Part 1

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FOLK STORIES

FROM

SOUTHERN NIGERIA

WEST AFRICA

BY

ELPHINSTONE DAYRELL, F.R.G.S., F.R.A.I.

DISTRICT COMMISSIONER, SOUTHERN NIGERIA

WITH AN INTRODUCTION BY

ANDREW LANG

_WITH FRONTISPIECE_

LONGMANS, GREEN AND CO.

39 PATERNOSTER ROW, LONDON

NEW YORK, BOMBAY, AND CALCUTTA

1910

* * * * *

CONTENTS

_Frontispiece from a Drawing in Colour by_ Major G. M. DE L. DAYRELL

PAGE

Introduction vii

I. The Tortoise with a Pretty Daughter 1

II. How a Hunter obtained Money from his Friends the Leopard, Goat, Bush Cat, and Cock, and how he got out of repaying them 6

III. The Woman with two Skins 11

IV. The King's Magic Drum 20

V. Ituen and the King's Wife 29

VI. Of the Pretty Stranger who Killed the King 33

VII. Why the Bat flies by Night 36

VIII. The Disobedient Daughter who Married a Skull 38

IX. The King who Married the Cock's Daughter 42

X. Concerning the Woman, the Ape, and the Child 46

XI. The Fish and The Leopard's Wife; or, Why the Fish lives in the Water 49

XII. Why the Bat is Ashamed to be seen in the Daytime 51

XIII. Why the Worms live Underneath the Ground 56

XIV. The Elephant and the Tortoise; or, Why the Worms are Blind and the Elephant has Small Eyes 58

XV. Why a Hawk kills Chickens 62

XVI. Why the Sun and the Moon live in the Sky 64

XVII. Why the Flies Bother the Cows 66

XVIII. Why the Cat kills Rats 68

XIX. The Story of the Lightning and the Thunder 70

XX. Why the Bush Cow and the Elephant are bad Friends 72

XXI. The Cock who caused a Fight between two Towns 76

XXII. The Affair of the Hippopotamus and the Tortoise; or, Why the Hippopotamus lives in the Water 79

XXIII. Why Dead People are Buried 81

XXIV. Of the Fat Woman who Melted Away 83

XXV. Concerning the Leopard, the Squirrel, and the Tortoise 86

XXVI. Why the Moon Waxes and Wanes 91

XXVII. The Story of the Leopard, the Tortoise, and the Bush Rat 93

XXVIII. The King and the Ju Ju Tree 98

XXIX. How the Tortoise overcame the Elephant and the Hippopotamus 104

XXX. Of the Pretty Girl and the Seven Jealous Women 107

XXXI. How the Cannibals drove the People from Insofan Mountain to the Cross River (Ikom) 115

XXXII. The Lucky Fisherman 119

XXXIII. The Orphan Boy and the Magic Stone 121

XXXIV. The Slave Girl who tried to Kill her Mistress 126

XXXV. The King and the 'Nsiat Bird 133

XXXVI. Concerning the Fate of Essido and his Evil Companions 135

XXXVII. Concerning the Hawk and the Owl 142

XXXVIII. The Story of the Drummer and the Alligators 145

XXXIX. The 'Nsasak Bird and the Odudu Bird 153

XL. The Election of the King Bird (the black-and-white Fishing Eagle) 156

* * * * *

INTRODUCTION

Many years ago a book on the Folk-Tales of the Eskimo was published, and the editor of _The Academy_ (Dr. Appleton) told one of his minions to send it to me for revision. By mischance it was sent to an eminent expert in Political Economy, who, never suspecting any error, took the book for the text of an interesting essay on the economics of "the blameless Hyperboreans."

Mr. Dayrell's "Folk Stories from Southern Nigeria" appeal to the anthropologist within me, no less than to the lover of what children and older people call "Fairy Tales." The stories are full of mentions of strange institutions, as well as of rare adventures. I may be permitted to offer some running notes and comments on this mass of African curiosities from the crowded lumber-room of the native mind.

I. _The Tortoise with a Pretty Daughter._--The story, like the tales of the dark native tribes of Australia, rises from that state of fancy by which man draws (at least for purposes of fiction) no line between himself and the lower animals. Why should not the fair heroine, Adet, daughter of the tortoise, be the daughter of human parents? The tale would be none the less interesting, and a good deal more credible to the mature intelligence. But the ancient fashion of animal parentage is presented. It may have originated, like the stories of the Australians, at a time when men were totemists, when every person had a bestial or vegetable "family-name," and when, to account for these hereditary names, stories of descent from a supernatural, bestial, primeval race were invented. In the fables of the world, speaking animals, human in all but outward aspect, are the characters. The fashion is universal among savages; it descends to the Buddha's _jataka_, or parables, to AEsop and La Fontaine. There could be no such fashion if fables had originated among civilised human beings.

The polity of the people who tell this story seems to be despotic. The king makes a law that any girl prettier than the prince's fifty wives shall be put to death, with her parents. Who is to be the Paris, and give the fatal apple to the most fair? Obviously the prince is the Paris. He falls in love with Miss Tortoise, guided to her as he is by the bird who is "entranced with her beauty." In this tribe, as in Homer's time, the lover offers a bride-price to the father of the girl. In Homer cattle are the current medium; in Nigeria pieces of cloth and brass rods are (or were) the currency. Observe the queen's interest in an affair of true love. Though she knows that her son's life is endangered by his honourable passion, she adds to the bride-price out of her privy purse. It is "a long courting"; four years pass, while pretty Adet is "ower young to marry yet." The king is very angry when the news of this breach of the royal marriage Act first comes to his ears. He summons the whole of his subjects, his throne, a stone, is set out in the market-place, and Adet is brought before him. He sees and is conquered.

"It is no wonder," said the king, "This tortoise-girl might be a queen."

Though a despot, his Majesty, before cancelling his law, has to consult the eight Egbos, or heads of secret societies, whose magical powers give the sacred sanction to legislation. The Egbo (see p. 4, note) is a mumbo-jumbo man. He answers to the bogey who presides over the rites of initiation in the Australian tribes.

When the Egbo is about, women must hide and keep out of the way. The king proclaims the cancelling of the law. The Egbos might resist, for they have all the knives and poisons of the secret societies behind them. But the king, a master of the human heart, acts like Sir Robert Walpole. He buys the Egbo votes "with palm-wine and money," and gives a feast to the women at the marriage dances. But why does the king give half his kingdom to the tortoise? When an adventurer in fairy tales wins the hand of the king's heiress, he usually gets half the kingdom. The tortoise is said to have been "the wisest of all men and animals." Why? He merely did not kill his daughter. But there is no temptation to kill daughters in a country where they are valuable assets, and command high bride-prices. In the Australian tribes, the bride-price is simply another girl. A man swops his sister to another man for the other man's sister, or for any girl of whose hand the other man has the disposal.

II. The second story is a very ingenious commercial parable, "Never lend money, you only make a dangerous enemy." The story also explains why bush cats eat poultry.

III. _The Woman with Two Skins_ is a peculiar version of the story of the courteous Sir Gawain with his bride, hideous by day, and a pearl of loveliness by night. The Ju Ju man answers to the witch in our fairy tales and to the mother-in-law of the prince, who, by a magical potion, makes him forget his own true love. She, however, is always victorious, and the prince

"Prepares another marriage, Their hearts so full of love and glee,"

and ousts the false bride, like Lord Bateman in the ballad, when Sophia came home. In this case of Lord Bateman, the scholiast (Thackeray, probably) suggests that his Lordship secured the consent of the Church as the king in the tortoise story won that of the Egbos. Our tale then wanders into the fairy tale of the king who is deceived into drowning his children, in European folk-lore, because he is informed that they are puppies. The Water Ju Ju, however, saves these black princes, and brings forward the rightful heir very dramatically at a wrestling match, where the lad overthrows more than he thought, like Orlando in _As You Like It_, and conquers the heart of the jealous queen as well as his athletic opponents.

In the conclusion the jealous woman is handed over to the ecclesiastical arm of the Egbos; she is flogged, and, as in the case of Jeanne d'Arc, is burned alive, "and her ashes were thrown into the river." Human nature is much the same everywhere.

IV. _The King's Magic Drum._--The drum is the mystic cauldron of ancient Welsh romance, which "always provides plenty of good food and drink." But the drum has its drawback, the food "goes bad" if its owner steps over a stick in the road or a fallen tree, a tabu like the _geisas_ of ancient Irish legends. The tortoise, in this tale, has the _geisas_ power; he can make the king give him anything he chooses to ask. This very queer constraint occurs constantly in the Cuchullain cycle of Irish romances, and in _The Black Thief_. (You can buy it for a penny in Dublin, or read it in Thackeray's _Little Tour in Ireland_.) The King is constrained to part with the drum, but does not tell the tortoise about the tabu and the drawback. The tortoise, though disappointed, at least pays his score off in public, and then the tale wanders into the _Hop o' my Thumb_ formula, and the trail of ashes. Finally the story, like most stories, explains the origin of an animal peculiarity, why tortoises live under prickly tie-tie palms. That explanation was clearly in the author's mind from the first, but to reach his point he adopted the formula of the mystic object, drum or cauldron, which provides endless supplies, and has a counteracting charm attached to it, a tabu.

V. _Ituen and the King's Wife._--Some of these tales have this peculiarity, that the characters possess names, as Ituen, Offiong, and Attem. They are thus what people call _sagas_, not mere _Maerchen_. All the pseudo-historic legends of the Greek states, of Thebes, Athens, Mycenae, Pylos, and so on, are folk-tales converted into saga, and adapted and accepted as historical. Some of these Nigerian fairy-tales are in the same cast. The story of Athamas of Iolcos and the sacrifice of any of his descendants who went into the town hall, exactly corresponds to the fate of the family of Ituen (p. 32).[1] The whole Athamas story, in Greece, is a tissue of popular tales found in every part of the world. This Ituen story, as usual, explains the habits of animals, vultures, and dogs, and illustrates the awful cruelties of Egbo law.

VI. _The Pretty Stranger_ is a native variant of _Judith and Holofernes_.

VII. A "Just So Story," a myth to explain the ways of animals. The cauldron of Medea, which destroyed the wrong old person, and did not rejuvenate him, is introduced. "All the stories have been told," all the world over.

VIII. _The Disobedient Daughter who Married a Skull._--This is most original; though all our ballads and tales about the pretty girl who is carried to the land of the dead by her lover's ghost (Buerger's _Lenore_) have the same fundamental idea. Then comes in the common moral, the Reward of Courtesy, as in Perrault's _Les Fees_. But the machinery of the Nigerian romance leads up to the Return of Proserpine from the Dead in a truly fanciful way.

IX. _The King who Married the Cock's Daughter_ is AEsop's man who married the woman that had been a cat. As Adia unen pecks at the corn, the other lady caught and ate a mouse.

[Footnote 1: See the Platonic dialogue, Minos, 315-6, and Athamas in Roscher's _Lexikon_.]

X. _The Woman, the Ape, and the Child._--This tale illustrates Egbo juridicature very powerfully, and is told to account for Nigerian marriage law.

XI. _The Fish and the Leopard's Wife._--Another "Just So Story."

XII. _The Bat._--Another explanation of the nocturnal habits of the bat. The tortoise appears as the wisest of things, like the hare in North America, Brer Rabbit, the Bushman Mantis insect, and so on.

XIII., XIV., XV. All of these are explanatory "Just So Stories."

XVI. _Why the Sun and Moon live in the Sky._--Sun and Moon, in savage myth, lived on earth at first, but the Nigerian explanation of their retreat to the sky is, as far as I know, without parallel elsewhere.

XVII., XVIII. "Just So Stories."

XIX. Quite an original myth of Thunder and Lightning: much below the divine dignity of such myths elsewhere. Thunder is not the Voice of Zeus or of Baiame the Father (Australian), but of an old sheep! The gods have not made the Nigerians poetical.

XX. Another "Just So Story."

XXI. _The Cock who caused a Fight_ illustrates private war and justice among the natives, and shows the Egbos refusing to admit the principle of a fine in atonement for an offence.

XXII. _The Affair of the Hippopotamus and of the Tortoise._--A very curious variant of the _Whuppitie Stoorie_, or Tom-Tit-Tot story, depending on the power conferred by learning the secret name of an opponent. These secret names are conferred at Australian ceremonies. Any amount of the learning about secret names is easily accessible.

XXIII. _Why Dead People are Buried._--Here we meet the Creator so common in the religious beliefs of Africans as of most barbarous and savage peoples. "The Creator was a big chief." The Euahlayi Baiame is rendered "Big Man" by Mrs. Langloh Parker (see The _Euahlayi Tribe_). The myth is one of world-wide diffusion, explaining The Origin of Death, usually by the fable of a message, forgotten and misrendered, from the Creator.

XXIV. _The Fat Woman who Melted Away._--The revival of this beautiful creature, from all that was left of her, the toe, is an incident very common in folk-tales, i.e. the Scottish _Rashin Coatie_. (The word "dowry" is used throughout where "bride-price" would better express the institution. The Homeric [Greek: ena] is meant.)

XXV. _The Leopard, the Squirrel, and the Tortoise._--A "Just So Story."

XXVI. _Why the Moon Waxes and Wanes._--A lunar myth; not a poetical though a kindly explanation of the habits of the moon.

XXVII. _The Story of the Leopard, the Tortoise, and the Bush Rat._--A "Just So Story."

XXVIII. _The King and the JuJu Tree._--This is a fine example of Ju Ju beliefs, and of an extraordinary sacrifice to a Ju Ju power located in a tree. Goats, chickens, and white men are common offerings, but "seven baskets of flies" might propitiate Beelzebub. The "spirit-man" who can succeed when sacrifice fails, chooses the king's daughter as his reward, as is usual in _Maerchen_. Compare Melampus and Pero in Greece. The skull in spirit-land here plays a friendly part, in advising the princess, like Proserpine, not to eat among the dead. This caution is found everywhere--in the Greek version of Orpheus and Eurydice, in the _Kalewala_, and in Scott's "Wandering Willie's Tale," in _Redgauntlet_. Like Orpheus, the girl is not to look back while leaving spirit-land. Her successful escape, by obeying the injunctions of the skull, is unusual.

XXIX. _How the Tortoise overcame the Elephant and the Hippopotamus._--A "Just So Story," with the tortoise as cunning as Brer Rabbit.

XXX. _Of the Pretty Girl and the Seven Jealous Women._--Here the good little bird plays the part of the popinjay who "up and spake" with good effect in the first ballads. The useful Ju Ju man divines by casting lots, a common method among the Zulus. The revenge of the pretty girl's father is certainly adequate.

XXXI. _How the Cannibals drove the People from Insofan Mountain to the Cross River (Ikom)._--This professes to be historical, and concerns human sacrifices, "to cool the new yams," and cannibalism.

XXXII. is unimportant.

In XXXIII. we find the ordeal poison, which destroys fifty witches.

XXXIV. _The Slave Girl who tried to Kill her Mistress_ is a form of our common tale of the waiting-maid who usurps the place of her mistress, the Bride. The resurrection of the Bride from the water, at the cry of her little sister, occurs in a remote quarter, among the Samoyeds in Castren's _Samoyedische Maerchen_, but there the opening is in the style of _Asterinos and Pulja (Phrixus and Helle)_ in Van Hahn's _Griechische Maerchen_. The False Bride story is, in an ancient French _chanson de geste_, part of the legend of the mother of Charlemagne. The story also occurs in Callaway's collection of Zulu fairy tales. In the Nigerian version the manners, customs, and cruelties are all thoroughly West African.

XXXV. _The King and the 'Nsiat Bird_ accounts, as usual, for the habits of the bird; and also illustrates the widespread custom of killing twins.

XXXVI. reflects the well-known practices of poison and the ordeal by poison.

XXXVII. is another "Just So Story."

XXXVIII. _The Drummer and the Alligators._--In this grim tale of one of the abominable secret societies the human alligators appear to be regarded as being capable of taking bestial form, like werewolves or the leopards of another African secret society.

XXXIX. and XL. are both picturesque "Just So Stories," so common in the folk-lore of all countries.

The most striking point in the tales is the combination of good humour and good feeling with horrible cruelties, and the reign of terror of the Egbos and lesser societies. European influences can scarcely do much harm, apart from whisky, in Nigeria. As to religion, we do not learn that the Creator receives any sacrifice: in savage and barbaric countries He usually gets none. Only Ju Jus, whether ghosts or fiends in general, are propitiated. The Other is "too high and too far."

I have briefly indicated the stories which have variants in ancient myth and European _Maerchen_ or fairy tales.

ANDREW LANG.

FOLK STORIES

FROM SOUTHERN NIGERIA

I

_The Tortoise with a Pretty Daughter_

There was once a king who was very powerful. He had great influence over the wild beasts and animals. Now the tortoise was looked upon as the wisest of all beasts and men. This king had a son named Ekpenyon, to whom he gave fifty young girls as wives, but the prince did not like any of them. The king was very angry at this, and made a law that if any man had a daughter who was finer than the prince's wives, and who found favour in his son's eyes, the girl herself and her father and mother should be killed.

Now about this time the tortoise and his wife had a daughter who was very beautiful. The mother thought it was not safe to keep such a fine child, as the prince might fall in love with her, so she told her husband that her daughter ought to be killed and thrown away into the bush. The tortoise, however, was unwilling, and hid her until she was three years old. One day, when both the tortoise and his wife were away on their farm, the king's son happened to be hunting near their house, and saw a bird perched on the top of the fence round the house. The bird was watching the little girl, and was so entranced with her beauty that he did not notice the prince coming. The prince shot the bird with his bow and arrow, and it dropped inside the fence, so the prince sent his servant to gather it. While the servant was looking for the bird he came across the little girl, and was so struck with her form, that he immediately returned to his master and told him what he had seen. The prince then broke down the fence and found the child, and fell in love with her at once. He stayed and talked with her for a long time, until at last she agreed to become his wife. He then went home, but concealed from his father the fact that he had fallen in love with the beautiful daughter of the tortoise.

But the next morning he sent for the treasurer, and got sixty pieces of cloth[2] and three hundred rods,[3] and sent them to the tortoise. Then in the early afternoon he went down to the tortoise's house, and told him that he wished to marry his daughter. The tortoise saw at once that what he had dreaded had come to pass, and that his life was in danger, so he told the prince that if the king knew, he would kill not only himself (the tortoise), but also his wife and daughter. The prince replied that he would be killed himself before he allowed the tortoise and his wife and daughter to be killed. Eventually, after much argument, the tortoise consented, and agreed to hand his daughter to the prince as his wife when she arrived at the proper age. Then the prince went home and told his mother what he had done. She was in great distress at the thought that she would lose her son, of whom she was very proud, as she knew that when the king heard of his son's disobedience he would kill him. However, the queen, although she knew how angry her husband would be, wanted her son to marry the girl he had fallen in love with, so she went to the tortoise and gave him some money, clothes, yams, and palm-oil as further dowry on her son's behalf in order that the tortoise should not give his daughter to another man. For the next five years the prince was constantly with the tortoise's daughter, whose name was Adet, and when she was about to be put in the fatting house,[4] the prince told his father that he was going to take Adet as his wife. On hearing this the king was very angry, and sent word all round his kingdom that all people should come on a certain day to the market-place to hear the palaver. When the appointed day arrived the market-place was quite full of people, and the stones belonging to the king and queen were placed in the middle of the market-place.

[Footnote 2: A piece of cloth is generally about 8 yards long by 1 yard broad, and is valued at 5s.]

[Footnote 3: A rod is made of brass, and is worth 3d. It is in the shape of a narrow croquet hoop, about 16 inches long and 6 inches across. A rod is native currency on the Cross River.]

[Footnote 4: The fatting house is a room where a girl is kept for some weeks previous to her marriage. She is given plenty of food, and made as fat as possible, as fatness is looked upon as a great beauty by the Efik people.]