APPENDIX.

CHARLES PERRAULT.

Member of the Académie Fran?aise, and premier commis des batimens du Roi, was born, as he himself tells us in the Mémoires he left to his children, in Paris, on the 12th of January, 1628; and at eight and a half years of age was sent to the College of Beauvais, where he gave early proof of his literary abilities. He died in 1703. Although the author of many creditable compositions, both in prose and verse, he is indebted for his celebrity to that collection of Fairy tales which, under the title of Histoires, ou Contes du Tems passé, were first published in 1697, and speedily obtained a world-wide popularity as Les Contes de ma Mère l'Oye, known in England as Mother Goose's Fairy Tales.

They were published by Perrault, under the name of his son, Perrault D'Armancour, at that time a child only ten years old, whose name is appended to the dedication of the first edition to "Mademoiselle," i.e., Elizabeth Charlotte d'Orleans, sister of Philippe, Duke of Chartres, and, after the death of Louis XIV., Regent of France. Mademoiselle was born 13th September, 1676. The title, Contes de ma Mère l'Oye, has given rise to much controversy, and a great deal of paper, not to say learning, has been wasted in the attempt to discover the original source of the stories, and the reason of their being called those of "Ma Mère l'Oye." The former question I shall reserve for discussion in my notices of the tales themselves. The latter we will dispose of at once. Monsieur Colin de Plancy, in his valuable edition of the ?uvres Choisis de Charles Perrault, 8vo, Paris, 1826; and [Pg 510] Baron Walkena?r in his Lettres sur les Contes des Fées attribués à Perrault, &c., Paris, 12mo, same date, have pretty well exhausted the subject. The three principal derivations that have been insisted upon, are:—

Firstly. That in an ancient fabliau, "a goose is represented telling stories to her goslings, worthy of them and of her."

Secondly. That in the frontispiece to the first edition of Perrault's Fairy Tales, an old woman is represented spinning, and beside her are three children, one boy and two girls, whom she is apparently amusing by her stories; and that as underneath this are the words Contes de ma Mère l'Oye,[47] this old woman is no less a personage than Ma Mère l'Oye in propria persona.

Thirdly. That Ma Mère l'Oye is one and the same individual with La Reine Pédauque, the goose or bird-footed Queen, a soubriquet applied by some to a Bertha, Queen of France; and by others to St. Clotilde and the Queen of Saba.

The first is an assertion without proof. The second a mere opinion, which is instantly met by another—namely, that the old woman is repeating to her hearers the stories of Ma Mère l'Oye. The third is a tangible proposition, and has been dealt with accordingly.

At St. Marie de Nesle, in the diocese of Troyes, at St. Bénigne de Dijon, at St. Pierre de Nevers, St. Pourcain in Auvergne, and in divers other churches in France, the statue is to be seen of a queen with a web-foot, and therefore called La Reine Pied-d'oie, or Pédauque.[48] This statue is said by Mabillon, but without giving any authority for his assertion, to represent St. Clotilde.

The Abbé Leb?uf believes that the origin of this name is to be found at Toulouse. He quotes a passage in Rabelais, who, speaking of certain large-footed persons, says, "they were splay-footed, like geese, or Queen Pédauque in her portrait formerly at Toulouse;" "and the Abbé concludes," says Monsieur de Plancy, "curiously enough, that the Queen Pédauque is the Queen of Saba;" supporting his opinion by the following tale in the Targum of Jerusalem:—

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"The Queen of Saba was so fond of bathing, that she plunged every day in the sea. When she went to visit Solomon, he received her in an apartment of crystal. The Queen of Saba on entering it, imagined that the Monarch was in the water, and in order to pass through it to him, she lifted her robe. The King then seeing her feet, which were hideous, said to her: 'Your face unites all the charms of the most beautiful women, but your legs and feet correspond but little to it.'"

Even if we could suppose Solomon to have been so ungallant, there does not appear much in this Hebrew story to bear upon the subject; for what possible reason was there for attributing these stories to the Queen of Saba? Bullet, doyen of the University of Besan?on, goes back to the eleventh century, in France, for the source of this epithet. The Good King Robert had married his relative, Bertha; Gregory V. compelled him to divorce her, and imposed on him a penance of seven years. The King, who loved Bertha, refused obedience, and the Pope excommunicated him. He was deserted by everybody except two servants. In the meanwhile, Bertha was said to have been brought to bed of a monster resembling an ill-formed duck, or, according to others, a goose. Abbon, Abbot of Fleury, brought the supposed offspring to the King, who, horrified at the sight of it, repudiated Bertha, leaving her, however, the title of Queen. The dreadful story was circulated that she had given birth to a goose, and that she had herself become goose-footed, as a punishment for her criminal marriage. Her name of Bertha gave more authority to this story in the eyes of the people. They remembered that Bertha or Bertrade, wife of Pepin-le-bref, was surnamed "Bertha with the Great Foot," because she had one foot larger than the other; and they called the repudiated wife of Robert, "Bertha au pied d'Oie." It is possible also, remarks Mons. de Plancy, that this fable was invented to flatter Queen Constance, who succeeded her, for it was the period of credulity and superstition. Constance went to Toulouse. She was lodged in front of an aqueduct so narrow that a man could not pass through it. To amuse the Princess, they told her it was the bridge of Queen Goose, or of the queen with the goose's foot. This story was afterwards amplified, and it became a saying that Queen Pédauque was of Toulouse.

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In the Contes d'Entrapel, by No?l Dufail, published during the latter half of the sixteenth century, a man is made to swear by "the spindle of Queen Pédauque;" and therefore Bullet assumes that she must have been Queen Bertha, because there is an old French saying, "when Queen Bertha spun,"[49] which is applied to any marvellous story of bygone days, or to events that are said to have happened "once upon a time." This is very inconclusive. In the middle ages, spinning was a favourite occupation of queens and princesses, and Queen Bertha was by no means an exception.[50] There is another French saying, similarly applied to an incredible tale—"It is of the time when King Robert sang to the lute," the said King Robert being the husband of Queen Bertha. This is all tantamount only to our old English sayings, "When Adam was a little boy," and "When Adam delved and Eve span," &c. It is also more than probable that the Bertha of the proverb is identical with the Frau Berchta of German superstition. She is said to live in the imaginations of the upper German races in Austria, Bavaria, Swabia, Alsace, Switzerland, and some districts of Thuringia and Franconia. She appears in The Twelve Nights as a woman with shaggy hair, to inspect the spinners, when fish and porridge are to be eaten in honour of her, and all the distaffs must be spun off. This superstition was also common in England:—
Partly work and partly play You must on St. Distaff's day.

That is, the day after Twelfth Day, and is evidently the relic of some pagan rite in honour, most probably, of Freya or Frega, the Venus of the Scandinavians. "Dame Bertha horned," is one of the characters in Les Evangiles des Conoilles (Quenouilles), the joint composition of Jean d'Arras and three other writers, in 1475. It was translated into English, and printed by Winkyn de Worde, with the title of The Gospelles of Distaffs.[51]

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A writer who signs himself Philetymus, has acutely pointed out a more probable origin of the title of Contes de ma (or de le) Mère l'Oye, which it is clear, from passages in Boileau and Molière, was applied to a certain collection of old stories, long before Perrault published his Histoires du Temps Passé. This writer refers us to the customs of antiquity and the superstitions of the middle ages. He recals to us that the ancient Romans confided their dwellings to the care of their geese. He alludes to the two hundred thousand Crusaders who, in 1096, directed their march by the flight of a goose from Hungary to Jerusalem; to the guardian fairies of the Chateau de Piron in the Contentin, who, at the time of the invasion of the Normans, transformed themselves into wild geese; to the benevolent and protecting dwarfs of the Canton of Berne, who are said to have been all goose-footed; and above all, to Marguerite de Navarre, who, in her Heptameron, calls herself Oisille; and he concludes by saying, "C'est que la bonne dame Oisille, veuve de grand expérience y représente la Mère l'Oie; c'est que du conté le moins discret elle sait tirer toujours une conclusion favorable à la morale.... Contes de la Mère l'Oie c'est à dire contes de la vieille grand mère, jaseuse et criande comme l'Oie mais comme l'Oie, surtout gardienne vigilante de la maison.... J'allais dire de la Vertu."

There is, amidst all this suggestion, one fact to repose upon. It is, that Perrault was not the inventor of the stories he published; that he merely transmitted to writing, no doubt with some touches of his own, tales of the nursery which had descended orally from the earliest ages of the Celtic occupation of Armorica or Bretagne, to the peculiar superstitions of which we shall find, as we proceed, they all have more or less reference, and that the particular stories printed in the first edition of his Histoires du Temps Passé, had long been popularly known as Contes de ma Mère l'Oye. In 1678, at the age of fifty, Perrault retired from his public office to dedicate himself entirely to literature and the education of his children. Some ten years afterwards he composed a novel in verse, founded on a celebrated tale in the Decamerone of Boccaccio, and well known to us as Patient Grizzel, his title being La Marquise de Salusses; ou, la Patience de Griselidis. It was published at Paris, by Jean Baptiste Coignard, in [Pg 514] 1691. La Fontaine had, as early as 1678, said, in the fourth Fable of his eighth Book, Le Pouvoir des Fables—
——"Et moi même Au moment que je fais cette moralité Si Peau d'Ane m'etait conté J'y prendrais un plaisir extrême."

These lines it would seem induced Perrault to versify the old nursery story of Peau d'Ane, with which Louis XIV., when an infant, used to be rocked to sleep; and in 1694, on the publication of the second edition of his Griselidis, he added to it his metrical version of Peau d'Ane, and Les Souhaits Ridicules, known to us as The Three Wishes. The success of these stories led him to publish, in 1697, his collection of Les Contes de ma Mère l'Oye, under the title of Histoires du Temps Passé, and in the name of his son, as before stated. This collection consisted of eight stories only, all in prose: La Belle au Bois Dormant, Le Petit Chaperon Rouge, Barbe Bleue, Le Chat Botté, Les Fées, Cendrillon, Riquet à la Houpe, and Le Petit Poucet—a proof that Peau d'Ane was not one of the Contes de ma Mère l'Oie, any more than Griselidis or Les Souhaits Ridicules. The same eight stories alone appear in the second edition in 1707 (four years after the death of Perrault), and in the third edition by Nicolas Gosselin, in 1724. It is not until 1742, when an edition of the Histoires du Temps Passé was published at the Hague,[52] that we find any addition to the first eight stories, and then we have for the first time the story of L'Adroite Princesse; ou, Les Aventures de Finette, presented to us, with a dedication to the Countess of Murat, as a story by Perrault, although a story with that title and on that subject was published by Madlle. Lheritier in 1696, in a work entitled, ?uvres Mêlées, contenant Nouvelles et autres Ouvrages en Verse et en Prose, in which also appears a letter from the author to the daughter of Perrault. But even in the Hague edition of 1742, there is no Peau d'Ane, and it is only in comparatively modern collections that a prose version of that story, as well as the one in verse actually written by Perrault, is, with L'Adroite Princesse, Griselidis, and Les Souhaits Ridicules, added to the eight original Contes de ma Mère l'Oie, or Histoires du Temps Passé.

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From these eight stories I have selected six, omitting only Le Petit Chaperon Rouge, and Les Fées, so well known in the nursery as Little Red Riding Hood (why "Riding?") and Toads and Diamonds, and for the atmosphere of which they are alone calculated. On the others I shall now offer a few observations in their order of publication, and in the same spirit as those appended to the Fairy Tales of the Countess d'Aulnoy.
BLUE BEARD.

La Barbe Bleue is founded, according to Mons. Colin de Plancy, on a tradition of Lower Brittany; and he remarks that Perrault must have heard it from the lips of nurses, or perhaps peasants, to have written with so much na?veté the scene of Sister Anne. He states also that it is pretended that Blue Beard was actually a nobleman of the house of Beaumanoir. He does not, however, seem to have been aware that the original of this terrible portrait is also said to have been Gilles de Laval, Seigneur de Raiz, created Maréchal de France, June 21st, 1429, for his defence of Orleans against the English, but whose infamous conduct in Brittany so exasperated the public against him, that in 1440 he was arrested by order of the Procureur-Général de Bretagne, and having been tried and found guilty, was condemned to be hanged and burnt, and underwent that sentence in a field at Nantes, on the 8th of October (some say 23rd of December) of that same year, after exhibiting, says the chronicler, great signs of repentance; his body was taken out of the flames, and buried in the church of the Carmelites at Nantes. It was, we are told, his taste for luxury and libertinism which plunged him into all the crimes for which he was so fearfully punished. He squandered a revenue of two hundred thousand crowns per annum, an enormous sum in those days, and which he had inherited at the age of twenty. He never travelled without being accompanied by an army of cooks, musicians, dancers of both [Pg 516] sexes, packs of hounds, and two hundred saddle horses. Unfortunately for him, he thought it necessary to include in his suite of attendants some fortune-tellers and pretended magicians, which it is possible in those days may have caused the credulous multitude to impute to him some atrocities of which he may have been innocent. The whole procès is said to be still extant: but we are not furnished with any details which would identify him with the gentleman who rejoiced in a blue beard, and expiated his offences by being run through the body with cold iron, instead of being roasted at a stake like the guilty but penitent Marshal.[53] Whether the line of Beaumanoir or of Laval has the best claim to the honour of his relationship, may be still a matter of dispute; but the fact more important to our present inquiry is, that in either case it is a tradition of Bretagne, and therefore strengthens the theory of Mons. de Plancy and the Baron Walkena?r.

There is no fairy in this story, but there is an enchanted key. "La clef," says the author, "etait fée." In the old translations this is rendered "the key was a fairy." "Fée" is, however, in such instances as these, not a noun substantive, but an adjective, now obsolete, but to be found in Cotgrave, spelt with a third e in the feminine. "Fée, m.; éee, f.: Fatall appointed, destined; also, taken, bewitched or forespoken; also, charmed, inchanted."—Edit. 1650.

There is another popular passage in this story which requires a word of remark:—"Je ne vois rien que le soleil qui poudroie et l'herbe qui verdoie." This has been generally translated, "I see nothing but the sun which makes a dust, and the grass which looks green." Mons. de Plancy appends a note to this passage, as follows:—"1. Poudroyer, darder, éblouir les yeux. 2. Verdoyer, jeter un éclat vert."

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With great submission to so high an authority, I must venture to differ with him on this point. "Poudroyer" is an old French verb, signifying to reduce to powder. "Je poudroie, tu poudroies, il poudroie," &c. "Un cheval Espagnol poudroyant tous les champs," J. B. Rouss; and Bescherelle, in his Dictionnaire National, remarks, quoting the actual passage from Perrault, "Ce mot sonore poètique, épargnant une périphrase est a regretter." Verdoyer is also a verb active, signifying to grow or become green, and I have therefore taken the liberty to render the above celebrated reply, "I see nothing but the sun making dust" (that is to say, reducing the soil to dust by its heat), "and the grass growing green." It is the flock of sheep that afterwards raise or make a dust. It may be thought I am "making a dust," to use a familiar phrase, about a trifle; but I wished to point out that unless we could say in English, "the sun that dusts and the grass that greens," we cannot approach the terse and graphic description of dear Sister Anne.

Mons. de Plancy observes that the incidents of this story (excepting, of course, that of the enchanted key) are not impossible, provided they are supposed to have occurred in the middle ages; but that Perrault has placed them nearer his own times, by saying that Blue Beard's widow employed part of her fortune in purchasing commissions for her two brothers, as the sale of commissions in the French army was not known before the reign of Francis I.; but he does not notice that the mention of dragoons and musqueteers brings them still nearer. Blue Beard has been a favourite subject with the dramatists, both French and English. The celebrated melodrama by George Colman the younger, produced at Drury Lane Theatre, in 1798, in which the scene was transferred to the East, was rendered still more popular by the music of Michael Kelly: the "March in Blue Beard" was perpetrated on every piano alternately with the "Duke of York's March," the "Battle of Prague," and the "Overture to Lodoiska."
THE SLEEPING BEAUTY IN THE WOOD.

The charming fairy tale of La Belle au Bois dormant is the gem of the collection. Its popularity is as great at the present day as it was two hundred years ago. I have called the reader's attention in a marginal note to the first mention [Pg 518] probably of seven league boots,[54] but I reserved for the Appendix some observations upon the earliest mention of Ogres and Ogresses. The Baron Walkena?r, in his letters already quoted, has, I think successfully, combated the earlier notion that the word Ogre was derived from a classical source. He deduces it from the Oigours or Igours, a Turkish race mentioned by Procopius in the sixth century. Some tribes of Oigurs established themselves in the Crimea, and their language was called "Lingua Ouguresca" by the Italian merchants who first traded with them. In the twelfth and thirteenth centuries all Tartars were confounded under the name of Oigurs. When the Magyars, a Tartar tribe from the banks of the Wolga, overran Dacia and Pannonia, the names of the ancient Huns and of the ferocious Oigurs were united to designate them. They were first called Hunnie-Gours, and their country Hunnic-Gourie, from whence Hongrois and Hungary. The atrocities committed by and attributed to the Oigurs spread horror and alarm throughout Europe. Their cruelties to infants, in which they have been only equalled by the barbarous Sepoys in the recent calamitous events in India, took especial hold of the imaginations of those to whose care children were specially entrusted, and the appellation of Oigur or Ogre became synonymous with that of cannibal, or any other ferocious monster in human form. In Roquefort's Glossaire de la Langue Romaine, Ogre is also derived from the same source. That "l'Huorco" of the Italians, the Orco of Bojardo and Ariosto, may be derived from the Latin Orcus, according to Minucci, as Mr. Keightley imagines, I am not prepared to dispute. Such curious coincidences are common to all who have wandered in the mazes of etymology; but I will merely suggest that it is quite as probable that Orco and Huorco were also derived from Oigur, the name by which the Tartars of the Crimea were known to the Italians as early as the twelfth century, as we have already seen. Florio, however (1598), says, "Orco as Orca, a sea monster," which the Ogre never was.

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Spinning with the distaff is the oldest form. A wheel appears in illuminations of the fourteenth century, but the woman hent stood to her work. The more modern spinning-wheel, at which women sit, was invented in 1530, by a citizen of Brunswick, named Jurgen. For illustration of the accident to the Princess, it is perhaps worthy of remark that in the Pyrenees and western provinces of France the spindle is sometimes pointed with iron. "It is thus," says Mr. Akerman (the author of a paper on the Distaff in the Arch?ologia, vol. xxxvii.), "rendered a stiletto, with which the woman could defend herself." The same antiquary informs us that "the art of spinning in its simplest and most primitive forms is yet pursued in Italy, where the women of Caià still twirl the spindle unrestrained by that 'ancient rustic law which forbade its use without doors.'" So that the father of the Sleeping Beauty had a sort of precedent for his "Must not spin with spindles Act."

The Germans have a version of this story called Briar-Rose: vide Grimm's Kinder und Hausm?rchen.
MASTER CAT; OR PUSS IN BOOTS.

Ma?tre Chat; ou, le Chat Botté.—This capital story is said by Mr. Dunlop and Mr. Keightley to be taken from a collection of stories by Giovan Francesco Straparola, printed at Venice in 1550-54, under the titles of Tredici Piacevole Notte, and translated into French "with considerable embellishments" in 1585. That the first story of the Eleventh Night is derived from the same source as Perrault's there can be little doubt; but I am not by any means prepared to admit that Perrault was indebted to that or any other printed collection for this or any one of those eight stories which it is clear were well known in France as Les Contes de ma Mère l'Oye. Straparola, who seems to have borrowed largely from Morlini, and collected stories wherever he could find them, drew upon the traditions of Brittany as well as on the fabliaux of Provence. It is indeed notorious that the Italian novelists were indebted almost entirely to the Trouvères or Troubadours of Languedoc, whilst they themselves admit that the plots of their romances were of Armorican origin.
In Britanie of old time These lays were wrought, so saith this rhyme.

Says the old translator of the Lai le Fraine, the author of [Pg 520] which Mr. Dunlop acknowledges "must have been better informed than any modern writer" (History of Fiction, 8vo, 1845, p. 196). In the second edition of the Countess D'Aulnoy's Fairy Tales, I took an opportunity of vindicating that lady from the charge so hastily preferred against her both by Mr. Dunlop and Mr. Keightley, and I now contest as strongly the accuracy of the opinions of the same writers respecting the tales of Charles Perrault. Neither in the story of Straparola, first of the Eleventh Night, nor in the Gagliuso of Signor Basile (whose Pentamerone, published in 1672, is also roundly asserted to have been the "origin" of the French Contes des Fées[55]), do we find Puss in Boots. What would Le Ma?tre Chat be, were he not also Le Chat Botté? Nor is there an Ogre—that especial characteristic of a legend of Brittany—nor consequently the delicious scene between him and Puss, which so dramatically winds up the French story. The same unmistakeable indications of its being a veritable Histoire du Temps Passé, militate against the belief alluded to by M. de Plancy, that the Marquis de Carabas was intended as a portrait of some particular nobleman of the time of Louis XIV.; and therefore that the usurpation of the castle and property of the ogre might be an allusion to the indelicate seizure by D'Aubigné of the domains of a Protestant, an exile in consequence of the religious persecutions at the close of the seventeenth century, "In which case," he adds, "the Cat would be Madame de Maintenon!" What a pity so ingenious an idea should be destitute of foundation. It is more probable that the wits of the day compared the illustrious individuals to the Marquis de Carabas and his Cat.

I have kept the old English title of Puss in Boots, though it is not literally that of the original. It would have been an indictable offence to have altered it.

The tricks of the cat to catch the rats are described almost in the words of Lafontaine, in his fable of Le Chat et le Vieux Rat, in which Ma?tre Mitis, "l'Alexandre des chats," a second Rodillard, "se pend la tête en bas" and "s'enfarine" for the same purpose.

The End