to the bride's former home may arise not so much from a desire to avoid the recollection, as from the resentment of impertinent curiosity, which we have seen arouses excessive annoyance in supernatural bosoms. The resentment of equally impertinent reproaches, or a reminiscence of savage etiquette that avoids the direct name, may account at least as well for other forms of the taboo. Liebrecht suggests most ingeniously that assault and battery must strike the unhappy elf still more strongly than reproaches, as a difference between her present and former condition, and remind her still more importunately of her earlier home, and that this explains the prohibition of the "three causeless blows." It may be so, though there is no hint of this in the stories; and yet her former condition need not have been that of a ghost of the dead, nor her earlier home the tomb. By far the greater number of these stories represent the maiden as a water-nymph; but it is the depths of the earth rather than the water which are commonly regarded as the dwelling-place of the departed. Moreover, the correspondence I have tried to point out between the etiquette of various peoples and the taboo,—such, for instance, as the ban upon a husband's breaking into his wife's seclusion at a delicate moment in his family history,—would remain, on Liebrecht's theory, purely accidental. Nor would the theory account for the absence of a taboo in the lower savagery, nor for the totemistic character of the lady, nor, least of all, for the peltry which is the most picturesque, if not the most important, incident in this group of tales.
In fact, the only direct evidence for Liebricht's contention is the variant of Wild Edric's legend alluded to by Map. His words are, speaking of Alnoth, Edric's son, a great benefactor of the see of Hereford: "The man whose mother vanished into air openly in the sight of many persons, being indignant at her husband's reproaching her that he had carried her off by force from
