chapter 5

, says, "Whether a carbuncle doth flame in the dark, or shine like a coal in the night, though generally agreed on by common believers, is very much questioned by many." See also Simrock's Deutsche Volksbücher, Vol. I, p. 301; Vol. III, p. 12; Vol. VI, p. 289. Lucian in his De Deâ Syriâ ch. 32, speaks of a precious stone of the name of lychnis which was bright enough to light up a whole temple at night. We read in the history of the Pseudo-Callisthenes, Book II, ch. 42, that Alexander found in the belly of a fish a precious stone which he had set in gold and used at night as a lamp. See also Baring Gould's Curious Myths of the Middle Ages, p. 42. See Gaal, Märchen der Magyaren, p. 155; Ariosto, Orlando Furioso, III, 14.

[539] i. e. supreme lord of jewels.

[540] i. e. as Indra mounts Airávata.

[541] The modern Tamluk. The district probably comprised the small but fertile tract of country lying to the westward of the Húghli river, from Bardwán and Kalna on the north, to the banks of the Kosai river on the south. (Cunningham's Ancient Geography of India, p. 504.)

[542] In the 115th tale of the Gesta Romanorum we read that two chaste virgins were able to lull to sleep and kill an elephant, that no one else could approach.

[543] Both were produced at the churning of the ocean.

[544] A famous linga of Siva in Ujjayiní.

[545] Perhaps the Pushkalávatí described by General Cunningham in his Ancient Geography of India, p. 49.

[546] There is a studied ambiguity in all these words, the usual play on affection and oil being kept up. A marginal correction in a Sanskrit College MS. lent to me, gives hridayam. The text has ránjitam stháthaván. The latter is a vox nihili. Brockhaus's text may be explained--My hand full of my heart was steeped in affection for you.

[547] For "funeral human sacrifice for the service of the dead," see Tylor's Primitive Culture, pp. 413-422. Cp. Hagen's Helden-Sagen, Vol. III, pp. 165 and 166.

[548] i. e. Producer of horns.

[549] Cp. the 31st tale in Signora von Gonzenbach's Sicilianische Märchen, (p. 209) where the black figs produce horns. There is also in the same story a pipe that compels all that hear its sound to dance. See Dr. Reinhold Köhler's notes on the tale: also Grimm's No. 110 and his notes in his third volume. Cp. also Veckenstedt's Wendische Sagen, p. 65. See also Ralston's Russian Folk-Tales, p. 283: Bernhard Schmidt's Griechische Märchen, No. 20, and Liebrecht, Zur Volkskunde, p. 484. The incident in Sicilianische Märchen closely resembles one in the story of Fortunatus as told in Simrock's Deutsche Volksbücher, Vol. III, p. 175. There is a pipe that compels all the hearers to dance in Hug of Bordeaux, Vol. X, p. 263, and a very similar fairy harp in Wirt Sikes's British Goblins, p. 97; and a magic fiddle in Das Goldene Schachspiel, a story in Kaden's Unter den Olivenbäumen, p. 160. A fiddler in Bartsch's Sagen aus Meklenburg, (Vol. I, p. 130) makes a girl spin round like a top. From that day she was lame. See also De Gubernatis, Zoological Mythology, Vol. I, pp. 182 and 288, and Baring Gould, IInd Series, p. 152. Kuhn, in his Westfälische Märchen, Vol. I, p. 183, mentions a belief that horns grew on the head of one who looked at the Wild Huntsman. It is just possible that this notion may be derived from the story of Actæon. A statue found in the ruins of the villa of Antoninus Pius near Lavinium represents him with his human form and with the horns just sprouting. (Engravings from Ancient Marbles in the British Museum, Plate XLV.) Cp. also the story of Cipus in Ovid's Metamorphoses XV, 552-621. For the magic pipe see Grimm's Irische Märchen, Einleitung, p. lxxxiii; Rohde, Der Griechische Roman, p. 264. Remarks on the pipe and horns will be found in Ralston's Tibetan Tales, Introduction pp. liv-lvi.

[550] Cp. Grimm's Märchen, No. 193. The parallel between Grimm's story and that of Vidúshaka in