メリュジーヌ

メリュジーヌ（別名：メリュジーナ、Melusine）は、フランスの伝承に登場する水の精霊で、一種の異類婚姻譚の主人公。上半身は中世の衣装をまとった美女の姿だが、下半身は蛇の姿で、背中にはドラゴンの翼が付いている事から竜の妖精でもあるとも言われている。マーメイドの伝承とも結び付けられて考えられることもある。

メリュジーヌ（フランス語：[melyzin]）またはメルシナ（Melusina）は、ヨーロッパの民間伝承の人物で、聖なる井戸や川にある清水の女性の精霊である。通常、腰から下が蛇や魚のような女性（ラミアや人魚のようなもの）として描かれることが多い。

Mélusine (テンプレート:IPA-fr) or Melusina is a figure of European folklore, a female spirit of fresh water in a holy well or river. She is usually depicted as a woman who is a serpent or fish from the waist down (much like a lamia or a mermaid). She is also sometimes illustrated with wings, two tails, or both. Her legends are especially connected with the northern and western areas of France, Luxembourg, and the Low Countries.

The Limburg-Luxemburg dynasty (which ruled the Holy Roman Empire from 1308 to 1437 as well as Bohemia and Hungary), the House of Anjou and their descendants the House of Plantagenet (kings of England), and the French House of Lusignan (kings of Cyprus from 1205–1472, and for shorter periods over Cilician Armenia and Jerusalem) are said in folk tales and medieval literature to be descended from Melusine. The story combines several major legendary themes, such as the water nymph or mermaid, the earth being (terroir), the genius loci or guardian spirit of a location, the succubus who comes from the diabolical world to unite carnally with a man, or the banshee or harbinger of death.

Etymology

The French Dictionnaire de la langue française suggests the Latin melus, meaning "melodious, pleasant". Another theory is that Melusine was inspired by a Poitevin legend of "Mère Lusine," leader of a band of fairies who built Roman edifices throughout the countryside. Melusine's name varies depending on the areas, such as Merlusse in Vosges or Merluisaine in Champagne.

Literary versions

ファイル:Bookofmelusine.jpg

Raymond walks in on his wife, Melusine, in her bath and discovers she has the lower body of a serpent. Illustration from the Jean d'Arras work, Le livre de Mélusine (The Book of Melusine), 1478.

The most famous literary version of Melusine tales, that of Jean d'Arras, compiled about 1382–1394, was worked into a collection of "spinning yarns" as told by ladies at their spinning coudrette (coulrette (in French)). He wrote The Romans of Partenay or of Lusignen: Otherwise known as the Tale of Melusine, giving source and historical notes, dates and background of the story. He goes into detail and depth about the relationship of Melusine and Raymondin, their initial meeting, and the complete story.

The tale was translated into German in 1456 by Thüring von Ringoltingen, which version became popular as a chapbook. It was later translated into English, twice, around 1500, and often printed in both the 15th century and the 16th century. There is also a Castilian and a Dutch translation, both of which were printed at the end of the 15th century. A prose version is entitled the Chronique de la princesse (Chronicle of the Princess).

The story tells how in the time of the Crusades, Elynas, the King of Albany (an old name for Scotland or Alba), went hunting one day and came across a beautiful lady in the forest. She was Pressyne, mother of Melusine. He persuaded her to marry him but she agreed, only on the promise—for there is often a hard and fatal condition attached to any pairing of fay and mortal—that he must not enter her chamber when she birthed or bathed her children. She gave birth to triplets. When he violated this taboo, Pressyne left the kingdom, together with her three daughters, and traveled to the lost Isle of Avalon.

The three girls—Melusine, Melior, and Palatyne—grew up in Avalon. On their fifteenth birthday, Melusine, the eldest, asked why they had been taken to Avalon. Upon hearing of their father's broken promise, Melusine sought revenge. She and her sisters captured Elynas and locked him, with his riches, in a mountain. Pressyne became enraged when she learned what the girls had done, and punished them for their disrespect to their father. Melusine was condemned to take the form of a serpent from the waist down every Saturday.

Raymond or Raymondin of Poitou came across Melusine in a forest of Coulombiers in Poitou in France, and proposed marriage. Just as her mother had done, she laid a condition: that he must never enter her chamber on a Saturday. For many years Raymond kept his promise, and Melusine bore him ten sons and organized the construction of marvelous castles. However, Raymond was eventually goaded by a relative and grew suspicious of Melusine's activities on Saturday. He broke his promise and peeked into her chamber, where he saw Melusine bathing in half-serpent form. He kept his transgression a secret, until one of their now-adult sons murdered another. In front of his court, the grieving Raymond blamed Melusine and called her a "serpent." She then assumed the form of a dragon, provided him with two magic rings, and flew off, never to be seen again. She returned only at night to nurse her two youngest children, who were still infants.

Analysis

In folkloristics, German folklorist Hans-Jörg Uther classifies the Melusine tale and related legends as its own tale type of the Aarne-Thompson-Uther Index. In the German Folktale Catalogue (German: Deutscher Märchenkatalog), they are grouped under type *425O, "Melusine", part of a section related to tales where a human maiden marries a supernatural husband in animal form (Animal as Bridegroom).

As in tales of swan maidens, shapeshifting and flight on wings away from oath-breaking husbands figure in stories about Mélusine. According to Sabine Baring-Gould in Curious Tales of the Middle Ages, the pattern of the tale is similar to the Knight of the Swan legend which inspired the character "Lohengrin" in Wolfram von Eschenbach's Parzival.

Jacques Le Goff considered that Melusina represented a fertility figure: "she brings prosperity in a rural area...Melusina is the fairy of medieval economic growth".

Other versions

In France

Melusine legends are especially connected with the northern areas of France, Poitou and the Low Countries, as well as Cyprus, where the French Lusignan royal house that ruled the island from 1192 to 1489 claimed to be descended from Melusine. Oblique reference to this was made by Sir Walter Scott who told a Melusine tale in Minstrelsy of the Scottish Border (1802–1803) stating that "the reader will find the fairy of Normandy, or Bretagne, adorned with all the splendour of Eastern description". The fairy Melusina, also, who married Guy de Lusignan, Count of Poitou, under condition that he should never attempt to intrude upon her privacy, was of this latter class. She bore the count many children, and erected for him a magnificent castle by her magical art. Their harmony was uninterrupted until the prying husband broke the conditions of their union, by concealing himself to behold his wife make use of her enchanted bath. Hardly had Melusina discovered the indiscreet intruder, than, transforming herself into a dragon, she departed with a loud yell of lamentation, and was never again visible to mortal eyes; although, even in the days of Brantome, she was supposed to be the protectress of her descendants, and was heard wailing as she sailed upon the blast round the turrets of the castle of Lusignan the night before it was demolished.

In Luxembourg

ファイル:Luxembourg, Église Saint-Jean (Neumünster) côté Alzette (101).jpg

Statue of Melusine near the Alzette in Luxembourg

The Counts of Luxembourg also claimed descent from Melusine through their ancestor Siegfried. When in 963 A.D. Count Siegfried of the Ardennes (Sigefroi in French; Sigfrid in Luxembourgish) bought the feudal rights to the territory on which he founded his capital city of Luxembourg, his name became connected with the local version of Melusine. This Melusina had essentially the same magic gifts as the ancestress of the Lusignans. The morning after their wedding, she magically created the Castle of Luxembourg on the Bock rock (the historical center point of Luxembourg City). On her terms of marriage, she too required one day of absolute privacy each week. Eventually Sigfrid was tempted by curiosity and entered her apartment on Saturday, when he saw her in her bath and discovered her to be a mermaid. He cried out in surprise, and Melusina and her bath sank into the earth. Melusine remained trapped in the rock but returns every seven years either as a woman or a serpent, carrying a golden key in her mouth. Anyone brave enough to take the key will free her and win her as his bride. Also every seven years, Melusine adds a stitch to a linen chemise; if she finishes the chemise before she can be freed, all of Luxembourg will be swallowed by the rock. In 1997, Luxembourg issued a postage stamp commemorating her.

In Germany

ファイル:Melusine-Ludwig Michael von Schwanthaler-1845.jpg

Melusine by Ludwig Michael von Schwanthaler (1845)

In his Table Talks, Martin Luther mentioned Melusina of Lucelberg (Luxembourg), whom he described as a succubus or the devil. Luther believed in stories like Melusine and attributed them to the devil appearing in female form to seduce men.

The story of Melusine strongly influenced Paracelsus's writings on elementals and especially his description of water spirits. This, in turn, inspired Friedrich de la Motte Fouqué's novella Undine (1811), which led to adaptations and references in works such as Jean Giraudoux's play Ondine (1939), Hans Christian Andersen's fairy tale The Little Mermaid (1837), and Antonín Dvořák's opera Rusalka (1901).

In a legend set in the forest of Stollenwald, a young man meets a beautiful woman named Melusina who has the lower body of a snake. If he will kiss her three times on three consecutive days, she will be freed. However, on each day she becomes more and more monstrous, until the young man flees in terror without giving her the final kisses. He later marries another girl, but the food at their wedding feast is mysteriously poisoned with serpent venom and everyone who eats it dies.

Other Germanic water sprites include Lorelei and the nixie.

In Britain

Melusine is one of the pre-Christian water-faeries テンプレート:Citation needed who were sometimes responsible for changelings. The "Lady of the Lake", who spirited away the infant Lancelot and raised the child, was such a water nymph.

A folktale tradition of a demon wife similar to Melusine appears in early English literature. According to the chronicler Gerald of Wales, Richard I of England was fond of telling a tale that he was a descendant of an unnamed countess of Anjou. In the legend, an early Count of Anjou encountered a beautiful woman from a foreign land. They were married and had four sons. However, the count became troubled because his wife only attended church infrequently, and always left in the middle of Mass. One day he had four of his men forcibly restrain his wife as she rose to leave the church. She evaded the men and, in full view of the congregation, flew out of the church through its highest window. She carried her two youngest sons away with her. One of the remaining sons was the ancestor of the later Counts of Anjou, their troublesome nature being the result of their demonic background.

A similar story became attached to Eleanor of Aquitaine, as seen in the 14th-century romance Richard Coer de Lyon. In this fantastical account, Henry II's wife is not named Eleanor but Cassodorien, and she always leaves Mass before the elevation of the Host. They have three children: Richard, John, and a daughter named Topyas. When Henry forces Cassodorien to stay in Mass, she flies through the roof of the church carrying her daughter, never to be seen again.

Related legends

The Travels of Sir John Mandeville recounts a legend about Hippocrates' daughter. She was transformed into a hundred-foot long dragon by the goddess Diane, and is the "lady of the manor" of an old castle. She emerges three times a year, and will be turned back into a woman if a knight kisses her, making the knight into her consort and ruler of the islands. Various knights try, but flee when they see the hideous dragon; they die soon thereafter. This appears to be an early version of the legend of Melusine.

The motif of the cursed serpent-maiden freed by a kiss also appears in the story of Le Bel Inconnu.

References in the arts and popular culture

Arts

ファイル:JuliusHubner Melusine.jpg

"Melusine" by Julius Hübner.

• Melusine is the subject of Halévy's grand opera La magicienne (1858), although the story is greatly altered. Rather than a half-fairy under a curse, Melusine is a witch who has sold her soul to the Devil and is beautiful by day and hideous by night.
• Johann Wolfgang von Goethe reinterpreted the legend in his short story Die Neue Melusine ("The New Melusine") and published it as part of Wilhelm Meisters Wanderjahre (1807). In this version, Melusine is a tiny elf who sometimes takes on human size.
• The playwright Franz Grillparzer brought Goethe's tale to the stage and Felix Mendelssohn provided a concert overture The Fair Melusine (Zum Märchen von der Schönen Melusine), opus 32.
• Marcel Proust's main character compares Gilberte to Melusine in Within a Budding Grove. She is also compared on several occasions to the Duchesse de Guermantes who was (according to the Duc de Guermantes) directly descended from the Lusignan dynasty. In the Guermantes Way, for example, the narrator observes that the Lusignan family "was fated to become extinct on the day when the fairy Melusine should disappear".
• The story of Melusine (also called Melusina) was retold by Letitia Landon in the poem "The Fairy of the Fountains" in Fisher's Drawing Room Scrap Book and reprinted in her collection The Zenana. Here she is representative of the female poet. An analysis can be found in テンプレート:Harvnb.
• In Our Lady of the Flowers, Jean Genet twice says that Divine, the main character, is descended from "the siren Melusina".
• Dorothy L. Sayers's short story The leopard lady in the 1939 collection In the teeth of the evidence features a Miss Smith "who should have been called Melusine".
• Melusine appears to have inspired aspects of the character Mélisande, who is associated with springs and waters, in Maurice Maeterlinck's play Pelléas and Mélisande, first produced in 1893. Claude Debussy adapted it as an opera by the same name, produced in 1902.
• Margaret Irwin's fantasy novel These Mortals (1925) revolves around Melusine leaving her father's palace, and having adventures in the world of humans.
• Charlotte Haldane wrote a study of Melusine in 1936 (which her then husband J.B.S. Haldane referred to in his children's book "My Friend Mr Leakey").
• Aribert Reimann composed an opera Melusine, which premiered in 1971.
• The Melusine legend is featured in A. S. Byatt's late 20th century novel Possession. One of the main characters, Christabel LaMotte, writes an epic poem about Melusina.
• Philip the Good's 1454 Feast of the Pheasant featured as one of the lavish 'entremets' (or table decorations) a mechanical depiction of Melusine as a dragon flying around the castle of Lusignan.
• Rosemary Hawley Jarman used a reference from Sabine Baring-Gould's Curious Myths of the Middle Ages that the House of Luxembourg claimed descent from Melusine in her 1972 novel The King's Grey Mare, making Elizabeth Woodville's family claim descent from the water-spirit. This element is repeated in Philippa Gregory's novels The White Queen (2009) and The Lady of the Rivers (2011), but with Jacquetta of Luxembourg telling Elizabeth that their descent from Melusine comes through the Dukes of Burgundy.
• In The Wandering Unicorn (1965) by Manuel Mujica Láinez, Melusine tells her tale of several centuries of existence, from her original curse to the time of the Crusades.
• In his 2016 novel In Search of Sixpence the writer Michael Paraskos retells the story of Melusine by imagining her as a Turkish Cypriot girl forceably abducted from the island by a visiting Frenchman.
• In the 2021 novel ‘’Matrix,’’ by Lauren Groff, the poet Marie de France is said to be descended from the fairy Melusine.

Other references

• In Czech and Slovak, the word meluzína refers to wailing wind, usually in the chimney. This is a reference to the wailing Melusine looking for her children.
• In June 2019, it was announced that Luxembourg's first petascale supercomputer, a part of the European High-Performance Computing Joint Undertaking (EuroHPC JU) programme, is to be named "Meluxina".
• The Starbucks logo is based on the melusine of heraldry, depicted as a siren or mermaid with a crown and two tails.
• In Monster Musume, a subspecies of lamia that has a pair of bat wings is named after her.
• In 2022, the French postal system released a 1.65 euro stamp depicting la fee melusine as part of a series of myths and legends.

See also

• Echidna (mythology), Greek Mythological serpent woman, mother of monsters
• Shahmaran, Benevolent serpent-woman from Anatolian and Iranian mythology
• Legend of the White Snake
• Morgen (mythological creature)
• Neck (water spirit)
• Naiad
• Potamides (mythology)
• Partonopeus de Blois
• Yuki-onna
• Knight of the Swan

Literature

• テンプレート:Cite book Essays on the Roman de Mélusine (1393) of Jean d'Arras.
• テンプレート:Cite book On the many translations of the romance, covering French, German, Dutch, Castilian, and English versions.
• テンプレート:Cite book A scholarly edition of the important medieval French version of the legend by Jean d'Arras.
• テンプレート:Cite book
• テンプレート:Cite book
• Letitia Elizabeth Landon, Fisher's Drawing Room Scrap Book, 1835 (1834). テンプレート:Ws
• テンプレート:Cite book

External links

• "Melusina", translated legends about mermaids and water sprites that marry mortal men, with sources noted, edited by D. L. Ashliman, at University of Pittsburgh
• テンプレート:Usurped
• Jean D'Arras, Melusine, Archive.org
• テンプレート:Cite EB1911

伝説の概要

メリュジーヌの伝説は、フランスでは14世紀より前からメリサンドという名でも知られ、民話にも登場していた。その原型は、ずっと以前から知られているヴイーヴルやセイレーンといった怪物であろうとも考えられている。

1397年にフランスのジャン・ダラス（Jean d'Arras）が『メリュジーヌ物語』を散文で著し、その後クードレット（Couldrette）。という人物が1401年以降にパルトゥネの領主に命じられ『メリュジーヌ物語、あるいはリュジニャン一族の物語 (Le roman de Mélusine ou histoire de Lusignan )』を韻文で書き上げたことで広く知られるようになった。その物語とは次のようなものである。

メリュジーヌは、泉の妖精プレッシナとスコットランドのオルバニー（アールバニー）王エリナスの子。である。母親の出産時に、禁忌とされていた妖精の出産を父親である領主が見てしまったために、メリュジーヌと2人の妹、メリオールとプラティナは妖精の国に戻されてしまった。成長したメリュジーヌと妹達は復讐心を募らせ、結託して父親をイングランドのノーサンブリアのある洞窟に幽閉した。ところが母親は夫を愛するがゆえに、メリュジーヌと妹達に、週に1日だけ腰から下が蛇の姿となるという呪いをかけた。さらに、もし変身した姿を誰かに見られた場合には、永久に下半身が蛇で翼を持った姿のままとなってしまう。従って、メリュジーヌが誰かと愛を育むには、その1日に彼女の姿を見ないという約束を果たせる者と出会わねばならなかった。

ポワトゥー伯のレイモン（またはフォレ伯の子レモンダン）は、おじを誤って殺したことから家族の元を離れていたが、ある日メリュジーヌと会って恋に落ち、メリュジーヌも「土曜日に自分の姿を決して見ないこと」という誓約を交わした上で結婚する。彼女は夫に富をもたらし、10人の子供を儲けた。また、彼女の助力もあってレイモン（レモンダン）はリュジニャン城を建て、町も築くことができた。ところが夫は悪意のこもった噂を耳にすると、つい誓約を破り、沐浴中のメリュジーヌの正体を見てしまった。。部屋に1人閉じこもっていた彼女の姿は上半身こそ人間だったが、下半身は巨大な蛇（あるいは魚）になっていたのだった。

誓約を破られたため、メリュジーヌは竜の姿になって城を飛び出していった。しかしまだ小さい子供がいたことから、授乳のために一時城に戻ったほか、城の城主や子孫の誰かが亡くなる直前にも戻ったという。そのため、城主らの死が近づくと、城壁の上に幽霊のようにメリュジーヌが姿を現しては泣き悲しむ様子が見られたという。メリュジーヌの子供達の多くは化け物の性質を持っていたものの、問題なく生まれた2人の子供の血統からは、後のフランス君主が立ったという。リュジニャン城は後に取り壊され、現在は存在しない。

別のヴァリアントでは、メリュジーヌはブルターニュ伯（あるいはポワトゥー伯）の下に美女の姿で現れて求婚し、妻となって後は彼を助けたが、「日曜日に必ず沐浴するので、決して覗かないこと」という誓約を夫に破られ、正体を明かされる。夫は、メリュジーヌが人間でないことを知ってからも妻とし続けたが、2人の間に生まれた気性の荒い異形の息子達が町で殺人を犯したと聞いて激昂し、息子達の性格上の欠陥の原因を彼女の正体のせいだとして、「化け物女」と罵倒したため、自尊心を傷つけられた彼女は正体を現し、教会の塔を打ち壊して川に飛び込んで行方をくらましたという。その後、彼女は水妖の一員となった。紋章などに用いられている尾が2つあるマーメイドは彼女の姿であるとされている。

息子たち

クードレットの記述による。

• ユリアン（後にキプロスの王になったという）
• ウード（外見と顔が炎のように燃えて見える）
• ギイ（後にアルメニアの王になったという）
• アントワーヌ（片頬に獅子の足が生えている）
• ルノー（一つ目）
• ジョフロワ（大牙が一本あり）
• フロモン（鼻の上に毛で覆われたアザがある）
• オリブル（三つ目）

象徴

エリアーデによれば、メリュジーヌを構成する「女性」と「蛇」、そして伝承によっては加えられる「魚」といった要素は、いずれも豊穣のシンボルである。従って、メリュジーヌは豊穣、さらには再生を生み出す存在だと考えることができる。

お菓子

^{（出典の明記, 2015年11月10日 (火) 12:22 (UTC)）} ブルターニュ地域圏では近代まで、メリュジーヌが町を去ったとされる日に祭りが開かれ、屋台で人魚のような姿をした女性を木型で浮き彫りにした素朴な焼き菓子が売られていたという。

この素朴な焼き菓子の名も「メリュジーヌ」と言った。

現代では、祭りが廃れこの「メリュジーヌ」も僅かな木型だけを残して姿を消している。

私的考察

メリュジーヌは禁忌を破られて逃走する逃走女神である。日本神話の豊玉毘売と起源は同じで良いと考える。起源は中国神話の嫦娥である。

嫦娥の夫の羿は「父」ともいえる帝夋の不興を買っており「同族」や「仲間同士」の間での不和があることが示されている。羿は「弓の名手」とされ、黄帝の要素が投影された存在である。（黄帝は兄弟である炎帝と争いを生じている、と言われている。実際に炎帝と黄帝が兄弟であったか否かは別として、羿と黄帝は同族同士の争いを示唆する存在とえる。）その羿に異母兄と争った啓の要素が加えられて、メリュジーヌの夫レイモンと豊玉毘売の夫山幸彦は作られている。

「龍蛇女神」という点では、メリュジーヌは女媧が起源といえる。「女媧型女神」の１形である。（起源については「嫦娥」の私的考察も参照のこと。）

参考文献

• Wikipedia：メリュジーヌ（最終閲覧日：22-09-29）

^{（2015年11月）}

• • アラン・トニー, 上原ゆうこ訳, 世界幻想動物百科 ヴィジュアル版, 原書房, 2009-11, 2008, isbn:978-4-562-04530-3, メリュジーヌの秘密, p. 209
  • 松平俊久, 蔵持不三也監修, 図説ヨーロッパ怪物文化誌事典, 原書房, 2005-03, isbn:978-4-562-03870-1
  • 蔵持 (2005), 蔵持 (2005)：蔵持不三也「序文 中世怪物表象考 - 『ヨーロッパ怪物文化誌事典』に寄せて」pp. 7-36。
    • 松平 (2005a), 松平 (2005a)：松平俊久「第1章 異形へのまなざし - 怪物文化誌へ向けて」pp. 37-62。
    • 松平 (2005b), 松平 (2005b)：松平俊久「メリュジーヌ」pp. 221-223。
  • ローズ・キャロル, 松村一男監訳, 世界の怪物・神獣事典, 原書房, シリーズ・ファンタジー百科, 2004-12, メリュジーヌ, p. 431, isbn:978-4-562-03850-3
  • クードレット, 森本英夫・傳田久仁子訳, 妖精メリュジーヌ伝説, 社会思想社, 現代教養文庫 1584, 1995-12, isbn:978-4-390-11584-1

関連資料

• 篠田知和基 「メリュジーヌの変容」『日本フランス語フランス文学会中部支部研究報告集』 日本フランス語フランス文学会、第20巻、1996年3月、pp.13-14, doi:10.24522/basllfc.20.0_13, NAID:110009459107。
• 篠田知和基 「メリュジーヌ伝承の比較」『名古屋大學文學部研究論集 文學』 第44巻、1998年3月31日、pp.151-171, テンプレート:Doi, テンプレート:NAID。
• 傳田久仁子 「「境界」の位置 : 『メリュジーヌ物語』におけるリュジニャン城」、『フランス語フランス文学研究』 日本フランス語フランス文学会、第67巻、1995年10月29日、p.97, doi:10.20634/ellf.67.0_97, NAID:110001247436。
• フィリップ・ヴァルテール『ユーラシアの女性神話-ユーラシア神話試論Ⅱ』（渡邉浩司・渡邉裕美子訳）中央大学出版部 2021年8月25日、ISBN 978-4-8057-5183-1。―この本で著者が「特に注目しているのは、「メリュジーヌ型」のユーラシア的展開」（訳者前書き）である。
• 松村朋彦「異類の女性――『メルジーネ』から『崖の上のポニョ』まで」『希土』希土同人社、第46号　2021年9月1日、　ISSN 0387-3560、pp. 2-16.―対象としている作品は、民衆本『メルジーネ』（1474）、フーケー『ウンディーネ』（1811）、アンデルセン『人魚姫』（1837）、ホフマンスタール『影のない女』（1919）、バッハマン『ウンディーネ行く』（1961）、宮崎駿『崖の上のポニョ』（2008）の6作品。

関連項目

• ヴイーヴル
• 西王母
• 女媧
• 嫦娥
• 豊玉毘売
• 人身御供

息子や身内の特徴

• 啓型神

外部リンク

• Melusine, by Jean, d'Arras - Internet Archive