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Melusine's secret discovered, from Le Roman de Mélusine by Jean d'Arras, ca 1450–1500. Bibliothèque nationale de France.

Mélusine (French: [melyzin]) 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 mermaid or a lamia). 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. Her name can vary depending on the areas such as Merlusse in Vosges, Merluisaine in Champagne.... The French Littré suggests the Latin melus, meaning "melodious, pleasant".

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. This name refers to several major legendary themes, such as the water nymph, the earth being (terroir), the genie who inhabits a certain place, the succubus who comes from the diabolical world to unite carnally with a man, the harbinger of death, or even the mermaid, considering her shaping.

One tale says Mélusine herself was the daughter of the fairy Pressyne and King Elinas of Albany (now Scotland). Mélusine's mother leaves her husband, taking her daughters to the isle of Avalon after he breaks an oath never to look in at her and her daughter in their bath. The same pattern appears in stories where Mélusine marries a nobleman only after he makes an oath to give her privacy in her bath; each time, she leaves the nobleman after he breaks that oath. Shapeshifting and flight on wings away from oath-breaking husbands also 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.[1]

Literary versions[edit]

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.[2] A prose version is entitled the Chronique de la princesse (Chronicle of the Princess).

It 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. In other stories, she takes on the form of a mermaid.

Raymond 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. He broke the promise and saw her in the form of a part-woman, part-serpent, but she forgave him. When, during a disagreement, he called her a "serpent" in front of his court, she assumed the form of a dragon, provided him with two magic rings, and flew off, never to return.[3]

In The Wandering Unicorn by Manuel Mujica Láinez, Melusine tells her tale of several centuries of existence, from her original curse to the time of the Crusades.[4]


In France[edit]

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[edit]

Statue of Melusine near the Alzette in Luxembourg

The Counts of Luxembourg also claimed descent from Melusine through their ancestor Siegfried.[5] 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, magically making the Castle of Luxembourg on the Bock rock (the historical center point of Luxembourg City) appear the morning after their wedding. On her terms of marriage, she too required one day of absolute privacy each week. Alas, Sigfrid, as the Luxem-bourgish call him, "could not resist temptation, and on one of the forbidden days he spied on her in her bath and discovered her to be a mermaid. When he let out a surprised cry, Melusina caught sight of him, and her bath immediately sank into the solid rock, carrying her with it. Melusina surfaces briefly every seven years as a beautiful woman or as a serpent, holding a small golden key in her mouth. Whoever takes the key from her will set her free and may claim her as his bride." In 1997 Luxembourg issued a postage stamp commemorating her.[6]

In Germany[edit]

Martin Luther knew and believed in the story of another version of Melusine, die Melusina zu Lucelberg (Lucelberg in Silesia), whom he referred to several times as a succubus (Works, Erlangen edition, volume 60, pp 37–42). Johann Wolfgang von Goethe wrote the tale of Die Neue Melusine in 1807 and published it as part of Wilhelm Meisters Wanderjahre. The playwright Franz Grillparzer brought Goethe's tale to the stage and Felix Mendelssohn provided a concert overture "The Fair Melusina," his Opus 32.

In Britain[edit]

Melusine is one of the pre-Christian water-faeries[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. Other European water sprites include Lorelei and the nixie.

"Melusina" would seem to be an uneasy name for a girl-child in these areas of Europe, but Ehrengard Melusine von der Schulenburg, Duchess of Kendal and Munster, mistress of George I of Great Britain, was christened Melusine in 1667.

The chronicler Gerald of Wales reported that Richard I of England was fond of telling a tale according to which he was a descendant of a countess of Anjou who was in fact the fairy Melusine.[7] The Angevin legend told of an early Count of Anjou who met a beautiful woman when in a far land, where he married her. He had not troubled to find out about her origins. However, after bearing him four sons, the behaviour of his wife began to trouble the count. She attended church infrequently, and always left before the Mass proper. One day he had four of his men forcibly restrain his wife as she rose to leave the church. Melusine evaded the men and clasped the two youngest of her sons and in full view of the congregation carried them up into the air and out of the church through its highest window. Melusine and her two sons were never seen again. One of the remaining sons was the ancestor, it was claimed, of the later Counts of Anjou and the Kings of England.[8]

Related legends[edit]

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.[9]

Structural interpretation[edit]

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".[10]

References in the arts and popular culture[edit]


"Melusine" by Julius Hübner.

Popular culture[edit]


Other references[edit]

See also[edit]


  1. ^ Baring-Gould, Sabine (1882). Curious Myths of the Middle Ages. Boston: Roberts Brothers. pp. 343–393.
  2. ^ Lydia Zeldenrust, The Mélusine Romance in Medieval Europe: Translation, Circulation, and Material Contexts (Cambridge: D. S. Brewer, 2020)
  3. ^ Boria Sax, The Serpent and the Swan: Animal Brides in Literature and Folklore. Knoxville, TN: University of Tennessee Press/ McDonald & Woodward, 1998.
  4. ^ Láinez, Manuel Mujica (1983) The Wandering Unicorn Chatto & Windus, London ISBN 0-7011-2686-8;
  5. ^ a b Philippa Gregory; David Baldwin; Michael Jones (2011). The Women of the Cousins' War. London: Simon & Schuster.
  6. ^ Luxembourg Stamps: 1997
  7. ^ Flori, Jean (1999), Richard Coeur de Lion: le roi-chevalier, Paris: Biographie Payot, ISBN 978-2-228-89272-8 (in French)
  8. ^ Huscroft, R. (2016) Tales From the Long Twelfth Century: The Rise and Fall of the Angevin Empire, Yale University Press, pp. xix–xx
  9. ^ Christiane Deluz, Le livre de Jehan de Mandeville, Leuven 1998, p. 215, as reported by Anthony Bale, trans., The Book of Marvels and Travels, Oxford 2012, ISBN 0199600600, p. 15 and footnote
  10. ^ J. Le Goff, Time, Work and Culture in the Middle Ages (London 1982) p. 218-9
  11. ^ Letitia Landon
  12. ^ DeLong
  13. ^ Brian Stableford, " Re-Enchantment in the Aftermath of War", in Stableford, Gothic Grotesques: Essays on Fantastic Literature. Wildside Press, 2009, ISBN 978-1-4344-0339-1 (p.110-121)
  14. ^ Jeffrey Chipps Smith, The Artistic Patronage of Philip the Good, Duke of Burgundy (1419–1467), PhD thesis (Columbia University, 1979), p. 146
  15. ^ "Stephan, a Dominican, of the house of Lusignan, developed the work of Jean d'Arras, and made the story so famous, that the families of Luxembourg, Rohan, and Sassenage altered their pedigrees so as to be able to claim descent from the illustrious Melusina", citing Jean-Baptiste Bullet's Dissertation sur la mythologie française (1771).
  16. ^ Jarman, Rosemary Hawley (1972). "Foreword". The King's Grey Mare.
  17. ^ Gregory, Philippa (2009). "Chapter One" (PDF). The White Queen.
  18. ^ Smith, G.S.; C. M. MacRobert; G. C. Stone (1996). Oxford Slavonic Papers, New Series. XXVIII (28, illustrated ed.). Oxford University Press, USA. p. 150. ISBN 978-0-19-815916-2.
  19. ^ "Le superordinateur luxembourgeois "Meluxina" fera partie du réseau européen EuroHPC" [Luxembourgish supercomputer "Meluxina" will be part of the EuroHPC European network]. (in French). 14 June 2019. Retrieved 30 June 2019.
  20. ^ Woodard, Larry (6 January 2011). "Can You Say 'Melusine?" Starbucks Will Explain". ABC News. Retrieved 28 April 2021.
  21. ^ Wilson, Mark (17 January 2018). "The Starbucks Logo Has A Secret You've Never Noticed". Fast Company. Retrieved 7 June 2021.


  • Donald Maddox and Sara Sturm-Maddox, Melusine of Lusignan: foundling fiction in late medieval France. Essays on the Roman de Mélusine (1393) of Jean d'Arras.
  • Lydia Zeldenrust, The Mélusine Romance in Medieval Europe: Translation, Circulation, and Material Contexts. (Cambridge: D.S. Brewer, 2020) (on the many translations of the romance, covering French, German, Dutch, Castilian, and English versions) ISBN 9781843845218
  • Jean d'Arras, Mélusine, roman du XIVe siècle, ed. Louis Stouff. Dijon: Bernigaud & Privat, 1932. (Scholarly edition of the important medieval French version of the legend by Jean d'Arras.)
  • Otto j. Eckert, "Luther and the Reformation," lecture, 1955. e-text
  • Proust, Marcel. (C. K. Scott Moncrieff, trans.) Within A Budding Grove. (Page 190)
  • Letitia Elizabeth Landon. Fisher's Drawing Room Scrap Book, 1834.
  • Anne DeLong. Mesmerism, Medusa and the Muse, The Romantic Discourse of Spontaneous Creativity, 2012.

External links[edit]