one (see supra, pp. 109–10).[557] The solar character of the princess Märthöll (no. 586, Henne-Am-Rhyn), _who is as beautiful as the sun, and can only weep golden tears_ (see Excursus E), can escape no one. The moon-lit sky of night appears in the Myth of Civilisation averse to all the blessings which the Sun grants to the agriculturist. In this character it appears frequently, especially in the American mythology;[558] whereas in the Oriental the connexion between the moon and water suggests the idea that the moon produces fertility and freshness in the soil (see supra, p. 160). In the Voguls’ story of civilisation, a small fragment of which, from the collections made by Antony Reguly, is contained in the important work of the Hungarian Academician Paul Hunfalvy on the ‘Country and People of the Voguls,’[559] _Kulyater_ is the builder of the first city. The solar character of Kulyater cannot be doubted, if the following portion of the Vogul story be taken into consideration: ‘He dwelt in a house locked with seven iron locks. Tarom was angry with him, and seized him by one foot, and he fell into the heart of the foaming sea.’ This is the sunset. The reason why the Founder of Cities (whom the Vogul reckons among the evil spirits and regards as the originator of death[560]) appears here in an unfavourable light is the same as that which we shall discover for the tone of dislike which the Hebrew story adopts towards the agriculturist Cain. Till they became Russified the Voguls remained prevailingly a hunting people, and their myths did not rise to the elevation of the view of the world possessed by agriculturists. The Vogul story of the Creation[561] reflects exactly the ideas of a hunting and fishing people; it speaks only of the chase and of catching fish.