The Fairy Mythology. Thomas KeightleyЧитать онлайн книгу.
Island, afterwards called Cephalonia. This lady's first love had been Florimont of Albania, a charming young prince, but being obliged to part from him, she married, and had a son named Neptanebus, afterwards King of Egypt, who begot Alexander the Great, who afterwards put him to death. Seven hundred years later, Cæsar, on his way to Thessaly, was entertained in Cephalonia by the lady of the isle, and he loved her, for she told him he would defeat Pompey, and he became the father of Oberon. Many a noble prince and noble fairy were at the birth, but one Fairy was unhappily not invited, and the gift she gave was that he should not grow after his third year, but repenting, she gave him to be the most beautiful of nature's works. Other Fairies gave him the gift of penetrating the thoughts of men, and of transporting himself and others from place to place by a wish; and the faculty, by like easy means, of raising and removing castles, palaces, gardens, banquets, and such like. He further informed the knight, that he was king and lord of Mommur; and that when he should leave this world his seat was prepared in Paradise—for Oberon, like his prototype Elberich, was a veritable Christian.
When after a variety of adventures Oberon comes to Bordeaux to the aid of Huon, and effects a reconciliation between him and Charlemagne, he tells Huon that the time is at hand that he should leave this world and take the seat prepared for him in Paradise, "en faerie ne veux plus demeurer." He directs him to appear before him within four years in his city of Mommur, where he will crown him as his successor.
Here the story properly ends, but an addition of considerable magnitude has been made by a later hand, in which the story is carried on.
Many are the perils which Huon encounters before the period appointed by Oberon arrives. At length, however, he and the fair Esclairmonde (the Rezia of Wieland) come to Mommur. Here, in despite of Arthur (who, with his sister Morgue la faée and a large train, arrives at court, and sets himself in opposition to the will of the monarch, but is reduced to order by Oberon's threat of turning him into a Luyton de Mer[72]), Huon is crowned king of all Faerie "tant du pais des Luytons comme des autres choses secretes reservées dire aux hommes." Arthur gets the kingdom of Bouquant, and that which Sybilla held of Oberon, and all the Faeries that were in the plains of Tartary. The good king Oberon then gave Huon his last instructions, recommending his officers and servants to him, and charging him to build an abbey before the city, in the mead which the dwarf had loved, and there to bury him. Then, falling asleep in death, a glorious troop of angels, scattering odours as they flew, conveyed his soul to Paradise.
Isaie le Triste is probably one of the latest romances, certainly posterior to Huon de Bordeaux, for the witty but deformed dwarf Tronc, who is so important a personage in it, is, we are told, Oberon, whom Destiny compelled to spend a certain period in that form. And we shall, as we have promised, prove Oberon to be the handsome dwarf-king Elberich. In Isaie the Faery ladies approach to the Fées of Perrault, and Madame D'Aulnoy. Here, as at the birth of Oberon and of Ogier le Danois, they interest themselves for the new-born child, and bestow their gifts upon it. The description in this romance of the manner in which the old hermit sees them occupied about the infant Isaie is very pleasing. It was most probably Fairies of this kind, and not the diminutive Elves, that Milton had in view when writing these lines:
Good luck betide thee, son, for, at thy birth,
The Faery ladies danced upon the hearth.
Thy drowsy nurse hath sworn she did them spy
Come tripping to the room where thou didst lie,
And, sweetly singing round about thy bed,
Strew all their blessings on thy sleeping head.
The description of the Vergier des Fées in Isaie le Triste, and of the beautiful valley in which it was situated, may rival in richness and luxuriancy similar descriptions in Spenser and the Italian poets.[73]
We have now, we trust, abundantly proved our position of the Fairies of romance being, at least at the commencement, only 'human mortals,' endowed with superhuman powers, though we may perceive that, as the knowledge of Oriental fiction increased, the Fairies began more and more to assume the character of a distinct species. Our position will acquire additional strength when in the course of our inquiry we arrive at France and Italy.
Closely connected with the Fairies is the place of their abode, the region to which they convey the mortals whom they love, 'the happy lond of Faery.'
FAIRY LAND.
There, renewed the vital spring,
Again he reigns a mighty king
And many a fair and fragrant clime,
Blooming in immortal prime,
By gales of Eden ever fanned,
Owns the monarch's high command.
T. Warton.
Among all nations the mixture of joy and pain, of exquisite delight and intense misery in the present state, has led the imagination to the conception of regions of unmixed bliss destined for the repose of the good after the toils of this life, and of climes where happiness prevails, the abode of beings superior to man. The imagination of the Hindoo paints his Swergas as 'profuse of bliss,' and all the joys of sense are collected into the Paradise of the Mussulman. The Persian lavished the riches of his fancy in raising the Cities of Jewels and of Amber that adorn the realms of Jinnestân; the romancer erected castles and palaces filled with knights and ladies in Avalon and in the land of Faerie; while the Hellenic bards, unused to pomp and glare, filled the Elysian Fields and the Island of the Blest with tepid gales and brilliant flowers. We shall quote without apology two beautiful passages from Homer and Pindar, that our readers may at one view satisfy themselves of the essential difference between classic and romantic imagination.
In Homer, Proteus tells Menelaus that, because he had had the honour of being the son-in-law of Zeus, he should not die in "horse-feeding Argos."
But thee the ever-living gods will send
Unto the Elysian plain and distant bounds
Of Earth, where dwelleth fair-hair'd Rhadamanthus.
There life is easiest unto men; no snow,
Or wintry storm, or rain, at any time,
Is there; but evermore the Ocean sends
Soft-breathing airs of Zephyr to refresh
The habitants.—Od. iv. 563.
This passage is finely imitated by Pindar, and connected with that noble tone of pensive morality, so akin to the Oriental spirit, and by which the 'Dircæan Swan' is distinguished from all his fellows.
They speed their way
To Kronos' palace, where around
The Island of the Blest, the airs
Of Ocean breathe, and golden flowers
Blaze; some on land
From shining trees, and other kinds
The water feeds. Of these
Garlands and bracelets round their arms they bind,
Beneath the righteous sway
Of Rhadamanthus.—Ol. ii. 126.
Lucretius has transferred these fortunate fields to the superior regions, to form the abode of his fainéans, gods; and Virgil has placed them, with additional poetic splendour, in the bosom of the earth.
Widely different from these calm and peaceful abodes of parted warriors are the Faeries of the minstrels and romancers. In their eyes, and in those of their auditors, nothing was beautiful or good divested of the pomp and pride of chivalry; and chivalry has, accordingly, entered deeply into the composition of their pictures of these ideal realms.
The Feeries of romance may be divided into three kinds: Avalon, placed in the ocean, like the Island of the Blest; those that, like the palace of Pari Banou, are within