which are a more mung may savage and semimrage faces SECOLT De pe cding to the dead made at me as a S-rod vie and waterwages on ES EN Mas a cancus analogy in the remarcacie Daten ane tune the Dictaean Cave vá a c-ke race The Homeric accounts of mis pe lanang 2 Sex Se pot occur in what are sung set er ates of the Iliads The we are a rage the case is similar. Thus in Se as a Les Presser Ridgeway has clearly

དཔལ་ ཁྱས་པས་་་ས་:

peen on the shield is but the head OR SIT was the raiment of the

de seems it appears in practically s serie by Zeus. Atnene, or Apollo.5 „pedances appear more often in the In the ad we meet the ea Aphrodite, which seems to have cose teid of the robe as a mimetic wat died wiża the beloved one. It somea dhe Life Token, as in a Micmac

mat comes a mermaid by obtaining the ses a hot die cou'd not live. The magical e seems, in other cases, to depend on de end and sacred circle as a charm that of Aphrodite is "broidered,

fair-wrought, wherein are all the enchantments; therein are love, and desire, and loving converse, that steals the wits even of the wise." The girdle of Hera has additional protectives in its hundred tassels, which baffle the Evil Eye, and are probably like the pendants found at Mycenae, which seem to represent a common form of amulet.1 The Egyptian kings wore as a protective a special royal girdle, which is like the Bunna-do-At worn by the old Irish kings, and the Brahmanical cord of India. Even in the Western Isles of Scotland a girdle of seal-skin is worn to cure sciatica, while one method of becoming a werwolf is to obtain a girdle made of human skin.3 An even closer parallel to the love-girdle of Aphrodite is the magic necklace of Frey which fascinates the sons of men.1

The magic wand, the stock implement of all magicians and sorcerers, appears only once in the Iliad, but several times in the Odyssey

The Iliad provides examples of those works of art which indicate the magical qualities ascribed to the early metallurgists-the magic tripods of Hephaistos with golden wheels, which of their own motion might enter the assembly of the gods and again return to his house; the magic bellows which work at his bidding; the golden handmaids, "the semblances of living maids, who have understanding in their hearts, voice, and strength." These have their analogues in the Odyssey in the hounds of gold and silver which guard the palace of Alcinous, and the youthful golden torch-bearers, possibly statues, which may be com

1 Il. xiv. 161 [iii.]; Schuchhardt, Schliemann's Excavations, 180.

2 Erman, Life in Ancient Egypt, 60; O’Curry, Manners and Customs of the Ancient Irish, iii. 174.

3 Pinkerton, Voyages, iii. 595; Fiske, Myth and Myth-makers, 90.

+ Thorpe, Northern Mythology, i. 33; Grimm, Teutonic Mythology, i. 307, ii. 870.

5Пl. xxiv. 343 (Hermes) [iii. B]; Od. x. 238 (Circe), xiii. 429, xvi. 172, 456 (Athene), v. 43 ff. (Hermes).

6 Il. xviii. 373, 470 [iii. B].

7 Od. vii. 91, 100.

pared with the young deer, made of gold and studded with jewels, which in Somadeva's story dance in front of the maidens, and the magic figures which fan the sleepers in the palace of Ravana, or the five golden figures of men given by Kuvera, the god of wealth, to Vikramaditya, whose limbs grow again when they are cut off; and when Naravahanadatta enters the magic city he finds all the men to be wooden figures, which moved as if they were alive, but lacked the power of speech.1 Friar Orderic tells us that "in the palace of the Great Khan there are many peacocks of gold, and when any of the Tartars wish to amuse their lord, then they go one after another and clap their hands, upon which the peacocks clap their wings and make as if they would dance." This, he shrewdly remarks, must be done either by diabolic art or by some engine working underground; and in another place he tells of vessels of wine which lift themselves to the lips of the drinkers.2 Such, too, were the horse of copper, the hounds, the metal serpent, which the arch-magician Virgilius made to clear Rome of evil-doers. In the Teutonic legend Thor's hammer comes back of itself into his hand, like an Australian boomerang, and in the hall of Aegi the pitchers of ale brought themselves to the board, the loaves walked in, and the wine poured itself out. With these magical works of art may be classed the imperishable clothing which Calypso gives to Odysseus, like the invulnerable garment presented by his mother to Oddo in the Eyrbyggia Saga.

In the same class are the flying sandals of Hermes, golden, divine, which bear him over the wet sea and the

1 Tawney, Katha, ii. 569, i. 350, 390; Griffith, Ramayan, 401.

2

Yule, Cathay and the Way Thither, i. 131, 143; id. Marco Polo,1 i. 266, 278 ff.

Hazlitt, Tales and Legends, 46 ff.

Grimm, Teutonic Mythology, ii. 870.

5 Od. vii. 265.

Mallet, op. cit. 522.

boundless land with the breathings of the wind, and those of Athene which wax not old.1 These have their analogues in the feather shift of Freyja, and the fairy shoes, the nine-leagued boots of the fairy tales, the Pushpaka or flying throne of Hindu tradition. In another form we meet them in the slipper of Cinderella, and the magic shoe of the Chinese story, which the lover shakes when he wishes to summon his absent mistress.3 In a Hindu story the hero wins them from the sons of the Asura Māya, who are represented in European tradition by the two giants in the German tale of the "Crystal Bath."4

It is only in the Odyssey that we have an allusion to the treatment by the savage medicine-man, the stopping of bleeding by the recital of a charm, which appears constantly in Indian and other folk-lore. In the Ramayana Vrihaspati combines such spells with the use of herbs; the mere passing through the palace of the Hetaira cures the horses' wounds, as Lancelot cures the wounds of Sir Urre of Hungary; and in Celtic folk-lore the magic ointment gains its power from the spells pronounced over it.

The veil, again, is used in a mystic way. In the Odyssey Ino Leucothea gives him the divine veil which saves Odysseus when he wraps it round his breast, the personality of the owner attaching to her clothing, as the might of Achilles is supposed to be transferred to Hector with the arms of Achilles.7

When she

Circe, again, knows the magic ointment. anoints the swine with it, the bristles with which the

1 II. xxiv. 340 ff. [iii. B]; Od. v. 44 ff., i. 90 ff.

2 Clouston, Popular Tales, i. 72 ff.; Grimm, Teutonic Mythology, i. 327, ii. 503; Tawney, Katha, i. 13, ii. 627; Griffith, Ramayan, 267.

3 Giles, Strange Stories, i. 170.

4 Tawney, Katha, i. 13 f.; Grimm, Household Tales, ii. 347.

5 xix. 457. [Cf. infra, p. 89.]

6 Griffith, Ramayan, 464, 482 ff.; Tawney, Katha, i. 348, quoting La Mort d'Arthure, iii. 270; Rhys, Celtic Folk-lore, ii. 657 n.

7 Od. v. 346, 373.

"

ན སས་བབ་

he drop off their limbs. This is folk-tales, which makes him who and restores the dead to life; if made sod babies, or of seven herbs, each day, it gives the witch the power of air on a broomstick.2 Another variety seeing fairies; a third the faculty of the stone which Peredur receives in the

In the Arabian Nights the Merman aan ointment, "wherewith when thou hast dy, the water will do thee no hurt, though As the lave of thy life going about in the and in another tale of the same collection "The wonders of this ointment are passing

ed tate.

An thou close thy left eye and rub ed the smallest portion of the salve, then all wwsex of the world now concealed from thy gaze one to sight"-the same ointment, in fact, which give to the human midwife who attends their and which, if misused, causes blindness. This and x other ideas of the same kind are survivals from .me when no one tried to draw the line between me and magic. ..visibility, which in folk-lore is ordinarily secured by use of drugs,-in Dahome by pounding up a baby in a mortar,-by a special stone, fernseed, and the Is in Homer gained by a magic helmet, like that Hades, which Athene dons that terrible Ares may ot behold her. This is the Tarn-kappe of Teutonic

VAL. x. 391 ff.

4 Hartland, Legend of Perseus, i. 49, 57, iii. 104; Webster, Basque Nus, 70,

* Hartland, Science of Fairy Tales, 59 ff.; Grimm, Teutonic Mythology, 1210; Rhys, Studies in the Arthurian Legend, 87, 271.

* Burton, Nights, vii. 250, x. 175; Hartland, Science of Fairy Tales, 59 ff.

* 77. v. 844 ff. [iii. B]; Burton, Mission to Gelele, ii. 71 n.