Your daughter's bones he's bringing home!"
"You lie!" exclaimed the old woman; "bark like this:
Driving home your daughter dear,
Decked in gold and diamonds' sheen,
Gifts to please a royal queen.'"
So saying she ran out of the house to meet the old man, coming back in the waggon; but she stood as if thunderstruck, sobbed, and wept, and was hardly able to articulate:
"Where is my sweetest daughter?"
The old man scratched his head, and replied:
"She has met with a great misfortune; this is all I have found of her—a few bare bones, and blood-stained garments; in the wood, in the old hut ... she has been devoured by wolves."
The old woman, wild with grief and despair, gathered up her daughter's bones, went to some neighbouring cross-ways, and when a number of people had gathered together, she buried them there with weeping and lamentation; then she fell face downward on the grave—and was turned to stone.
THE REWARD OF THE GOOD LITTLE GIRL
Meanwhile a royal carriage drew up in the courtyard of the old man's cottage, bright as the sun, with four splendid horses, and the coachman cracked his whip—till the cottage fell to pieces with the sound.
The king took both the old man and his daughter into the carriage, and they drove away to his capital, where the marriage soon took place.
The old man lived happily in his declining years, as the father-in-law of a king, and with his sweet daughter, who had once been so miserable, a queen.
APPENDIX
NOTE I
THE FROG PRINCESS
This is certainly a "Nature story." The princess and her attendants are clearly personification of the elemental forces. The classical scholar cannot fail to be struck by the likeness of her metamorphoses to the story of Peleus and Thetis. Indeed the "Protean myth" so repeatedly occurs in these primitive Slavonic stories that it is impossible not to suspect a common origin.
NOTE II
PRINCESS MIRANDA AND PRINCE HERO
The old woman "Jandza"—which word Polish dictionary-makers translate by "fury"—appears very often both in Polish and Russian fairy tales, as a witch of witches. She is sometimes "Jaga"; and seems pretty malevolent, though capable of serving those who know how to manage her.
This story—probably a symbolic one—of the Spring and Winter, or the triumph of Light over Darkness, might be read at the present moment into an allegory of Poland, overrun, her people oppressed, starved, and all but extirpated by the malignant spirit of German militarism. Princess Miranda, herself unsleeping, awake, and watching, while all is desolation and despair around her, might be taken for the Spirit of Poland herself, undying, but waiting for deliverance. But where is the Prince Hero, who shall deliver her?
Princess Miranda—her name is cud-dziewica, i.e. "Wonder Maiden"—but is not "admired Miranda" the most obvious rendering?
NOTE III
THE WHIRLWIND
The name of the heroine "Ladna" signifies "pretty" or "beautiful" in Polish. It is not the word originally used; but being nearly equivalent, and of similar meaning, appears preferable.
The prince's name "Dobrotek," signifies "good," or "benefactor." Being easy of pronunciation, but not easily Englished into a proper name, it seemed best to retain it.
The whole story has a very Eastern cast. The mention of the "Seven seas," and the high mountains beyond them, suggest Persian or Indian influence. The ugly dwarf, with the long beard and diminutive stature, seems a malignant "Jinn," and to have his counterpart in a well-known legend of the Arabian Nights. But this is not the only Polish tale that gives this impression; more than one appears directly taken from these tales.
P. 50. "The Water of Loosening." Loosening is not perhaps an exact rendering, which is rather "unstiffening," or destroying the rigor mortis, as a preparative to healing a mortal wound, and breaking the sleep of death. These three waters always appear in stories, where this incident is used.
NOTE IV
THE PRINCESS OF THE BRAZEN MOUNTAIN
This story is rather freely translated, and much shortened from the original. There is much pious reflection, too long for insertion. The conversation between the prince and the sorcerer-miller is somewhat changed as much of it seemed rather irrelevant to the chief interest of the story, and lacking in pithiness.
The story of a supernatural maiden, compelled by the theft of her wings to remain temporarily as a mortal with a mortal husband, has its counterpart in many lands. The oldest perhaps is a Persian story, related in Keightly's "Fairy Mythology," of a Peri, who being thus entrapped, lives several years as an ordinary woman; but accidently finding her wings again, puts them on, and deserts her mortal husband and children, remarking as she does so: "I loved you well enough, while we remained together; but I love my former husband better"—and so vanishes away to Peristan.
The parallel legend of "Little Sealskin" will readily occur to memory.
THE END