Ah!Ah! Ah! Ah!Ah! Praube!Ah! Praube!Moun Diu!Moun Diu! Moun Diu!
Ah!Ah! Ah! Ah!Ah! Praube!Ah! Praube!Moun Diu!Moun Diu! Moun Diu!
Ah!
Ah! Ah! Ah!
Ah! Praube!
Ah! Praube!
Moun Diu!
Moun Diu! Moun Diu!
The wife mourns for the loss of "Praube Jan;" when she was a young girl she loved only him. "No, no! I will not have it! I will not have them take thee to the graveyard!" "What will become of us?" asks the daughter; "my poor mother is infirm, my brothers and sisters are too small; there is only me to rule the house." The mother bewails her boy: "Poor little one! I loved thee so much, thou wert so pretty, thou wert so good. Thou didst work so well; all I bid thee do, thou didst; all I told thee, didst thou believe; thou wert very young, yet already didst thou earn thy bread. Poor little one, thou art dead; they carry thee to the grave, with the cross going before. They put thee into the earth.... Poor little one, I shall see thee no more; never! never! never! Thou goest and I stay. My God! thou wilt be very lonely in the graveyard this night; and I, I shall weep at home."
If we transport ourselves to the government of Olonetz, we discover the first cousin of the Corsican voceratrice in the Russian Voplénitsa ("the sobbing one"). But the jurisdiction of this functionary is of wider extent; she is mistress of the ceremonies at marriages as well as at funerals, and in both cases either improvises new songs or adapts old ones. Mr Ralston has familiarised English readers with some excellent samples of the Russian neniæ in his work on theSongs of the Russian People. In Montenegro dirge-singing survives in its most primitive form. During the war of 1877 there were frequent opportunities of observing it. One such occurred at Ostrog. A wounded man arrived at that place, which was made a sort of hospital station, with his father and mother, his sisters and a brother. Another brother and a cousin had fallen by his side in the last fight—the Montenegrins have always gone into battle in families—and the women had their faces covered with scratches, self-inflicted in their mourning for these kindred. The man was young, lively, and courageous; he might have got well but there were no surgical instruments to extract the ball in his back, and so in a day or two he was dead. At three in the morning the women began shrieking in spite of the orders given by the doctors in the interest of the other wounded; the noise was horrible, and no sooner were they driven away than they came back and renewed it. The Prince, who has tried to put down the custom as barbarous, was quartered at Ostrog, and he succeeded in having the wailers quieted for a moment, but when the body was borne to the cemetery the uproar began again. The women beat their breasts,scratched their faces, and screamed at a pitch that could be heard a mile off. It is usual to return to the house where the person died—they made their way therefore back into the hospital (the Prince being absent), and it was only after immense efforts on the part of the sisters of charity and those who were in authority that they were expelled. Then they seated themselves in the courtyard, and continued beating their breasts and reciting their death-song. An eyewitness of the scene described the dirge as a monotonous chant. One of the dead man's sisters had worked herself up into a state of hysterical frenzy, in which she seemed to have lost all control over her words and actions; she led the dirge, and her rhythmic ejaculations flowed forth as if she had no power to contain them. The father and brother went to salute the Prince the day after the funeral; the old man appeared to be extremely cheerful, but was doggedly inattentive to the advice to go home and fight no more, as his family had suffered enough losses. He had a son of ten, he said, who could accompany him now as there was a gun to spare, which before had not been the case. He wished he had ten sons to bring them all to fight the Turks.
The Sclavs are everywhere very strict in all that regards the cult of the dead, and the observances which have to be gone through by Russians who have lost friends or relations are by no means confined to the date of death and burial. Even when they have experienced no personal loss, they are still thought called upon to visit the cemeteries on the second Tuesday after Easter, and howl lustily over the tombs of their ancestors. Nor would it be held sufficientto strew flowers upon the graves, as is done on the Catholic All Souls' day; the most orthodox ghosts want something more substantial, and libations of beer and spirits are poured over their resting-places. Furthermore, disagreeable consequences have been said to result upon an omission of like marks of respect due to "the rude forefathers of the hamlet;" there is no making sure that a highly estimable individual will not, when thus incensed, re-enter an appearance on life's stage in the shape of a vampire. A small volume might be written on the preventive measures adopted to procure immunity from such-like visitations. The people of Havellend and Altmark put a small coin into the mouths of the dead in the hope that, so appeased, they will not assume vampire form; but this time the superstition, like a vast number of others, is clearly a later invention to explain a custom, the original significance of which is forgotten. The peasants of Roumelia also place pieces of money in the coffins, not as an insurance against vampires—who they think may be best avoided by burning instead of burying the mortal remains of any person they credit with the prospect of becoming one—but to pay the entrance fee into Paradise; a more authentic version of the old fable. The setting apart of a day, fixed by the Church or varying according to private anniversaries, for the special commemoration of the dead, is a world-wide custom.
If, as Mr Herbert Spencer thinks, the rudimentary form of all religion is the propitiation of dead ancestors who are supposed still to exist, some kind offête des mortswas probably the oldest of religious feasts. A theory has been started, to the effect thatthe time of its appointment has been widely influenced by the rising of the Pleiades, in support of which is cited the curious fact that the Australians and Society Islanders keep the celebration in November, though with them November is a spring month. But this may be no more than a coincidence. In ancient Rome, in Russia, in China, the tendency has been to commemorate the dead in the season of resurrection.
The Letts and Esthonians observe the Feast of Souls, by spreading a banquet of which they suppose their spirit relatives to partake; they put torches on the graves to light the ghosts to the repast, and they imagine every sound they hear through the day to be caused by the movements of the invisible guests. Both these people celebrate death-watches with much singing and drinking, the Esthonians addressing long speeches to the dead, and asking him why he did not stay longer, if his puddro (gruel) was not to his taste, &c., precisely after the style of the keeners of less remote parts. In some countries the entire system of life would seem to be planned and organised mainly with a view to honouring the dead. In Albania, for example, one of the foremost objects pursued by the peasantry is that of marrying their daughters near home; not so much from any affectionate unwillingness to part with them, as in order to secure their attendance at thevaïor lamentations which take place on the death of a member of the family; and so rigorous are the mourning regulations, that even married women who have lost their fathers remain year after year shut up in houses deprived of light and draped in black—they may not even go out to church. The Albanian keens are not always versified;they sometimes consist simply in the endless reiteration of a single phrase. M. Auguste Dozon reports that he was at one time constantly hearing "les hurlements" of a poor Mussulman widow who bewailed two sons; on certain anniversaries she took their clothes out of a chest, and, placing them before her, she repeated, without intermission,χαλασια μον. The Greeks have the somewhat analogous practice, on the recurrence of the death-days of their dear ones, of putting their lips close to the graves and whispering to their silent tenants that they still love them.
The near relations in Greece leave their dwelling, as soon as they have closed the eyes of the dead, to take refuge in the house of a friend, with whom they sojourn till the more distant connections have had time to arrive, and the body is dressed in holiday gear. Then they return, clothe themselves in white dresses, and take up their position beside the bier. After some inarticulate wailing, which is strenuously echoed back by the neighbours, the dirge is sung, the chief female mourner usually leading off, and whosoever feels disposed following wake. When the body is lowered into the earth, the best-beloved of the dead—his mother or perhaps his betrothed—stoops down to the ground and imploringly utters his name, together with the word "Come!" On his making no reply, he is declared to be indeed dead, and the grave is closed.1The usage points to aprobability that all the exhortations to awaken and to return with which the dirges of every nation are interlarded are remnants of ancient makeshifts for a medical certificate of death; and we may fancy with what breathless excitement these apostrophes were spoken in former days when they were accompanied by an actual, if faint, expectation that they would be heard and answered. It is conceivable that the complete system of making as much noise as possible at funerals may be derived from some sort of notion that the uproar would wake the dead if he were not dead at all, but sleeping. As elsewhere, so in Greece, the men take no part in the proceedings beyond bidding one last farewell just before they retire from the scene. Præficæ are still employed now and then; but the art of improvisation seems to be the natural birthright of Greek peasant women, nor do they require the inspiration of strong grief to call their poetic gifts into operation; it is stated to be no unusual thing to hear a girl stringing elegies over some lamb, or bird, or flower, which may have died, while she works in the fields. The Greeks send communications and even flowers by the dead to the dead: "Now is the time," the folk-poet makes one say whose body is about to be buried, "for you to give me any messages or commissions; and if your grief is too poignant for utterance, write it down on paper and bring me the letter." The Greek neniæ are marked by great vigour and variety of imageryas is apparent in the subjoined extract from the dirge of a poor young country-woman who was left a widow with two children:—
"The other day I beheld at our threshold a youth of lofty stature and threatening mien; he had out-stretched wings of gleaming white, and in his hand was a sword. 'Woman, is thy husband in the house?' 'Yes; he combs our Nicos' hair, and caresses him so he may not cry. Go not in, terrible youth; do not frighten our babe.' The white-winged would not listen; I tried to drive him back, but I could not; he darted past me, and ran to thy side, O my beloved. Hapless one, he smote thee; and here is thy little son, thy tiny Nicos, whom likewise he was fain to strike." ...
So vivid was the impression created by the woman's fantasy that some of the spectators looked towards the door, half expecting the white-winged visitant to advance in their midst; others turned to the child, huddled by his mother's knees. She, coming down from flights of imagination to the bitter realities of her condition, exclaimed, as she flung herself sobbing upon the bier: "How can I maintain the children? How will they be able to live? What will they not suffer in the contrast between the rough lot in store for them and the tender care which guarded them in the happy days when their father lived?" At last, worn out by the force of her emotions, she sank senseless to the floor. The laments of widows, which are very rare in some localities, are often to be met with in Greece. In one of them we come upon an original idea respecting the requirements of spirits: the singer prays that her tears may swell into a lake or a sea, sothey may trickle through the earth to the nether regions, to moisten those who get no rain, to be drink to those who thirst, and—to fill up the dry inkstands of the writers! "Then will they be able to chronicle the chagrins of the loved ones who cross the river, taste its wave, and forget their homes and their poor orphans." Every species of Grecian peasant-song abounds in classical reminiscences, which are easy to identify, although they betray some mental confusion of the attributes and functions belonging to the personages of antiquity. Of all the early myths, that of the Stygian ferryman is the one which has shown greatest longevity. Far from falling into oblivion, the son of Erebus has gone on diligently accumulating honours till he has managed to get the arbitrament of life and death into his power, and to enlist the birds of the air as a staff of spies, to give him prompt information should any unlucky individual refer to him in a tone of mockery or defiance. Perhaps this is not development but reversion. Charon may have been a great Infernal deity before he was a boatman. The Charun of the Etruscans could destroy life and torment the guilty—the office of conducting shades to the other world forming only one part of his duties.
The opinion of Achilles, that it was better to be a slave amongst men than a king over ghosts, is very much that which prevails in the Greece of to-day. Visions of a Christian paradise above the skies have much less hold on the popular mind than dread of a pagan Tartarus under the earth; and that full conviction that after all it was a very bad thing to die, that tendency to attach a paramount value to life,per se, andquand même, which constituted so significant a feature of the old Greeks, is equally characteristic of their modern representatives. The next world of the Romaic songs is far from being a place "where all smiles and is glad;" the forebodings of the Corsican's Chilina's mother are common enough here in Greece. "Rejoice in the present world, rejoice in the passing day," runs aμυρολόγιον, quoted by Fauriel; "to-morrow you will be under the sod, and will behold the day no more." Down in Tartarus youths and maidens spend their time dismally in asking if there be yet an earth and a sky up above. Are there still churches and golden icons? Do people continue to work at their several trades? "Blessed are the mountains and the pastures," it is said, "where we meet not Charon." The parents of a dying girl ask of her why she is resolved to hasten into the other world where the cock crows not, and the hen clucks not; where there is no water and no grass, and where the hungry find it impossible to eat, and the tired are incapable of sleep. Why is she not content to abide at home? The girl replies she cannot, for yesterday, in the late evening, she was married, and her consort is the tomb. That is the peasant elegist's way of speaking of a sudden death, caused very likely by the chill of nightfall. Of another damsel, who succumbed to a long illness, "who had suffered as none before suffered under the sun," he narrates how she pressed her father's hand to her heart, saying: "Alas! my father, I am about to die." She clasped her mother's hand to her breast, saying: "Alas! my mother, I am about to die." Then she sent for her betrothed, and she bentover him and kissed him, and whispered softly into his ear: "Oh, my friend, when I am dead deck my grave as you would have decked my nuptial bed." We find in Greek poesy the universal legend of the lover who kills himself on hearing of the death of his mistress; but, as a rule, the regret of survivors is depicted as neither desperate nor durable. Long ago, three gallant youths plotted together to contrive an escape from Hades, and a fair-haired maiden prayed that they would take her with them; she did so wish to see her mother mourning her loss, her brothers weeping because she is no more. They answered: "As to thy brothers, poor girl, they are dancing, and thy mother diverts herself with gossiping in the street." The mournfully beautiful music that Schubert wedded to Claudius's little poemDer Tod und das Mädchenmight serve as melodious expression to many a one of these Grecian lays of dead damsels. Death will not halt because he hears a voice crying: "Tarry, I am still so young!" The future is as irrevocably fixed as the past; and if fate deals hardly by mortals, there is nothing to fall back upon but the sorry resignation of despair; such is the sombre folk philosophy of the land of eternal summer. Perhaps it is the very brightness of the sky and air that makes the quitting of this mortal coil so unspeakably grievous. The most horribly painful idea associated with death in the mind of the modern as of the ancient Greek is the idea of darkness, of separation from what Dante, yet more Greek than Italian in his passionate sun-worship, describes in a line which seems somehow to hold incarnate the thing it tells of—
. . .l'aer dolce che dal sol s'allegra.
. . .l'aer dolce che dal sol s'allegra.
. . .l'aer dolce che dal sol s'allegra.
It is worth noting that, whether the view entertained of immortality be cheerful or the reverse, in the songs of Western nations the disembodied soul is universally taken to be the exact duplicate of the creature of flesh and blood, in wants, tastes, and semblance. The European folk-singer could no more grasp a metaphysical conception of the eternity of spirit, such as that implied in the grand Indian dirge which craves everlasting good for the "unborn part" in man, than he would know what to make of the scientific theory of the indestructibility of matter shadowed forth in the ordinary Sanskrit periphrases for death, signifying "the resolution of the body into its five elementary constituents."
Among the Greek-speaking inhabitants of Southern Italy a peculiar metre is set apart to the composition of the neniæ, and the office of public wailer is transmitted from mother to daughter; so that the living præficæ are the lineal descendants of the præficæ who lived of old in the Grecian Motherland. Unrivalled in the matter of her improvisations as in the manner of their delivery, the hereditary dirge-singer no doubt, like a good actress, keenly realises at the moment the sorrow not her own, of which she undertakes the interpretation in return for a trifling gratuity, and to her hearers she appears as the genius or high priestess of woe: she excites them into a whirlwind of ecstatic paroxysms not greatly differing from kindred phenomena vouched for by the historians of religious mysticism. There are, however, one or two of the Græco-Italic death-songs which bear too clear and touching a stamp of sincerity for us to attribute them even to the most skilled of hired "sobbing ones." There isno savour of vicarious mourning in the plaint of the desolate girl, who says to her dead mother that she will wait for her, so that she may tell her how she has passed the day: at eight she will await her, and if she does not come she will begin to weep; at nine she will await her, and if she comes not she will grow black as soot; at ten she will await her, and if she does not come at ten she will turn to earth, to earth that may be sown in. And it is difficult to believe that aught save the anguish of a mother's broken heart could have quickened the senses of an ignorant peasant to the tragic intensity of the following lament:
Now they have buried thee, my little one,Who will make thy little bed?Black Death will make it for meFor a very long night.Who will arrange thy pillows,So thou mayst sleep softly?Black Death will arrange them for meWith hard stones.Who will awake thee, my daughter,When day is up?Down here it is always sleep,Always dark night.This my daughter was fair.When I went (with her) to high mass,The columns shone,The way grew bright.
Now they have buried thee, my little one,Who will make thy little bed?Black Death will make it for meFor a very long night.Who will arrange thy pillows,So thou mayst sleep softly?Black Death will arrange them for meWith hard stones.Who will awake thee, my daughter,When day is up?Down here it is always sleep,Always dark night.This my daughter was fair.When I went (with her) to high mass,The columns shone,The way grew bright.
Now they have buried thee, my little one,
Who will make thy little bed?
Black Death will make it for me
For a very long night.
Who will arrange thy pillows,
So thou mayst sleep softly?
Black Death will arrange them for me
With hard stones.
Who will awake thee, my daughter,
When day is up?
Down here it is always sleep,
Always dark night.
This my daughter was fair.
When I went (with her) to high mass,
The columns shone,
The way grew bright.
The neniæ of Terra d'Otranto and of Calabria are not uncommonly composed in a semi-dramatic form. Professor Comparetti cites one, in which the friend of a dead girl is represented as going to pay her a visit, in ignorance of the misfortune that has happened.She sees a crowd at the door, and she exclaims: "How many folks are in thy house! they come from all the neighbourhood; they are bidden by thy mother, who shows thee the bridal array!" But on crossing the threshold she finds that the shutters are closed: "Alas!" she cries, "I deceive myself—I enter into darkness." Again she repeats: "How many folks are in thy house! All Corigliano is there." The mother says: "My daughter has bidden them by the tolling of the bell." Then the daughter is made to ask: "What ails thee, what ails thee, my mother? wherefore dost thou rend thy hair?" The mother rejoins: "I think of thee, my daughter, of how thou liest down in darkness." "What ails thee, what ails thee, my mother, that all around one can hear thee wailing?" "I think of thee, my daughter, of how thou art turned black as soot." A sort of chorus is appended: "All, all the mothers weep and rend their hair: let them weep, the poor mothers who lose their children." Here are the last four lines as they were originally set on paper:
Ole sole i mane i clueneIsirnune anapota ta maddia,Afi nà clapsune tio mane miserePu ichannune ta pedia!
Ole sole i mane i clueneIsirnune anapota ta maddia,Afi nà clapsune tio mane miserePu ichannune ta pedia!
Ole sole i mane i cluene
Isirnune anapota ta maddia,
Afi nà clapsune tio mane misere
Pu ichannune ta pedia!
Professor Comparetti has shaped them into looking more like Greek:
Ολαις,ὅλαιςῃμάναιἠκλαίουνε᾿Ησρνουνε ἀνάποδα τὰ μαλλιά῎Αφησε νὰ κλάψουνε ταῖς μάναιςmisereΠοῦ ἠχἁνουνε τὰ παιδιἁ
Ολαις,ὅλαιςῃμάναιἠκλαίουνε᾿Ησρνουνε ἀνάποδα τὰ μαλλιά῎Αφησε νὰ κλάψουνε ταῖς μάναιςmisereΠοῦ ἠχἁνουνε τὰ παιδιἁ
Ολαις,ὅλαιςῃμάναιἠκλαίουνε
᾿Ησρνουνε ἀνάποδα τὰ μαλλιά
῎Αφησε νὰ κλάψουνε ταῖς μάναιςmisere
Ποῦ ἠχἁνουνε τὰ παιδιἁ
In his "Tour through the Southern Provinces ofthe Kingdom of Naples," the Hon. R. Keppel Craven gave an account of a funeral at Corigliano. The deceased, a stout, swarthy man of about fifty, had been fond of field sports; he was, therefore, laid on his open bier in the dress of a hunter. When the procession passed the house of a friend of the dead man, it halted as a mark of respect, and the friend got up from his dinner and looked out for a few minutes, afterwards philosophically returning to the interrupted meal. The busy people in the street, carpenters, blacksmiths, cobblers, and fruitsellers, paused from their several occupations—all carried on, as usual, in the open air, when the dismal chant of the priests announced the approach of the funeral, resuming them with redoubled energy as soon as it had moved on. A group of weeping women led the widow, whose face was pale and motionless as a statue; her black tresses descended to her knees, and at regular intervals she pulled out two or three hairs—the women instantly taking hold of her hands and replacing them by her side, where they hung till the operation was next repeated.
The practice of plucking out the hair was so general in the last century that even at Naples the old women had hardly a hair left from out-living many relations. It was proper also to observe the day of burial as a fast day. Two unlucky women near Salerno lost their characters for ever because the dog of a visitor who had come to condole, sniffed out a dish of tripe which had been hastily thrust into a corner.
The Italian, or rather Calabrese-speaking population of Calabria, call their preficæ—where they still have any—Reputatrici. Some remarkable songs havebeen collected in the commune of Pizzo, the place of dubious fame by whose peasants Murat was caught and betrayed. There is something Dantesque in the image of Death as'nu gran levrericrouching in a mountain defile:
Joy, I saw death; Joy, I saw her yesterday; I beheld her in a narrow way, like unto a great greyhound, and I was very curious. "Death, whence comest thou?" "I am come from Germany, going thence to Count Roger. I have killed princes, counts, and cavaliers; and now I am come for a young maiden so that with me she may go".Weep, mamma, weep for me, weep and never rest; weep for me Sunday, Easter, and Christmas Day; for no more wilt thou see thy daughter sit down at thy board to eat, and no more shalt thou await me.
Joy, I saw death; Joy, I saw her yesterday; I beheld her in a narrow way, like unto a great greyhound, and I was very curious. "Death, whence comest thou?" "I am come from Germany, going thence to Count Roger. I have killed princes, counts, and cavaliers; and now I am come for a young maiden so that with me she may go".
Weep, mamma, weep for me, weep and never rest; weep for me Sunday, Easter, and Christmas Day; for no more wilt thou see thy daughter sit down at thy board to eat, and no more shalt thou await me.
One conclusion forced upon us incidentally by folk-dirges must seem strange when we remember how few are the cultured poetesses who have attained eminence—to wit, that with the unlettered multitude the poetic faculty is equally the property of women as of men.
In various parts of Italy the funerals of the poor are conducted exclusively by those of like sex with the dead—a custom of which I first took note at Varese in the year 1879. The funeral procession came up slowly by the shady paths near the lake; long before it appeared one could hear the sound of shrill voices chanting a litany. When it got near to the little church of S. Vittore, it was seen that only women followed the bier, which was carried by women. "Una povera donna morta in parto," said a peasant standing by, as she pointed to the coffin with a gesture of sympathy. The mourners had black shawls thrown over their heads and bore tapers. Asight yet stranger to unaccustomed eyes is the funeral of a child at Spezia. A number of little girls, none older than eleven or twelve, some as young as five, carry the small coffin to the cemetery. Some of the children hold candles; they are nicely dressed in their best frocks; the sun plays on their bare black or golden curls. They have the little serious look of children engaged in some business of work or play, but no look of gloom or sadness. The coffin is covered with a white pall on which lies a large nosegay. No priests or elder persons are there except one man, walking apart, who has to see that the children go the right way. About twenty children is the average number, but there may be sometimes a hundred. When they return, running across the grass between the road and the sea-wall, they tumble over one another in the scramble to snatch daisies from the ground.
It is still common in Lombardy to ring the bellsd'allegrezzaon the death of an infant, "because its soul goes straight to Paradise." This way of ringing, or, rather, chiming, consists in striking the bell with a clapper held in the hand, when a light, dancing sound is produced, something like that of hand-bells. On a highfestaall the bells are used; for dead babies, only two. I have often heard the sad message sounding gaily from the belfry at Salò.
Were I sure that all these songs of the Last Parting would have for others the same interest that they have had for me, I should be tempted to add a study dedicated solely to the dirges of savage nations and of those nations whose civilization has not followed the same course as ours. I must, at all events, indicate the wonderfullystrange and wild Polynesian "Death-talks" and "Evas" (dirges proper) collected by the Rev. W. W. Gill. The South Pacific Islanders say of the dying, "he is passing over the sea." Their dead set out in a canoe on a long and perilous voyage to the regions of the sun-setting. When they get there, alas!—when they reach the mysterious spirit-land, a horrid doom awaits them: children and old men and women—all, in short, who have not died in battle, are devoured by a dreadful deity, and perish for ever. But this fate does not overtake them immediately; for a time they remain in a shadowy intermediate state till their turn comes. The spirit-journey is described in a dirge for two little children, composed by their father about the year 1796:
"Thy god,2pet-child, is a bad one;For thy body is attenuated;This wasting sickness must end thy days.Thy form, once so plump, now how changed!Ah! that god, that bad god!Inexpressibly bad, my child!. . . . . .Thou hast entered the expanse;And wilt visit 'the land of red parrot feathers,'Where Oārangi was once a guest.Thou feedest now on ocean spray,And sippest fresh water out of the rocks,Travelling over rugged cliffs,To the music of murmuring billows.Thy exile spirit is overtakenBy darkness at the ocean's edge.Fourapapa3there sleeps. All three4Stood awhile to gaze wistfullyAt the glories of the setting sun."
"Thy god,2pet-child, is a bad one;For thy body is attenuated;This wasting sickness must end thy days.Thy form, once so plump, now how changed!Ah! that god, that bad god!Inexpressibly bad, my child!
"Thy god,2pet-child, is a bad one;
For thy body is attenuated;
This wasting sickness must end thy days.
Thy form, once so plump, now how changed!
Ah! that god, that bad god!
Inexpressibly bad, my child!
. . . . . .
. . . . . .
Thou hast entered the expanse;And wilt visit 'the land of red parrot feathers,'Where Oārangi was once a guest.Thou feedest now on ocean spray,And sippest fresh water out of the rocks,Travelling over rugged cliffs,To the music of murmuring billows.Thy exile spirit is overtakenBy darkness at the ocean's edge.Fourapapa3there sleeps. All three4Stood awhile to gaze wistfullyAt the glories of the setting sun."
Thou hast entered the expanse;
And wilt visit 'the land of red parrot feathers,'
Where Oārangi was once a guest.
Thou feedest now on ocean spray,
And sippest fresh water out of the rocks,
Travelling over rugged cliffs,
To the music of murmuring billows.
Thy exile spirit is overtaken
By darkness at the ocean's edge.
Fourapapa3there sleeps. All three4
Stood awhile to gaze wistfully
At the glories of the setting sun."
There is much more, but this is perhaps sufficient to show the particular note struck.
I will give, in its entirety, one more dirge—the death-chant of the tribe of Badagas, in the Neilgherry Hills—because it is unique, so far as I know, in reversing the rulede mortius, and in charging, instead, the dead man with every sin, to make sure that none are omitted of which he is actually guilty. It is accompanied by a singular ceremony. An unblemished buffalo-calf is led into the midst of the mourners, and as after each verse they catch up and repeat the refrain, "It is a sin!" the performer of the dirge lays his hand upon the calf, to which the guilt is transferred. At the end the calf is let loose; like the Jewish scape-goat, it must be used for no secular work; it bears the sins of a human being, and is sacred till death. The English version is by Mr C. E. Gover, who has done so much for the preservation of South-Indian folk-songs.
In the presence of the great Bassava,Who sprang from Banigé the holy cow.The dead has sinned a thousand times.E'en all the thirteen hundred sinsThat can be done by mortal menMay stain the soul that fled to-day.Stay not their flight to God's pure feet.Chorus—Stay not their flight.He killed the crawling snakeChorus—It is a sin.The creeping lizard slew.It is a sin.Also the harmless frog.It is a sin.Of brothers he told tales.It is a sin.The landmark stone he moved.It is a sin.Called in the Sircar's aid.5It is a sin.Put poison in the milk.It is a sin.To strangers straying on the hills,He offered aid but guided wrong.It is a sin.His sister's tender love he spurnedAnd showed his teeth to her in rage.It is a sin.He dared to drain the pendent teatsOf holy cow in sacred fold.It is a sin.The glorious sun shone warm and brightHe turned its back towards its beams.6It is a sin.Ere drinking from the babbling brook,He made no bow of gratitude.It is a sin.His envy rose against the manWho owned a fruitful buffalo.It is a sin.He bound with cords and made to ploughThe budding ox too young to work.It is a sin.While yet his wife dwelt in his houseHe lusted for a younger bride.It is a sin.The hungry begged—he gave no meat,The cold asked warmth—he lent no fire.It is a sin.He turned relations from his door,Yet asked unworthy strangers home.It is a sin.The weak and poor called for his aid,He gave no alms, denied their woe.It is a sin.When caught by thorns, in useless rageHe tore his cloth from side to side.It is a sin.The father of his wife sat on the floorYet he reclined on bench or couch.It is a sin.He cut the bund around a tank,Set free the living water's store.It is a sin.What though he sinned so much,Or that his parents sinned?What though the sins' long scoreWas thirteen hundred crimes?O let them every one,Fly swift to Bas'va's feet.Chorus—Fly swift.The chamber dark of deathShall open to his soul.The sea shall rise in waves;Surround on every side,But yet that awful bridgeNo thicker than a thread,Shall stand both firm and strong.The dragon's yawning mouthIs shut—it brings no fear.The palaces of heavenThrow open wide their doors.Chorus—Open wide their doors.The thorny path is steep,Yet shall his soul go safe.The silver pillar standsSo near—he touches it.He may approach the wallThe golden wall of heaven.The burning pillar's flameShall have no heat for him.Chorus—Shall have no heat.Oh let us never doubtThat all his sins are gone,That Bassava forgives.May it be well with him!Chorus—May it be well!Let all be well with him!Chorus—Let all be well.
In the presence of the great Bassava,Who sprang from Banigé the holy cow.
In the presence of the great Bassava,
Who sprang from Banigé the holy cow.
The dead has sinned a thousand times.E'en all the thirteen hundred sinsThat can be done by mortal menMay stain the soul that fled to-day.Stay not their flight to God's pure feet.Chorus—Stay not their flight.
The dead has sinned a thousand times.
E'en all the thirteen hundred sins
That can be done by mortal men
May stain the soul that fled to-day.
Stay not their flight to God's pure feet.
Chorus—Stay not their flight.
He killed the crawling snakeChorus—It is a sin.
He killed the crawling snake
Chorus—It is a sin.
The creeping lizard slew.It is a sin.
The creeping lizard slew.
It is a sin.
Also the harmless frog.It is a sin.Of brothers he told tales.It is a sin.The landmark stone he moved.It is a sin.Called in the Sircar's aid.5It is a sin.Put poison in the milk.It is a sin.To strangers straying on the hills,He offered aid but guided wrong.It is a sin.His sister's tender love he spurnedAnd showed his teeth to her in rage.It is a sin.He dared to drain the pendent teatsOf holy cow in sacred fold.It is a sin.The glorious sun shone warm and brightHe turned its back towards its beams.6It is a sin.Ere drinking from the babbling brook,He made no bow of gratitude.It is a sin.His envy rose against the manWho owned a fruitful buffalo.It is a sin.He bound with cords and made to ploughThe budding ox too young to work.It is a sin.While yet his wife dwelt in his houseHe lusted for a younger bride.It is a sin.The hungry begged—he gave no meat,The cold asked warmth—he lent no fire.It is a sin.He turned relations from his door,Yet asked unworthy strangers home.It is a sin.The weak and poor called for his aid,He gave no alms, denied their woe.It is a sin.When caught by thorns, in useless rageHe tore his cloth from side to side.It is a sin.The father of his wife sat on the floorYet he reclined on bench or couch.It is a sin.He cut the bund around a tank,Set free the living water's store.It is a sin.
Also the harmless frog.
It is a sin.
Of brothers he told tales.
It is a sin.
The landmark stone he moved.
It is a sin.
Called in the Sircar's aid.5
It is a sin.
Put poison in the milk.
It is a sin.
To strangers straying on the hills,
He offered aid but guided wrong.
It is a sin.
His sister's tender love he spurned
And showed his teeth to her in rage.
It is a sin.
He dared to drain the pendent teats
Of holy cow in sacred fold.
It is a sin.
The glorious sun shone warm and bright
He turned its back towards its beams.6
It is a sin.
Ere drinking from the babbling brook,
He made no bow of gratitude.
It is a sin.
His envy rose against the man
Who owned a fruitful buffalo.
It is a sin.
He bound with cords and made to plough
The budding ox too young to work.
It is a sin.
While yet his wife dwelt in his house
He lusted for a younger bride.
It is a sin.
The hungry begged—he gave no meat,
The cold asked warmth—he lent no fire.
It is a sin.
He turned relations from his door,
Yet asked unworthy strangers home.
It is a sin.
The weak and poor called for his aid,
He gave no alms, denied their woe.
It is a sin.
When caught by thorns, in useless rage
He tore his cloth from side to side.
It is a sin.
The father of his wife sat on the floor
Yet he reclined on bench or couch.
It is a sin.
He cut the bund around a tank,
Set free the living water's store.
It is a sin.
What though he sinned so much,Or that his parents sinned?What though the sins' long scoreWas thirteen hundred crimes?O let them every one,Fly swift to Bas'va's feet.Chorus—Fly swift.
What though he sinned so much,
Or that his parents sinned?
What though the sins' long score
Was thirteen hundred crimes?
O let them every one,
Fly swift to Bas'va's feet.
Chorus—Fly swift.
The chamber dark of deathShall open to his soul.The sea shall rise in waves;Surround on every side,But yet that awful bridgeNo thicker than a thread,Shall stand both firm and strong.The dragon's yawning mouthIs shut—it brings no fear.The palaces of heavenThrow open wide their doors.Chorus—Open wide their doors.
The chamber dark of death
Shall open to his soul.
The sea shall rise in waves;
Surround on every side,
But yet that awful bridge
No thicker than a thread,
Shall stand both firm and strong.
The dragon's yawning mouth
Is shut—it brings no fear.
The palaces of heaven
Throw open wide their doors.
Chorus—Open wide their doors.
The thorny path is steep,Yet shall his soul go safe.The silver pillar standsSo near—he touches it.He may approach the wallThe golden wall of heaven.The burning pillar's flameShall have no heat for him.Chorus—Shall have no heat.
The thorny path is steep,
Yet shall his soul go safe.
The silver pillar stands
So near—he touches it.
He may approach the wall
The golden wall of heaven.
The burning pillar's flame
Shall have no heat for him.
Chorus—Shall have no heat.
Oh let us never doubtThat all his sins are gone,That Bassava forgives.May it be well with him!Chorus—May it be well!Let all be well with him!Chorus—Let all be well.
Oh let us never doubt
That all his sins are gone,
That Bassava forgives.
May it be well with him!
Chorus—May it be well!
Let all be well with him!
Chorus—Let all be well.
Surely an impressive burial service to have been found in use amongst a poor little obscure tribe of Indian mountaineers!
It cannot be said that this moral attitude is often reached. Research into funeral rites, of whatever nature, confronts us with much that would be ludicrous were it not so very pitiful, for humanity has displayed a fatal tendency to rush into the committal of ghastly absurdities by way of showing the most sacred kind of grief. Yet, take them all in all, the death laments of the people form a striking and beautiful manifestation of such homage as "Life may give for love to death."
Footnote 1:"Calling the dead" was without doubt once general amongst all classes—which may be true of all the customs that we are now inclined to associate with only the very poor. In the striking mediæval ceremonial performed at the entombment of King Alfonso in the vault at the Escurial, the final act was that of the Lord Chamberlain, who unlocked the coffin, and in the midst of profound silence shouted into the king's ear, "Señor, Señor, Señor." After which he rose, saying, "His majesty does not answer. Then it is true the king is dead."
Footnote 2:The child's "personal fate."
Footnote 3:The brother.
Footnote 4:A little sister had died before.
Footnote 5:He had recourse to the Rajahs, whose courts under the old régime, had become a byeword for oppression and corruption.
Footnote 6:CompareInferno, Canto vii.
Alecsandri, Vasile. Poesii Populare ale Romanilor. 1867.—— Les Doïnas. Poésies Moldaves. 1855.Alexander, Francesca. Roadside Songs of Tuscany (in ten parts, edited by John Ruskin, LL.D.). 1885.Arbaud, Damase. Chants Populaires de la Provence. 2 vols 1864.Armana Provençau. 1870.Avolio, Corrado. Canti Popolari di Noto. 1875.Bernoni, Dom. Giuseppe. Canti Populari Veneziani. 1873.—— Preghiere Populari Veneziane. 1873.—— Leggende Fantastiche Populari Veneziane. 1873.Bladé, J. Poésies Populaires de la Gascogne. 3 vols.Boullier, Auguste. Le Dialecte et les Chants Populaires de la Sardaigne. 1864.Burton, Richard. Wit and Wisdom from West Arica. 1865.Cardona, Enrico. Dell' Antica Letteratura Catalana. 1878.Champfleury. Chansons Populaires des Provinces de France. 1860.Comparetti, Prof. D. Saggi de' Dialetti Greci dell' Italia Meridionale. 1866.Constantinescu, Dr B. Probe de Limba si Literatura Tiganilor din Romania. 1878.Dalmedico, A. Canti del Popolo di Chioggia. 1872.—— Ninne-Nanne e Giuochi Infantile Veneziani. 1871.Davies, William. The Pilgrimage of the Tiber. 1874. (Popular Songs of the Tiberine District.)D'Ancona, Prof. A. Origini del Teatro in Italia. 2 vols. 1877.—— La Poesia Popolare Italiana. 1878.Day, Rev. Lal Behari. Folk-Tales of Bengal. 1883.Dorsa, Prof. V. La Tradizione Greco-Latina negli usi e nelle Credenze Popolari della Calabria Citeriore. 2d Ed. 1884.Dozon, Auguste. Poésies Populaires Serbes. 1859. —— Chansons Populaires Bulgares Inédites. 1875.Dumersan et Colet. Chants et Chansons Populaires de la France.Fauriel, C. Chansons Populaires de la Grèce. 2 vols. 1824.Ferraro, Dr G. Canti Popolari Monferrini. 1870.Fissore, G. Canti Popolari dell' Allemagna. 1857.Flugi, Alfons von. Die Volkslieder des Engadin. 1873.Gill, Rev. W.W. Myths and Songs from the South Pacific. 1876.Gonzenbach, Laura. Sicilianische Märchen. 1870.Gover, Charles E. The Folk-Songs of Southern India. 1872.Grimm, Jacob. Deutsche Mythologie. Vierte Ausgabe Besorgt von Elard Hugo Meyer. 3 vols. 1875-7-8.Gubernatis, Conte A. de. Storia Comparata degli usi Natalizi in Italia e presso gli altri Popoli Indo-Europei. 1878.Imbriani, V., and Casetti, A. Canti Popolari delle Provincie Meridionali. 2 vols. 1871.Issaverdenz, Dr G. Armenian Popular Songs. 1867.Ive, Antonio. Canti Popolari Istriani. 1877.Kolberg, Oskar. Pièsni Luder Polskiego. 1857.Kuhff, Prof. P. Les Enfantines du "Bon Pays de France." 1878.Latham, R.G. The Nationalities of Europe (Estonian Poetry). 1863.Leger, Louis. Chants Héroïques et Chansons Populaires des Slaves de Bohême. 1866.Lizio-Bruno, Prof. Canti Popolari delle Isole Eolie. 1871.Mandalari, Mario. Canti del Popolo Reggino. 1881.Marcellus, Ctede. Chants Populaires de la Grèce Moderne. 1860.Marcoaldi, Oreste. Canti Popolari inediti. 1855.Marmier, X. Chants Populaires du Nord. 1842.Moncaut, Cénac. Littérature Populaire de la Gascogne. 1868.Morosi, Dr Giuseppe. Studi sui Dialetti Greci della Terra d'Otranto, 1870.—— I Dialetti Romaici del Dialetto di Bova in Calabria. 1874.Nerucci, G. Sessanta Novelle Popolari Montalesi. 1880.Nigra, Conte Constantino. Canzone Popolari del Piemonte. Rivista Contemporanea: fascicoli lxxiv. and lxxxvi. 1860-1.Nino, A. de. Usi Abruzzesi. 3 vols. 1879, 1881-3.Ortoli, Frédéric. Les Contes Populaires de l'île de Corse. 1883.Pellegrini, Prof. Astorre. Il Dialetto Greco-Calabro di Bova. 1880.—— La Poesia di Bova. 1881.Pitrè, Cav. Dr Giuseppe. Studi di Poesia Popolare. 1872.—— Biblioteca delle Tradizioni Popolari Siciliane. 13 vols.Ralston, W. R. S. The Songs of the Russian People. 1872.Righi, Ettore-Scipione. Canti Popolari Veronesi. 1863.Rink, Dr R. Tales and Traditions of the Eskimo. 1875.Rosa, Gabriele. Dialetti, Costumi e Tradizioni nelle Provincie di Bergamo e di Brescia. Jerza edizione. 1870.Salomone-Marino, S. Canti Popolari Siciliani. 1867.Stokes, Maive. Indian Fairy Tales. 1880.Symonds, T. Addington. Sketches in Italy and Greece.(Popular Songs of Tuscany.) 1874.Thorpe, B. Northern Mythology. 1851.Tigri, G. Canti Popolari Toscani. Terza ediz. 1869.Tommaseo, N. Canti Popolari Toscani, Corsi, Illirici, Greci. 1841.
Alecsandri, Vasile. Poesii Populare ale Romanilor. 1867.
—— Les Doïnas. Poésies Moldaves. 1855.
Alexander, Francesca. Roadside Songs of Tuscany (in ten parts, edited by John Ruskin, LL.D.). 1885.
Arbaud, Damase. Chants Populaires de la Provence. 2 vols 1864.
Armana Provençau. 1870.
Avolio, Corrado. Canti Popolari di Noto. 1875.
Bernoni, Dom. Giuseppe. Canti Populari Veneziani. 1873.
—— Preghiere Populari Veneziane. 1873.
—— Leggende Fantastiche Populari Veneziane. 1873.
Bladé, J. Poésies Populaires de la Gascogne. 3 vols.
Boullier, Auguste. Le Dialecte et les Chants Populaires de la Sardaigne. 1864.
Burton, Richard. Wit and Wisdom from West Arica. 1865.
Cardona, Enrico. Dell' Antica Letteratura Catalana. 1878.
Champfleury. Chansons Populaires des Provinces de France. 1860.
Comparetti, Prof. D. Saggi de' Dialetti Greci dell' Italia Meridionale. 1866.
Constantinescu, Dr B. Probe de Limba si Literatura Tiganilor din Romania. 1878.
Dalmedico, A. Canti del Popolo di Chioggia. 1872.
—— Ninne-Nanne e Giuochi Infantile Veneziani. 1871.
Davies, William. The Pilgrimage of the Tiber. 1874. (Popular Songs of the Tiberine District.)
D'Ancona, Prof. A. Origini del Teatro in Italia. 2 vols. 1877.
—— La Poesia Popolare Italiana. 1878.
Day, Rev. Lal Behari. Folk-Tales of Bengal. 1883.
Dorsa, Prof. V. La Tradizione Greco-Latina negli usi e nelle Credenze Popolari della Calabria Citeriore. 2d Ed. 1884.
Dozon, Auguste. Poésies Populaires Serbes. 1859. —— Chansons Populaires Bulgares Inédites. 1875.
Dumersan et Colet. Chants et Chansons Populaires de la France.
Fauriel, C. Chansons Populaires de la Grèce. 2 vols. 1824.
Ferraro, Dr G. Canti Popolari Monferrini. 1870.
Fissore, G. Canti Popolari dell' Allemagna. 1857.
Flugi, Alfons von. Die Volkslieder des Engadin. 1873.
Gill, Rev. W.W. Myths and Songs from the South Pacific. 1876.
Gonzenbach, Laura. Sicilianische Märchen. 1870.
Gover, Charles E. The Folk-Songs of Southern India. 1872.
Grimm, Jacob. Deutsche Mythologie. Vierte Ausgabe Besorgt von Elard Hugo Meyer. 3 vols. 1875-7-8.
Gubernatis, Conte A. de. Storia Comparata degli usi Natalizi in Italia e presso gli altri Popoli Indo-Europei. 1878.
Imbriani, V., and Casetti, A. Canti Popolari delle Provincie Meridionali. 2 vols. 1871.
Issaverdenz, Dr G. Armenian Popular Songs. 1867.
Ive, Antonio. Canti Popolari Istriani. 1877.
Kolberg, Oskar. Pièsni Luder Polskiego. 1857.
Kuhff, Prof. P. Les Enfantines du "Bon Pays de France." 1878.
Latham, R.G. The Nationalities of Europe (Estonian Poetry). 1863.
Leger, Louis. Chants Héroïques et Chansons Populaires des Slaves de Bohême. 1866.
Lizio-Bruno, Prof. Canti Popolari delle Isole Eolie. 1871.
Mandalari, Mario. Canti del Popolo Reggino. 1881.
Marcellus, Ctede. Chants Populaires de la Grèce Moderne. 1860.
Marcoaldi, Oreste. Canti Popolari inediti. 1855.
Marmier, X. Chants Populaires du Nord. 1842.
Moncaut, Cénac. Littérature Populaire de la Gascogne. 1868.
Morosi, Dr Giuseppe. Studi sui Dialetti Greci della Terra d'Otranto, 1870.
—— I Dialetti Romaici del Dialetto di Bova in Calabria. 1874.
Nerucci, G. Sessanta Novelle Popolari Montalesi. 1880.
Nigra, Conte Constantino. Canzone Popolari del Piemonte. Rivista Contemporanea: fascicoli lxxiv. and lxxxvi. 1860-1.
Nino, A. de. Usi Abruzzesi. 3 vols. 1879, 1881-3.
Ortoli, Frédéric. Les Contes Populaires de l'île de Corse. 1883.
Pellegrini, Prof. Astorre. Il Dialetto Greco-Calabro di Bova. 1880.
—— La Poesia di Bova. 1881.
Pitrè, Cav. Dr Giuseppe. Studi di Poesia Popolare. 1872.
—— Biblioteca delle Tradizioni Popolari Siciliane. 13 vols.
Ralston, W. R. S. The Songs of the Russian People. 1872.
Righi, Ettore-Scipione. Canti Popolari Veronesi. 1863.
Rink, Dr R. Tales and Traditions of the Eskimo. 1875.
Rosa, Gabriele. Dialetti, Costumi e Tradizioni nelle Provincie di Bergamo e di Brescia. Jerza edizione. 1870.
Salomone-Marino, S. Canti Popolari Siciliani. 1867.
Stokes, Maive. Indian Fairy Tales. 1880.
Symonds, T. Addington. Sketches in Italy and Greece.
(Popular Songs of Tuscany.) 1874.
Thorpe, B. Northern Mythology. 1851.
Tigri, G. Canti Popolari Toscani. Terza ediz. 1869.
Tommaseo, N. Canti Popolari Toscani, Corsi, Illirici, Greci. 1841.
TURNBULL AND SPEARS, PRINTERS, EDINBURGH.
Sundry damaged or missing punctuation has been repairesd.
The rest of the corrections are also indicated, in the text, by a dotted line underneath the correction.
Scroll the mouse over the word and the original text willappear.)
Page 62: 'portait' corrected to 'portrait'.(he might at least possess his portrait).
Page 84: 'befel' corrected to 'befell'.(the fate that befell a French professorship of Armenian)
Page 172: 'hushand' corrected to 'husband'.(and shortly after her husband had extricated her she became a mother).
Page 226: 'daugher' corrected to 'daughter'.("And a cup of poison, my daughter.")
Page 337: "wee Willie Winkile" corrected to "wee Willie Winkie"("wee Willie Winkie" who runs upstairs and downstairs in his nightgown:)
Page 341: 'cardle' corrected to 'cradle'.(aunt has taken baby from his cradle)
Page 343: 'The' corrected to 'They'.(They are often called "certi signuri,")