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GOING on from this to the south - east for three yojanas , they We now arrive at the period when the legend made its appearance in the Romantic literature of the Middle Ages.
For the cause of these peculiar characteristics we must go back to the end of che XI century when the dawn of literature was yet slowly The occupation of Spain by the Moors had the result of making other European countries in some degree familiar with the treasures of Arabian literature.
In lonely far-off places by the sea there still are tales of exquisite melodies heard in the gloaming, or at night when the moon makes a silver pathway across the water; still are there stories of women whose home is in the depths of the ocean, and who come to charm away men's souls by their beauty and by their pitiful longing for human love.
Those who have looked on the yellow-green waters of the Seine, or who have seen the more turbid, more powerful Thames sweeping her serious, majestic way down towards the open ocean, at Westminster, or at London Bridge, can perhaps realise something of that inwardness of things that made the people of the past, and that makes the mentally uncontrolled people of the present, feel a fateful power calling upon them to listen to the insistence of the exacting waters, and to surrender their lives and then souls forever to a thing that called and which would brook no denial.
In the Morgue, or in a mortuary by the river-side, their poor bodies have lain when the rivers have worked then will with them, and "Suicide," "Death by drowning," or "By Misadventure" have been the verdicts given.
We live in a too practical, too utterly common-sensical age to conceive a poor woman with nothing on earth left to live for, being lured down to the Shades by a creature of the water, or a man who longs for death seeing a beautiful daughter of a river-god beckoning to him to come where he will find peace everlasting.
All of us know her seductive charm, but all of us fear her. The boundary-line between our fear of the fierce, remorseless, ever-seeking, cruel waves that lap up life swiftly as a thirsty beast laps water, and the old belief in cruel sea-creatures that sought constantly for the human things that were to be their prey, is a very narrow one.
And once we have seen the sea in a rage, flinging herself in terrible anger against the poor, frail toy that the hands of men have made and that was intended to rule and to resist her, foaming and frothing over the decks of the thing that carries human lives, we can understand much of the old pagan belief.
If one has watched a river in spate, red as with blood, rushing triumphantly over all resistance, smashing down the trees that baulk it, sweeping away each poor, helpless thing, brute or human, that it encounters, dealing out ruin and death, and proceeding superbly on to carry its trophies of disaster to the bosom of the Ocean Mother, very easy is it to see from whence came those old tales of cruelty, of irresistible strength, of desire.
Many are the tales of sea-maidens who have stolen men's lives from them and sent their bodies to move up and down amidst the wrack, like broken toys with which a child has grown tired of playing and cast away in weariness.
In an eighth-century chronicle concerning St. Fechin, we read of evil powers whose rage is "seen in that watery fury and their hellish hate and turbulence in the beating of the sea against the rocks.
But she doesn't care about that, or whether you are hurt or not. It's because she has no heart, being all a wild water.
Treacherous, beautiful, remorseless, that is how men regard the sea and the rushing rivers, of whom the sirens and mermaids of old tradition have come to stand as symbols.
Treacherous and pitiless, yet with a fascination that can draw even the moon and the stars to her breast:. Very many are the stories of the women of the sea and of the rivers, but that one who must forever hold her own, because Heine has immortalised her in song, is the river maiden of the Rhine—the Lorelei.
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