The Earl of Mar's daughter spies a dove on a tower, and promises him a golden cage if he will come to her. The dove lights on her head, and she takes him into her bower. When night comes, she sees a youth standing by her side. The youth explains that his mother, a queen versed in magic, had transformed him into a dove that he might charm maids. He is a dove by day, a man at night, and will live and die with her. In the course of seven years seven sons are born, all of whom are successively committed to the care of the queen their grandmother. After the twenty-third year a lord comes to court the lady. She refuses him: she will live alone with her bird. Her father swears that he will kill this bird, and Cow-me-doo prudently takes refuge with his mother, who welcomes home her 'young son Florentine,' and calls for dancers and minstrels. Cow-me-doo Florentine will have none of that; the situation is too serious. The morrow the mother of his seven sons is to be wedded; instead of merry-making, he desires to have twenty stout men turned into storks, his seven sons into swans, and himself into a goshawk. This feat is beyond his mother's (quite limited) magic, but it is done by an old woman who has more skill. The birds fly to Earl Mar's castle, where the wedding is going on. The storks seize some of the noble guests, the swans bind the bride's best man to a tree, and in a twinkling the bride and her maidens are carried off by the birds. The Earl of Mar reconciles himself with his daughter.
There is a Scandinavian ballad which Grundtvig has treated as identical with this, but the two have little in common beyond the assumption of the bird-shape by the lover. They are, perhaps, on a par for barrenness and folly, but the former may claim some age and vogue, the Scottish ballad neither.
Danish. 'Ridderen i Fugleham,' Grundtvig, II, 226, No 68, A-C (C is translated by Prior, III, 206); 'Herr Jon som Fugl,' Kristensen, I, 161, No 59, X, 23, No 11, A, B. In Grundtvig's A (Manuscript of the sixteenth century), the son of the king of England wooes a maid, sending her rich presents. Her mother says he shall never have her daughter, and this message his envoys take back to him. He is angry, and has a bird's coat forged for him out of nine gold rings (but his behavior thereafter is altogether birdlike). He sits on the ridgepole of the maid's bower and sings. The maid exclaims, Christ grant thou wert mine! thou shouldst drink naught but wine, and sleep in my arms. I would send thee to England, as a gift to my love. She sits down on the ground; the bird flies into her bosom. She takes the bird into her bower; he throws off his bird-coat, and is recognized. The maid begs him to do her no shame. 'Not if you will go to England with me,' he answers, takes her up, and wings his way thither. There he marries her, and gives her a crown and a queen's name.
In Grundtvig B, the bird is a falcon. The maid will have no man that cannot fly. Master Hillebrand, son of the king of England, learns this fact, and has a bird's coat made for him, enters the room where man had never been before, sleeps under white linen, and in the morning is a knight so braw. (Here the story ends.)
In C, the maid will have no man that cannot fly, and Master Hillebrand orders a bird's coat to be made for him (what could be more mechanical!), flies into the maid's bower, and passes the night on the pole on which she hangs her clothes. In the morning he begins to sing, flies to the bed, and plays with the maid's hair. If you could shed your feathers, says the maid, I would have no other man. Keep your word, says the bird; give me your hand, and take my claw. She passes her word; he throws off his feathers, and stands before her a handsome man. By day, says the maid, he is to fly with the birds, by night to sleep in her bed. He perches so long on the clothes-pole that Ingerlille has a girl and a boy. When her father asks who is their father, she tells him the positive truth; she found them in a wood. When the bird comes back at night, she says that he must speak to her father; further concealment is impossible. Master Hillebrand asks the father to give him his daughter. The father is surprised that he should want a maid that has been beguiled; but if he will marry her she shall have a large dowry. The knight wants nothing but her.
Kristensen's copies do not differ materially. 11 A in his tenth volume (a very brief ballad) drops or lacks the manufacture of the bird-coat. Grundtvig's D-G drop the bird quite.
The ballad occurs in Swedish, but in the form of a mere abstract; in Arwidsson, II, 188, No 112, Manuscript of the sixteenth century. A maid will have no man but one that can fly. A swain has wings made from five gold rings; he flies over the rose-wood, over the sea, sits on a lily-spray and sings, flies till he sleeps in the maid's bosom.
A Färöe copy is noted by Grundtvig as in the possession of Hammershaimb, resembling his B, but about twice as long.
The lover in bird-shape is a very familiar trait in fiction, particularly in popular tales.
In Marie de France's Lai d'Yonec, a lover comes in at his mistress's window in the form of a hawk; in 'Der Jungherr und der treue Heinrich,' von der Hagen, Gesammtabenteuer, No 64, III, 197, Manuscript of 1444, as a bird (by virtue of a stone of which he has possessed himself).[foot-note] In Hahn, No 102, II, 130 (Albanian), a dove flies in at a princess's window, and is changed to man's shape by dipping in a dish of milk; Hahn, No 7, I, 97 = Pio, No 5, dove (through a hole in the ceiling, dips in a basin of water); Δελτίον τῆς ἱστορικῆς καὶ ἐθνολογικῆς ἑταιρίας τῆς Ἑλλάδος, I, 337, golden eagle (through a window, in rose water); Schneller, No 21, p. 49, dove (dips in a basin of water); Coelho, Contos pop. portuguezes, No 27, p. 65, bird (dips in a basin of water); Braga, Contos tradicionães, No 31, I, 68, bird (dips in a basin of water); Pitrè, Fiabe, etc., No 18, I, 163, green bird (pan of milk, then pan of water); Bernoni, Fiabe, No 17, p. 87 (milk and water, milk, rose-water); Visentini, No 17, p. 95, dove; Gonzenbach, No 27, I, 167, green bird (through a hole in the wall); Nicolovius, p. 34, Asbjørnsen, Norske Folkeeventyr, Ny Samling, 1871, No 10, p. 35 = Juletræet, 1851, p. 52, falcon; Grundtvig, Danske Folkeæventyr, No 14, p. 167, Madsen, Folkeminder, p. 19 ('The Green Knight'), bird; Berntsen, Folke-Æventyr, No 13, II, 86, bird; Comtesse d'Aulnoy, 'L'Oiseau bleu,' Cabinet des Fées, II, 67, king turned into bird for seven years.[foot-note]
Translated by Gerhard, p. 44; Knortz, Lieder u. Romanzen Alt-Englands, p. 207, No 62.
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