The literature connected with Antichrist is voluminous. I need only specify some of the most curious works which have appeared on the subject. St. Hippolytus and Rabanus Maurus have been already alluded to. Commodianus wrote “Carmen Apologeticum adversus Gentes,” which has been published by Dom Pitra in his “Spicilegium Solesmense,” with an introduction containing Jewish and Christian traditions relating to Antichrist. “De Turpissima Conceptione, Nativitate, et aliis Præsagiis Diaboliciis illius Turpissimi Hominis Antichristi,” is the title of a strange little volume published by Lenoir in A. D. 1500, containing rude yet characteristic woodcuts, representing the birth, life, and death of the Man of Sin, each picture accompanied by French verses in explanation. An equally remarkable illustrated work on Antichrist is the famous “Liber de Antichristo,” a blockbook of an early date. It is in twenty-seven folios, and is excessively rare. Dibdin has reproduced three of the plates in his “Bibliotheca Spenseriana,” and Falckenstein has given full details of the work in his “Geschichte der Buchdruckerkunst.”
There is an Easter miracle-play of the twelfth century, still extant, the subject of which is the “Life and Death of Antichrist.” More curious still is the “Farce de l’Antéchrist et de Trois Femmes” – a composition of the sixteenth century, when that mysterious personage occupied all brains. The farce consists in a scene at a fish-stall, with three good ladies quarrelling over some fish. Antichrist steps in, – for no particular reason that one can see, – upsets fish and fish-women, sets them fighting, and skips off the stage. The best book on Antichrist, and that most full of learning and judgment, is Malvenda’s great work in two folio volumes, “De Antichristo, libri xii.” Lyons, 1647.
For the fable of the Pope Joan, see J. Lenfant, “Histoire de la Papesse Jeanne.” La Haye, 1736, 2 vols. 12mo. “Allatii Confutatio Fabulæ de Johanna Papissa.” Colon. 1645.
The Man in the Moon
EVERY one knows that the moon is inhabited by a man with a bundle of sticks on his back, who has been exiled thither for many centuries, and who is so far off that he is beyond the reach of death.
He has once visited this earth, if the nursery rhyme is to be credited, when it asserts that —
“The Man in the Moon
Came down too soon,
And asked his way to Norwich;”
but whether he ever reached that city, the same authority does not state.
The story as told by nurses is, that this man was found by Moses gathering sticks on a Sabbath, and that, for this crime, he was doomed to reside in the moon till the end of all things; and they refer to Numbers xv. 32-36: —
“And while the children of Israel were in the wilderness, they found a man that gathered sticks upon the Sabbath day. And they that found him gathering sticks brought him unto Moses and Aaron, and unto all the congregation. And they put him in ward, because it was not declared what should be done to him. And the Lord said unto Moses, The man shall be surely put to death: all the congregation shall stone him with stones without the camp. And all the congregation brought him without the camp, and stoned him with stones till he died.”
Of course, in the sacred writings there is no allusion to the moon.
The German tale is as follows: —
Ages ago there went one Sunday morning an old man into the wood to hew sticks. He cut a fagot and slung it on a stout staff, cast it over his shoulder, and began to trudge home with his burden. On his way he met a handsome man in Sunday suit, walking towards the Church; this man stopped and asked the fagot-bearer, “Do you know that this is Sunday on earth, when all must rest from their labors?”
“Sunday on earth, or Monday in heaven, it is all one to me!” laughed the wood-cutter.
“Then bear your bundle forever,” answered the stranger; “and as you value not Sunday on earth, yours shall be a perpetual Moon-day in heaven; and you shall stand for eternity in the moon, a warning to all Sabbath-breakers.” Thereupon the stranger vanished, and the man was caught up with his stock and his fagot into the moon, where he stands yet.
The superstition seems to be old in Germany, for the full moon is spoken of as wadel, or wedel, a fagot. Tobler relates the story thus: “An arma mā ket alawel am Sonnti holz ufglesa. Do hedem der liebe Gott dwahl gloh, öb er lieber wott ider sonn verbrenna oder im mo verfrura, do willer lieber inn mo ihi. Dromm siedma no jetz an ma im mo inna, wenns wedel ist. Er hed a püscheli uffem rogga.”30 That is to say, he was given the choice of burning in the sun, or of freezing in the moon; he chose the latter; and now at full moon he is to be seen seated with his bundle of fagots on his back.
In Schaumburg-Lippe,31 the story goes, that a man and a woman stand in the moon, the man because he strewed brambles and thorns on the church path, so as to hinder people from attending Mass on Sunday morning; the woman because she made butter on that day. The man carries his bundle of thorns, the woman her butter-tub. A similar tale is told in Swabia and in Marken. Fischart32 says, that there “is to be seen in the moon a manikin who stole wood;” and Prætorius, in his description of the world,33 that “superstitious people assert that the black flecks in the moon are a man who gathered wood on a Sabbath, and is therefore turned into stone.”
The Dutch household myth is, that the unhappy man was caught stealing vegetables. Dante calls him Cain: —
“… Now doth Cain with fork of thorns confine,
On either hemisphere, touching the wave
Beneath the towers of Seville. Yesternight
The moon was round.”
Hell, cant. xx.
And again, —
“… Tell, I pray thee, whence the gloomy spots
Upon this body, which below on earth
Give rise to talk of Cain in fabling quaint?”
Paradise, cant. ii.
Chaucer, in the “Testament of Cresside,” adverts to the man in the moon, and attributes to him the same idea of theft. Of Lady Cynthia, or the moon, he says, —
“Her gite was gray and full of spottis blake,
And on her brest a chorle painted ful even,
Bering a bush of thornis on his backe,
Whiche for his theft might clime so ner the heaven.”
Ritson, among his “Ancient Songs,” gives one extracted from a manuscript of the time of Edward II., on the Man in the Moon, but in very obscure language. The first verse, altered into more modern orthography, runs as follows: —
“Man in the Moon stand and stit,
On his bot-fork his burden he beareth,
It is much wonder that he do na doun slit,
For doubt lest he fall he shudd’reth and shivereth.
* * * * *
“When the frost freezes must chill he bide,
The thorns be keen his attire so teareth,
Nis no wight in the world there wot when he syt,
Ne bote it by the hedge what weeds he weareth.”
Alexander Necham, or Nequam, a writer of the twelfth century, in commenting on the dispersed shadows in the moon, thus alludes to the vulgar belief: “Nonne novisti quid vulgus vocet rusticum in luna portantem spinas? Unde quidam vulgariter loquens ait: —
“Rusticus in Luna,
Quem sarcina deprimit una
Monstrat per opinas
Nulli prodesse rapinas,”
which may be translated thus: “Do you know what they call the rustic in the moon, who carries the fagot of sticks?” So that one vulgarly speaking says, —
“See the rustic in the Moon,
How his bundle weighs him down;
Thus his sticks the truth reveal,
It never profits man to steal.”
Shakspeare refers to the same individual in his “Midsummer Night’s Dream.” Quince the carpenter, giving directions for the performance of the play of “Pyramus and Thisbe,” orders: “One must come in with a bush of thorns and a lantern, and say he comes in to disfigure, or to present, the person of Moonshine.” And the enacter of this part says, “All I have to say is, to tell you that the lantern is the moon; I the man in the moon; this thorn-bush my thorn-bush; and this dog my dog.”
Also “Tempest,” Act 2, Scene 2: —
“Cal. Hast thou not dropt from heaven?
“Steph. Out o’ th’ moon, I do assure thee. I was the man in th’ moon when time was.
“Cal. I have seen thee in her; and I do adore thee. My mistress showed me thee, and thy dog, and thy bush.”
The dog I have myself had pointed out to me by an old Devonshire crone. If popular superstition places a dog in the moon, it puts a lamb in the sun; for in the same county it is said that those who see the sun rise on Easter-day, may behold in the orb the lamb and flag.
I believe this idea of locating animals in the two great luminaries of heaven to be very ancient, and to be a relic of a primeval superstition of the Aryan race.
There is an ancient pictorial representation of our friend the Sabbath-breaker in Gyffyn Church, near Conway. The roof of the chancel is divided into compartments, in four of which are the Evangelistic symbols, rudely, yet effectively painted. Besides these symbols is delineated in each compartment an orb of heaven. The sun, the moon, and two stars, are placed at the feet of the Angel, the Bull, the Lion, and the Eagle. The representation of the moon is as below; in the disk is the conventional man with his bundle of sticks, but without the dog. There is also a curious seal appended to a deed preserved in the Record Office, dated the 9th year of Edward the Third (1335), bearing the man in the moon as its device. The deed is one of conveyance of a messuage, barn, and four acres of ground, in the parish of Kingston-on-Thames, from Walter de Grendesse, clerk, to Margaret his mother. On the seal we see the man carrying his sticks, and the moon surrounds him. There are also a couple of stars added, perhaps to show that he is in the sky. The legend on the seal reads: —
“Te Waltere docebo cur spinas phebo gero,”
which may be translated, “I will teach thee, Walter, why I carry thorns in the moon.”
The general superstition with regard to the spots in the moon may briefly be summed up thus: A man is located in the moon; he is a thief or Sabbath-breaker;34 he has a pole over his shoulder, from which is suspended a bundle of sticks or thorns. In some places a woman is believed to accompany him, and she has a butter-tub with her; in other localities she is replaced by a dog.
The belief in the Moon-man seems to exist among the natives of British Columbia; for I read in one of Mr. Duncan’s letters to the Church Missionary Society, “One very dark night I was told that there was a moon to see on the beach. On going to see, there was an illuminated disk, with the figure of a man upon it. The water was then very low, and one of the conjuring parties had lit up this disk at the water’s edge. They had made it of wax, with great exactness, and presently it was at full. It was an imposing sight. Nothing could be seen around it; but the Indians suppose that the medicine party are then holding converse with the man in the moon… After a short time the moon waned away, and the conjuring party returned whooping to their house.”
Now let us turn to Scandinavian mythology, and see what we learn from that source.
Mâni, the moon, stole two children from their parents, and carried them up to heaven. Their names were Hjuki and Bil. They had been drawing water from the well Byrgir, in the bucket Sœgr, suspended from the pole Simul, which they bore upon their shoulders. These children, pole, and bucket were placed in heaven, “where they could be seen from earth.” This refers undoubtedly to the spots in the moon; and so the Swedish peasantry explain these spots to this day, as representing a boy and a girl bearing a pail of water between them. Are we not reminded at once of our nursery rhyme —
“Jack and Jill went up a hill
To fetch a pail of water;
Jack fell down, and broke his crown,
And Jill came tumbling after”?
This verse, which to us seems at first sight nonsense, I have no hesitation in saying has a high antiquity, and refers to the Eddaic Hjuki and Bil. The names indicate as much. Hjuki, in Norse, would be pronounced Juki, which would readily become Jack; and Bil, for the sake of euphony, and in order to give a female name to one of the children, would become Jill.
The fall of Jack, and the subsequent fall of Jill, simply represent the vanishing of one moon-spot after another, as the moon wanes.
But the old Norse myth had a deeper signification than merely an explanation of the moon-spots.
Hjuki is derived from the verb jakka, to heap or pile together, to assemble and increase; and Bil from bila, to break up or dissolve. Hjuki and Bil, therefore, signify nothing more than the waxing and waning of the moon, and the water they are represented as bearing signifies the fact that the rainfall depends on the phases of the moon. Waxing and waning were individualized, and the meteorological fact of the connection of the rain with the moon was represented by the children as water-bearers.
But though Jack and Jill became by degrees dissevered in the popular mind from the moon, the original myth went through a fresh phase, and exists still under a new form. The Norse superstition attributed theft to the moon, and the vulgar soon began to believe that the figure they saw in the moon was the thief. The lunar specks certainly may be made to resemble one figure, and only a lively imagination can discern two. The girl soon dropped out of popular mythology, the boy oldened into a venerable man, he retained his pole, and the bucket was transformed into the thing he had stolen – sticks or vegetables. The theft was in some places exchanged for Sabbath-breaking, especially among those in Protestant countries who were acquainted with the Bible story of the stick-gatherer.
The Indian superstition is worth examining, because of the connection existing between Indian and European mythology, on account of our belonging to the same Aryan stock.
According to a Buddhist legend, Sâkyamunni himself, in one of his earlier stages of existence, was a hare, and lived in friendship with a fox and an ape. In order to test the virtue of the Bodhisattwa, Indra came to the friends, in the form of an old man, asking for food. Hare, ape, and fox went forth in quest of victuals for their guest. The two latter returned from their foraging expedition successful, but the hare had found nothing. Then, rather than that he should treat the old man with inhospitality, the hare had a fire kindled, and cast himself into the flames, that he might himself become food for his guest. In reward for this act of self-sacrifice, Indra carried the hare to heaven, and placed him in the moon.35
Here we have an old man and a hare in connection with the lunar planet, just as in Shakspeare we have a fagot-bearer and a dog.
The fable rests upon the name of the moon in Sanskrit, çaçin, or “that marked with the hare;” but whether the belief in the spots taking the shape of a hare gave the name çaçin to the moon, or the lunar name çaçin originated the belief, it is impossible for us to say.
Grounded upon this myth is the curious story of “The Hare and the Elephant,” in the “Pantschatantra,” an ancient collection of Sanskrit fables. It will be found as the first tale in the third book. I have room only for an outline of the story.
THE CRAFTY HARE
In a certain forest lived a mighty elephant, king of a herd, Toothy by name. On a certain occasion there was a long drought, so that pools, tanks, swamps, and lakes were dried up. Then the elephants sent out exploring parties in search of water. A young one discovered an extensive lake surrounded with trees, and teeming with water-fowl. It went by the name of the Moon-lake. The elephants, delighted at the prospect of having an inexhaustible supply of water, marched off to the spot, and found their most sanguine hopes realized. Round about the lake, in the sandy soil, were innumerable hare warrens; and as the herd of elephants trampled on the ground, the hares were severely injured, their homes broken down, their heads, legs, and backs crushed beneath the ponderous feet of the monsters of the forest. As soon as the herd had withdrawn, the hares assembled, some halting, some dripping with blood, some bearing the corpses of their cherished infants, some with piteous tales of ruination in their houses, all with tears streaming from their eyes, and wailing forth, “Alas, we are lost! The elephant-herd will return, for there is no water elsewhere, and that will be the death of all of us.”
But the wise and prudent Longear volunteered to drive the herd away; and he succeeded in this manner: Longear went to the elephants, and having singled out their king, he addressed him as follows: —
“Ha, ha! bad elephant! what brings you with such thoughtless frivolity to this strange lake? Back with you at once!”
When the king of the elephants heard this, he asked in astonishment, “Pray, who are you?”
“I,” replied Longear, – “I am Vidschajadatta by name; the hare who resides in the Moon. Now am I sent by his Excellency the Moon as an ambassador to you. I speak to you in the name of the Moon.”
“Ahem! Hare,” said the elephant, somewhat staggered; “and what message have you brought me from his Excellency the Moon?”
“You have this day injured several hares. Are you not aware that they are the subjects of me? If you value your life, venture not near the lake again. Break my command, and I shall withdraw my beams from you at night, and your bodies will be consumed with perpetual sun.”
The elephant, after a short meditation, said, “Friend! it is true that I have acted against the rights of the excellent Majesty of the Moon. I should wish to make an apology; how can I do so?”
The hare replied, “Come along with me, and I will show you.”
The elephant asked, “Where is his Excellency at present?”
The other replied, “He is now in the lake, hearing the complaints of the maimed hares.”
“If that be the case,” said the elephant, humbly, “bring me to my lord, that I may tender him my submission.”
So the hare conducted the king of the elephants to the edge of the lake, and showed him the reflection of the moon in the water, saying, “There stands our lord in the midst of the water, plunged in meditation; reverence him with devotion, and then depart with speed.”
Thereupon the elephant poked his proboscis into the water, and muttered a fervent prayer. By so doing he set the water in agitation, so that the reflection of the moon was all of a quiver.
“Look!” exclaimed the hare; “his Majesty is trembling with rage at you!”
“Why is his supreme Excellency enraged with me?” asked the elephant.
“Because you have set the water in motion. Worship him, and then be off!”
The elephant let his ears droop, bowed his great head to the earth, and after having expressed in suitable terms his regret for having annoyed the Moon, and the hare dwelling in it, he vowed never to trouble the Moon-lake again. Then he departed, and the hares have ever since lived there unmolested.
The Mountain of Venus
RAGGED, bald, and desolate, as though a curse rested upon it, rises the Hörselberg out of the rich and populous land between Eisenach and Gotha, looking, from a distance, like a huge stone sarcophagus – a sarcophagus in which rests in magical slumber, till the end of all things, a mysterious world of wonders.
High up on the north-west flank of the mountain, in a precipitous wall of rock, opens a cavern, called the Hörselloch, from the depths of which issues a muffled roar of water, as though a subterraneous stream were rushing over rapidly-whirling millwheels. “When I have stood alone on the ridge of the mountain,” says Bechstein, “after having sought the chasm in vain, I have heard a mighty rush, like that of falling water, beneath my feet, and after scrambling down the scarp, have found myself – how, I never knew – in front of the cave.” (“Sagenschatz des Thüringes-landes,” 1835.)
In ancient days, according to the Thüringian Chronicles, bitter cries and long-drawn moans were heard issuing from this cavern; and at night, wild shrieks and the burst of diabolical laughter would ring from it over the vale, and fill the inhabitants with terror. It was supposed that this hole gave admittance to Purgatory; and the popular but faulty derivation of Hörsel was Höre, die Seele– Hark, the Souls!
But another popular belief respecting this mountain was, that in it Venus, the pagan Goddess of Love, held her court, in all the pomp and revelry of heathendom; and there were not a few who declared that they had seen fair forms of female beauty beckoning them from the mouth of the chasm, and that they had heard dulcet strains of music well up from the abyss above the thunder of the falling, unseen torrent. Charmed by the music, and allured by the spectral forms, various individuals had entered the cave, and none had returned, except the Tanhäuser, of whom more anon. Still does the Hörselberg go by the name of the Venusberg, a name frequently used in the middle ages, but without its locality being defined.
“In 1398, at midday, there appeared suddenly three great fires in the air, which presently ran together into one globe of flame, parted again, and finally sank into the Hörselberg,” says the Thüringian Chronicle.
And now for the story of Tanhäuser.
A French knight was riding over the beauteous meadows in the Hörsel vale on his way to Wartburg, where the Landgrave Hermann was holding a gathering of minstrels, who were to contend in song for a prize.
Tanhäuser was a famous minnesinger, and all his lays were of love and of women, for his heart was full of passion, and that not of the purest and noblest description.
It was towards dusk that he passed the cliff in which is the Hörselloch, and as he rode by, he saw a white glimmering figure of matchless beauty standing before him, and beckoning him to her. He knew her at once, by her attributes and by her superhuman perfection, to be none other than Venus. As she spake to him, the sweetest strains of music floated in the air, a soft roseate light glowed around her, and nymphs of exquisite loveliness scattered roses at her feet. A thrill of passion ran through the veins of the minnesinger; and, leaving his horse, he followed the apparition. It led him up the mountain to the cave, and as it went flowers bloomed upon the soil, and a radiant track was left for Tanhäuser to follow. He entered the cavern, and descended to the palace of Venus in the heart of the mountain.
Seven years of revelry and debauch were passed, and the minstrel’s heart began to feel a strange void. The beauty, the magnificence, the variety of the scenes in the pagan goddess’s home, and all its heathenish pleasures, palled upon him, and he yearned for the pure fresh breezes of earth, one look up at the dark night sky spangled with stars, one glimpse of simple mountain-flowers, one tinkle of sheep-bells. At the same time his conscience began to reproach him, and he longed to make his peace with God. In vain did he entreat Venus to permit him to depart, and it was only when, in the bitterness of his grief, he called upon the Virgin-Mother, that a rift in the mountain-side appeared to him, and he stood again above ground.
How sweet was the morning air, balmy with the scent of hay, as it rolled up the mountain to him, and fanned his haggard cheek! How delightful to him was the cushion of moss and scanty grass after the downy couches of the palace of revelry below! He plucked the little heather-bells, and held them before him; the tears rolled from his eyes, and moistened his thin and wasted hands. He looked up at the soft blue sky and the newly-risen sun, and his heart overflowed. What were the golden, jewel-incrusted, lamp-lit vaults beneath to that pure dome of God’s building!
The chime of a village church struck sweetly on his ear, satiated with Bacchanalian songs; and he hurried down the mountain to the church which called him. There he made his confession; but the priest, horror-struck at his recital, dared not give him absolution, but passed him on to another. And so he went from one to another, till at last he was referred to the Pope himself. To the Pope he went. Urban IV. then occupied the chair of St. Peter. To him Tanhäuser related the sickening story of his guilt, and prayed for absolution. Urban was a hard and stern man, and shocked at the immensity of the sin, he thrust the penitent indignantly from him, exclaiming, “Guilt such as thine can never, never be remitted. Sooner shall this staff in my hand grow green and blossom, than that God should pardon thee!”
Then Tanhäuser, full of despair, and with his soul darkened, went away, and returned to the only asylum open to him, the Venusberg. But lo! three days after he had gone, Urban discovered that his pastoral staff had put forth buds, and had burst into flower. Then he sent messengers after Tanhäuser, and they reached the Hörsel vale to hear that a wayworn man, with haggard brow and bowed head, had just entered the Hörselloch. Since then Tanhäuser has not been seen.
Such is the sad yet beautiful story of Tanhäuser. It is a very ancient myth Christianized, a wide-spread tradition localized. Originally heathen, it has been transformed, and has acquired new beauty by an infusion of Christianity. Scattered over Europe, it exists in various forms, but in none so graceful as that attached to the Hörselberg. There are, however, other Venusbergs in Germany; as, for instance, in Swabia, near Waldsee; another near Ufhausen, at no great distance from Freiburg (the same story is told of this Venusberg as of the Hörselberg); in Saxony there is a Venusberg not far from Wolkenstein. Paracelsus speaks of a Venusberg in Italy, referring to that in which Æneas Sylvius (Ep. 16) says Venus or a Sibyl resides, occupying a cavern, and assuming once a week the form of a serpent. Geiler v. Keysersperg, a quaint old preacher of the fifteenth century, speaks of the witches assembling on the Venusberg.
The story, either in prose or verse, has often been printed. Some of the earliest editions are the following: —
“Das Lied von dem Danhewser.” Nürnberg, without date; the same, Nürnberg, 1515. – “Das Lyedt v. d. Thanheuser.” Leyptzk, 1520. – “Das Lied v. d. Danheüser,” reprinted by Bechstein, 1835. – “Das Lied vom edlen Tanheuser, Mons Veneris.” Frankfort, 1614; Leipzig, 1668. – “Twe lede volgen Dat erste vain Danhüsser.” Without date. – “Van heer Danielken.” Tantwerpen, 1544. – A Danish version in “Nyerup, Danske Viser,” No. VIII.
Let us now see some of the forms which this remarkable myth assumed in other countries. Every popular tale has its root, a root which may be traced among different countries, and though the accidents of the story may vary, yet the substance remains unaltered. It has been said that the common people never invent new story-radicals any more than we invent new word-roots; and this is perfectly true. The same story-root remains, but it is varied according to the temperament of the narrator or the exigencies of localization. The story-root of the Venusberg is this: —
The underground folk seek union with human beings.
α. A man is enticed into their abode, where he unites with a woman of the underground race.
β. He desires to revisit the earth, and escapes.
γ. He returns again to the region below.
Now, there is scarcely a collection of folk-lore which does not contain a story founded on this root. It appears in every branch of the Aryan family, and examples might be quoted from Modern Greek, Albanian, Neapolitan, French, German, Danish, Norwegian and Swedish, Icelandic, Scotch, Welsh, and other collections of popular tales. I have only space to mention some.
There is a Norse Tháttr of a certain Helgi Thorir’s son, which is, in its present form, a production of the fourteenth century. Helgi and his brother Thorstein went on a cruise to Finnmark, or Lapland. They reached a ness, and found the land covered with forest. Helgi explored this forest, and lighted suddenly on a party of red-dressed women riding upon red horses. These ladies were beautiful and of troll race. One surpassed the others in beauty, and she was their mistress. They erected a tent and prepared a feast. Helgi observed that all their vessels were of silver and gold. The lady, who named herself Ingibjorg, advanced towards the Norseman, and invited him to live with her. He feasted and lived with the trolls for three days, and then returned to his ship, bringing with him two chests of silver and gold, which Ingibjorg had given him. He had been forbidden to mention where he had been and with whom; so he told no one whence he had obtained the chests. The ships sailed, and he returned home.
One winter’s night Helgi was fetched away from home, in the midst of a furious storm, by two mysterious horsemen, and no one was able to ascertain for many years what had become of him, till the prayers of the king, Olaf, obtained his release, and then he was restored to his father and brother, but he was thenceforth blind. All the time of his absence he had been with the red-vested lady in her mysterious abode of Glœsisvellir.
The Scotch story of Thomas of Ercildoune is the same story. Thomas met with a strange lady, of elfin race, beneath Eildon Tree, who led him into the underground land, where he remained with her for seven years. He then returned to earth, still, however, remaining bound to come to his royal mistress whenever she should summon him. Accordingly, while Thomas was making merry with his friends in the Tower of Ercildoune, a person came running in, and told, with marks of fear and astonishment, that a hart and a hind had left the neighboring forest, and were parading the street of the village. Thomas instantly arose, left his house, and followed the animals into the forest, from which he never returned. According to popular belief, he still “drees his weird” in Fairy Land, and is one day expected to revisit earth. (Scott, “Minstrelsy of the Scottish Border.”) Compare with this the ancient ballad of Tamlane.
Debes relates that “it happened a good while since, when the burghers of Bergen had the commerce of the Faroe Isles, that there was a man in Serraade, called Jonas Soideman, who was kept by the spirits in a mountain during the space of seven years, and at length came out, but lived afterwards in great distress and fear, lest they should again take him away; wherefore people were obliged to watch him in the night.” The same author mentions another young man who had been carried away, and after his return was removed a second time, upon the eve of his marriage.