest pronounces the holy name, or make an offering, or go home after service, etc., Danish I, L-P, T, Norwegian F. All these last conditions she violates, nor does she in the least heed the injunction not to speak of the hill-man. The consequence is that he summarily presents himself, whether at the church or the paternal mansion, and orders her back to the hill, sometimes striking her on the ear or cheek so that blood runs, or beating her with a rod, Danish E, I, L, M, S, T, Swedish A, B, C, H, I, Norwegian F. In a few versions, the hill-man tells her that her children are crying for her, and she replies, Let them cry; I will never go back to the hill; Danish M, N, O, Norwegian F. In Danish E, Swedish G, a gold apple thrown into her lap seems to compel her to return; more commonly main force is used. She is carried dead into the hill, or dies immediately on her arrival, in Norwegian F, Danish T; she dies of grief, according to traditional comment, in Norwegian D. They give her a drink, and her heart breaks, Swedish A, G, H, M; but elsewhere the drink only induces forgetfulness, Danish L, M, Swedish B, C, F.
Much of the story of 'Jomfruen og Dværgekongen' recurs in the ballad of 'Agnete og Havmanden,' which, for our purposes, may be treated as a simple variation of the other. The Norse forms are again numerous, but all from broadsides dating, at most, a century back, or from recent tradition.
Danish. 'Agnete og Havmanden,' Grundtvig, No 38, A-D, II, 51 ff, 656 ff, III, 813 ff. Copies of A are numerous, and two had been previously printed; in Danske Viser, I, 313, No 50, and "in Barfod's Brage og Idun, II, 264." E, Rask's Morskabslæsning, III, 81, Grundtvig, II, 659. F, one stanza, Grundtvig, p. 660. G, H, the same, III, 816. I, Kristensen, II, 75, No 28 C, Grundtvig, IV, 807. K, Grundtvig, IV, 808.[340]
Swedish. A, B, C, in Cavallius and Stephens' unprinted collection, described by Grundtvig, II, 661. D, 'Agneta och Hafsmannen,' Eva Wigström's Folkdiktning, p. 9. E, Bergström's Afzelius, II, 308. F, 'Skön Anna och Hafskungen,' Aminson, Bidrag till Södermanlands äldre Kulturhistoria, III, 43. G, 'Helena och Hafsmannen,' the same, p. 46.
Norwegian. A, Grundtvig, III, 817, properly Danish rather than Norwegian. B, a version partly described at p. 818. C, Grundtvig, IV, 809, also more Danish than Norwegian. All these communicated by Bugge.
Danish C, G, Norwegian A, have a hillman instead of a merman, and might as well have been put with the other ballad. On the other hand, the Danish versions M, N, O of 'The Maid and the Dwarf-King' call the maid Agenet, and give the hill-man a name, Nek, Netmand, Mekmand, which implies a watery origin for him, and the fragments P, Q, R have similar names, Nekmand, Negen, Lækkemand, as also Agenete, and might as well have been ranked with 'Agnes and the Merman.' In 'The Maid and the Dwarf-King,' Swedish L (one stanza) the maid is taken by "Pel Elfven" to the sea.
Agnes goes willingly with the merman to the sea-bottom, Danish A, D, E, K, Swedish A, D, E, Norwegian A, C. She lives there, according to many versions, eight years, and has seven children. As she is sitting and singing by the cradle one day, she hears the bells of England, Danish A, C, D, E, H, I, K, Swedish D [church bells, bells, F, G], Norwegian A, C. She asks if she may go to church, go home, and receives permission on the same terms as in the other ballad. Her mother asks her what gifts she had received, Danish A, D, E, H, I, Swedish E, F, Norwegian C. When the merman comes into the church all the images turn their backs, Danish A, D, K, Swedish D, F, G, Norwegian A, C; and, in some cases, for Agnes, too. He tells her that the children are crying for her; she refuses to go back, Danish A, C, D, I, K, Swedish D, F, G (and apparently A, B, C), Norwegian C. In Norwegian A the merman strikes her on the cheek, and she returns; in Danish I she is taken back quietly; in Danish C he gives her so sore an ail that she dies presently; in Danish H she is taken away by force, and poisoned by her children; in Danish K the merman says that if she stays with her mother they must divide the children (five). He takes two, she two, and each has to take half of the odd one.
The Norse forms of 'Agnes and the Merman' are conceded to have been derived from Germany: see Grundtvig, IV, 812. Of the German ballad, which is somewhat nearer to the English, the following versions have been noted:
A. 'Die schöne Agniese,' Fiedler, Volksreime und Volkslieder in Anhalt-Dessau, p. 140, No 1 == Mittler, No 553. B. 'Die schöne Agnese,' Parisius, Deutsche Volkslieder in der Altmark und im Magdeburgischen gesammelt, p. 29, No 8 B, from nearly the same region as A. C. Parisius, p. 28, No 8 A, Pechau on the Elbe. D. 'Die schöne Angnina,' Erk's Neue Sammlung, ii, 40, No 26 == Mittler, No 552, from the neighborhood of Magdeburg. E. 'Die Schöne Agnete,' Erk's Liederhort, No 16a, p. 47, Erk's Wunderhorn, IV, 91, from the neighborhood of Guben. F. 'Die schöne Dorothea,' Liederhort, No 16b, p. 48, Gramzow in der Ukermark. G. 'Die schöne Hannăle,' Liederhort, No 16, p. 44, Erk's Wunderhorn, IV, 87, Silesia. H. 'Die schöne Hannele,' Hoffmann u. Richter, Schlesische Volkslieder, p. 3, No 1 == Mittler, No 551, Böhme, No 90 A, Breslau. 'Der Wassermann,' Simrock, No 1, is a compounded copy.
A wild merman has become enamored of the King of England's daughter, A, B, C, D. He plates a bridge with gold; she often walks over the bridge; it sinks with her into the water [the merman drags her down into the water, H]. She stays below seven years, and bears seven sons. One day [by the cradle, C, G] she hears the bells of England, A 6, B, C, D, F [bells, E, G, H], and longs to go to church. She expresses this wish to the merman, C, D, G, H. The merman says she must take her seven sons with her, B, C, D; she must come back, G, H. She takes her seven sons by the hand, and goes with them to England, A 5, B 7; cf. Scottish C 13, 14, A 22, 50. When she enters the church everything in it bows, A, B, F. Her parents are there, C, D; her father opens the pew, her mother lays a cushion for her, G, H. As she goes out of the church, there stands the merman, A, B, E, F. Her parents take her home in D, G, H. They seat her at the table, and while she is eating, a gold apple falls into her lap (cf. 'The Maid and the Dwarf-King,' Danish E, Swedish G), which she begs her mother to throw into the fire; the merman appears, and asks if she wishes him burnt, G, H. The merman, when he presents himself at the church, asks whether the woman will go back with him, or die where she is, and she prefers death on the spot, A, B, E. In the other case, he says that if she will not return, the children must be divided,—three and three, and half of the seventh to each; the mother prefers the water to this. D has a peculiar and not very happy trait. The merman fastens a chain to his wife's foot before she goes up, and, having been kept long waiting, draws it in. But the people at the church have taken off the chain, and he finds nothing at the end of it. He asks whether she does not wish to live with him; she replies, I will no longer torment you, or fret myself to death.
The story of Agnes and the Merman occurs in a Wendish ballad, with an introductory scene found in the beautiful German ballad, 'Wassermanns Braut:'[341] Haupt und Schmaler, I, 62, No 34. A maid begs that she may be left to herself for a year, but her father says it is time for her to be married. She goes to her chamber, weeps and wrings her hands. The merman comes and asks, Where is my bride? They tell him that she is in her chamber, weeping and wringing her hands. The merman asks her the reason, and she answers, They all say that you are the merwoman's son. He says he will build her a bridge of pure silver and gold, and have her driven over it with thirty carriages and forty horses; but ere she has half passed the bridge it goes down to the bottom. She is seven years below, has seven sons in as many years, and is going with the eighth. She implores her husband to permit her to go to church in the upper world, and he consents, with the proviso that she shall not stay for the benediction. At church she sees her brother and sister, who receive her kindly. She tells them that she cannot stay till the benediction;[342] they beg her to come home to dine with them. She does wait till the benediction; the merman rushes frantically about. As she leaves the church and is saying good-by to her sister, she meets the merman, who snatches the youngest child from her (she appears to have all seven with her), tears it in pieces, strangles the rest, scatters their limbs on the road, and hangs himself, asking, Does not your heart grieve for your children? She answers, I grieve for none but the youngest.[343]
A Slovenian ballad has the story with modifications, Achacel and Korytko, [S,]lovénşke Péşmi krajnskiga Naróda, I, 30,[344] 'Povodnji mósh;' given in abstract by Haupt and Schmaler, I, 339, note to No. 34. Mizika goes to a dance, in spite of her mother's forbidding. Her mother, in a rage, wishes that the merman may fetch her. A young man who dances with her whirls her round so furiously that she complains, but he becomes still more violent. Mizika sees how it is, and exclaims, The merman has come for me! The merman flies out of the window with her, and plunges into the water. She bears a son, and asks leave to pay a visit to her mother; and this is allowed on conditions, one of which is that she shall not expose herself to a benediction. She does not conform, and the merman comes and says that her son is crying for her. She refuses to go with him, and he tears the boy in two, that each may have a half.
Two or three of the minuter correspondences between the Scottish and the Norse or German ballads, which have not been referred to, may be indicated in conclusion. The hillman, in several Norwegian copies, as B, M, carries off the lady on horseback, and so Hastings in C. In A 34-39, the returned sister, being invited to dine, cannot eat a bit or drink a drop. So, in 'The Maid and the Dwarf-King,' Swedish G 15, 16, they set before Agnes dishes four and five, dishes eight and nine, but she can take nothing:
Young Akin, in A 43, is found in the wood, "tearing his yellow hair." The merman has golden hair in Danish A 16, Swedish D 2, 19, Norwegian A 17 (nothing very remarkable, certainly), and in Danish D 31 wrings his hands and is very unhappy, because Agnes refuses to return. It is much more important that in one of the Swedish copies of the merman ballad, Grundtvig, II, 661a, we find a trace of the 'christendom' which is made such an object in the Scottish ballads:
'The Maid and the Dwarf-King,' Danish E, is translated by Prior, III, 338; Swedish A by Stephens, Foreign Quarterly Review, XXV, 35; Swedish C by Keightley, Fairy Mythology, p. 103. 'Agnes and the Merman,' Danish A, C, by Prior, III, 332, 335; some copy of A by Borrow, p. 120; Øhlenschlæger's ballad by Buchanan, p. 76.
Scottish B is translated, after Allingham, by Knortz, Lieder u. Romanzen, No 30; A 1-8, C 6-14, by Rosa Warrens, Schottische Volkslieder, No 2; a compounded version by Roberts into German by Podhorszki, Acta Comparationis, etc., VIII, 69-73.
Buchan's Ballads of the North of Scotland, I, 6; Motherwell's MS., p. 554.
Kinloch's Ancient Scottish Ballads, p. 228.
Buchan's Ballads of the North of Scotland, II, 67, communicated by Mr James Nicol, of Strichen; Motherwell's Minstrelsy, p. 287; Motherwell's MS., p. 450.
C. Motherwell's copies exhibit five or six slight variations from Buchan.
[334] This reading, nuts, may have subsequently made its way into A instead of rose, which it would be more ballad-like for Margaret to be plucking, as the maid does in 'Tam Lin,' where also the passage A 3-6, B 2-4 occurs. Grimm suggests a parallel to Tam Lin in the dwarf Laurin, who does not allow trespassing in his rose-garden: Deutsche Mythologie, III, 130. But the resemblance seems not material, there being no woman in the case. The pretence of trespass in Tam Lin and Hind Etin is a simple commonplace, and we have it in some Slavic forms of No 4, as at p. 41.
[335] B is defective in the middle and the end. "The reciter, unfortunately, could not remember more of the ballad, although the story was strongly impressed on her memory. She related that the lady, after having been taken home by Hynde Etin, lived with him many years, and bore him seven sons, the eldest of whom, after the inquiries at his parents detailed in the ballad, determines to go in search of the earl, his grandfather. At his departure his mother instructs him how to proceed, giving him a ring to bribe the porter at her father's gate, and a silken vest, wrought by her own hand, to be worn in presence of her father. The son sets out, and arrives at the castle, where, by bribing the porter, he gets admission to the earl, who, struck with the resemblance of the youth to his lost daughter, and the similarity of the vest to one she had wrought for himself, examines the young man, from whom he discovers the fate of his daughter. He gladly receives his grandson, and goes to his daughter's residence, where he meets her and Hynde Etin, who is pardoned by the earl, through the intercession of his daughter." Kinloch, Ancient Scottish Ballads, p. 226 f.
[336] B, Landstad 44 (which has only this in common with the Scottish ballad, that a hill-man carries a maid to his cave), has much resemblance at the beginning to 'Kvindemorderen,' Grundtvig, No 183, our No 4. See Grundtvig's note ** at III, 810. This is only what might be looked for, since both ballads deal with abductions.
[337] It is not necessary, for purposes of the English ballad, to notice these mixed forms.
[338] In 'Nøkkens Svig,' C, Grundtvig, No 39, the merman consults with his mother, and then, as also in other copies of the ballad, transforms himself into a knight. See the translation by Prior, III, 269; Jamieson, Popular Ballads, I, 210; Lewis, Tales of Wonder, I, 60.
[339] The beauty of the Norse ballads should make an Englishman's heart wring for his loss. They are particularly pretty here, where the forgetful draught is administered; as Norwegian C, A:
[340] For reasons, doubtless sufficient, but to me unknown, Grundtvig has not noticed two copies in Boisen's Nye og gamle Viser, 10th edition, p. 192, p. 194. The former of these is like A, with more resemblance here and there to other versions, and may be a made-up copy; the other, 'Agnete og Bjærgmanden, fra Sønderjylland,' consists of stanzas 1-5 of C.
[341] See five versions in Mittler, Nos 546-550. As Grundtvig remarks, what is one ballad in Wendish is two in German and three in Norse: D. g. F., IV, 810.
[342] This trait, corresponding to the prohibition in the Norse ballads of bowing when the holy name is pronounced, occurs frequently in tradition, as might be expected. In a Swedish merman-ballad, 'Necken,' Afzelius, III, 133, the nix, who has attended to church the lady whom he is about to kidnap, makes off with his best speed when the priest reads the benediction. See, further, Árnason's Íslenzkar þjóðsögur, I, 73 f; Maurer's Isländische Volksagen, 19 f; Liebrecht, Gervasius, p. 26, LVII, and p. 126, note (Grundtvig).
[343] The merfolk are apt to be ferocious, as compared with hill-people, elves, etc. See Grimm, Deutsche Mythologie, I, 409 f.
[344] I 79, of a second edition, which, says Vraz, has an objectionable fantastic spelling due to the publisher.