If the tasks and the flight be a reminiscence of purchase and capture, we may find in that reminiscence a reason why nearly all the stories concur in representing the father under a forbidding aspect. As his daughter's vendor,—her unwilling vendor,—as her guardian from capture, he would be the natural foe of her lover. He is not always so ready as the Bird Simer to give up to another his rights over her; but perhaps the Bird Simer's readiness may be partly explained by the husband's having already performed the feat of rescuing the maiden from a giant, beside slaying his own brother for her sake. Usually the father is a frightful ogre or giant; not infrequently he is no less a personage than the Devil himself. And the contrast between him and his lovely daughter would be more and more strongly felt as purchase and capture ceased to be serious methods of bride-winning. Hence, probably, the thought of real relationship would be abandoned, and the maiden would often be conceived of as enchanted and captive in the hands of a malevolent being.
We will not now stop to discuss the tasks in detail: we can only afford time to glance at one of them, namely, that of distinguishing the maid from her sisters. There are three chief means by which the lover or husband is enabled to identify the object of his devotion. Two of these depend upon the lady herself: in the one she slily helps her lover; in the other he recognizes an insignificant peculiarity of her person or attire. The third means is an indication given by one of the lower animals, which has better means of knowledge than the suitor, due probably to its greater cleverness—a quality, as I have already pointed out in Chapter II., universally credited in a certain stage of culture to these creatures. We will deal first with the second means.
it, than the far more archaic story of Tawhaki. But the society in which it took shape was more advanced than that disclosed in the Maori legend.
