initial commit of ebook 39408HEADmain

16 files changed, 22649 insertions, 0 deletions

diff --git a/.gitattributes b/.gitattributes
new file mode 100644
index 0000000..6833f05
--- /dev/null
+++ b/.gitattributes
@@ -0,0 +1,3 @@
+* text=auto
+*.txt text
+*.md text
diff --git a/39408-8.txt b/39408-8.txt
new file mode 100644
index 0000000..b6fb7d3
--- /dev/null
+++ b/39408-8.txt
@@ -0,0 +1,6687 @@
+The Project Gutenberg EBook of The Grateful Dead, by Gordon Hall Gerould
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org/license
+
+
+Title: The Grateful Dead
+       The History of a Folk Story
+
+Author: Gordon Hall Gerould
+
+Release Date: April 9, 2012 [EBook #39408]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK THE GRATEFUL DEAD ***
+
+
+
+
+Produced by Jeroen Hellingman and the Online Distributed
+Proofreading Team at http://www.pgdp.net/ for Project
+Gutenberg (This file was produced from images generously
+made available by The Internet Archive/American Libraries.)
+
+
+
+
+
+
+
+
+                         The Folk-Lore Society
+                      For Collecting and Printing
+                   Relics of Popular Antiquities, &c.
+                             Established in
+                         The Year MDCCCLXXVIII.
+
+                              Publications
+                                   Of
+                         The Folk-lore Society
+
+                                  LX.
+
+                                 [1907]
+
+
+
+
+
+
+
+                           THE GRATEFUL DEAD
+                      The History of a Folk Story
+
+                                   By
+                          GORDON HALL GEROULD
+                            B. Litt. (Oxon.)
+              Preceptor in English in Princeton University
+
+                 Published for the Folk-Lore Society by
+                      David Nutt, 57--59 Long Acre
+                                 London
+
+                                  1908
+
+
+
+
+
+
+
+                                   To
+                         Professor A. S. Napier
+                      In gratitude and friendship
+
+
+
+
+
+
+
+TABLE OF CONTENTS
+
+
+    Chap.                                                          Page
+          Introduction                                               ix
+       I. A Review                                                    1
+      II. Bibliography                                                7
+     III. Tales with the Simple Theme and Miscellaneous
+          Combinations                                               26
+      IV. The Grateful Dead and The Poison Maiden                    44
+       V. The Grateful Dead and The Ransomed Woman                   76
+      VI. The Grateful Dead and The Water of Life or Kindred
+          Themes                                                    119
+     VII. The Relations of The Grateful Dead to The Spendthrift
+          Knight, The Two Friends, and The Thankful Beasts          153
+    VIII. Conclusion                                                162
+          Index                                                     175
+
+
+
+
+
+
+
+INTRODUCTION.
+
+
+The combination of narrative themes is so frequent a phenomenon
+in folk and formal literature that one almost forgets to wonder at
+it. Yet in point of fact the reason for it and the means by which it
+is accomplished are mysteries past our present comprehension. If we
+could learn how and where popular tales unite, if we could formulate
+any general principle of union or severance, we should be well on
+the way to an understanding of the riddle which has hitherto baffled
+all students of narrative, namely, the diffusion of stories. We have
+theories enough; our immediate need is for more studies of individual
+themes, careful and, if it must be, elaborate discussions of many
+well-known cycles. Happily, these are accumulating and give promise
+of much useful knowledge at no distant day.
+
+One principle has become clear. Since motives are so frequently found
+in combination, it is essential that the complex types be analyzed
+and arranged, with an eye kept single nevertheless to the master-theme
+under discussion. Collectors, both primary and subsidiary, have done
+such valiant service that the treasures at our command are amply
+sufficient for such studies, so extensive, indeed, that the task of
+going through them thoroughly has become too great for the unassisted
+student. It cannot be too strongly urged that a single theme in its
+various types and compounds must be made predominant in any useful
+comparative study. This is true when the sources and analogues of
+any literary work are treated; it is even truer when the bare motive
+is discussed.
+
+The Grateful Dead furnishes an apt illustration of the necessity of
+such handling. It appears in a variety of different combinations,
+almost never alone. Indeed, it is so widespread a tale, and its
+combinations are so various, that there is the utmost difficulty in
+determining just what may properly be regarded the original kernel
+of it, the simple theme to which other motives were joined. Various
+opinions, as we shall see, have been held with reference to this
+matter, most of them justified perhaps by the materials in the hands
+of the scholars holding them, but none quite adequate in view of later
+evidence. The true way to solve the riddle appears to be this: we must
+ask the question,--what is the residuum when the tale is stripped
+of elements not common to a very great majority of the versions
+belonging to the cycle? What is left amounts to the following,--the
+story reduced to its lowest terms, I take it.
+
+A man finds a corpse lying unburied, and out of pure philanthropy
+procures interment for it at great personal inconvenience. Later he is
+met by the ghost of the dead man, who in many cases promises him help
+on condition of receiving, in return, half of whatever he gets. The
+hero obtains a wife (or some other reward), and, when called upon,
+is ready to fulfil his bargain as to sharing his possessions.
+
+Nowhere does a version appear in quite this form; but from what follows
+it will be seen that the simple story must have proceeded along some
+such lines. The compounds in which it occurs show much variety. It
+will be necessary to study these in detail, not merely one or two of
+them but as many as can be found. Despite the bewildering complexities
+that may arise, I hope that this method of approach may throw some
+new light on the wanderings of the tale.
+
+Of my debt to various friends and to many books, though indicated
+in the body of the work, I wish to make general and grateful
+acknowledgment here. My thanks, furthermore, are due to the librarians
+of Harvard University for their courteous hospitality; to Professor
+G. L. Kittredge for his generous encouragement to proceed with this
+study, though he himself, as I found after most of my material was
+collected, had undertaken it several years before I began; and to
+Professor R. K. Root for his help in reading the proofs.
+
+
+
+
+
+
+
+CHAPTER I.
+
+A REVIEW.
+
+
+To Karl Simrock is due the honour of discovering the importance of
+The Grateful Dead for the student of literature and legend. In his
+little book, Der gute Gerhard und die dankbaren Todten, [1] he called
+attention to the theme as a theme, and treated it with a breadth
+of knowledge and a clearness of insight remarkable in an attempt
+to unravel for the first time the mixed strands of so wide-spread
+a tale. Using the Middle High German exemplary romance, Der gute
+Gerhard, as his point of departure, he examined seventeen other
+stories, all but two of which have the motive well preserved. [2]
+Unhappily, the versions which he found came from a limited section
+of Europe, most of them from Germanic sources. Thus he was led to an
+interpretation of the tale on the basis of Germanic mythology. This,
+though ingenious enough and very erudite, need not detain us. It was
+done according to a fashion of the time, which has long since been
+discarded. Simrock took the essential traits of the theme to be the
+burial of the dead and the ransom from captivity. [3] "Wo nur noch
+eine von beiden das Thema zu bilden scheint," he said, "da hat die
+Ueberliefertung gelitten." Here again he was misled by the narrow range
+of his material, as later studies have shown. Nearly all the versions
+he cited have the motive of a ransomed princess, though the majority
+of the stories now known to be members of the cycle do not contain it.
+
+Three years after the publication of Simrock's monograph Benfey treated
+some features of the theme in a note appended to his discussion of
+The Thankful Beasts in the monumental Pantschatantra. [4] Though he
+named but a few variants, he found an Armenian tale which he compared
+with the European versions, coming to the conclusion not only that the
+motive proceeded from the Orient but also that the Armenian version
+had the original form of it. That is, he took the ransom and burial
+of the dead, the parting of a woman possessed by a serpent, and the
+saving of the hero on the bridal night as the essential features. This
+was a step in advance.
+
+George Stephens in his edition of Sir Amadas [5] held much the
+same view. He added several important versions, and scored Simrock
+for admitting Der gute Gerhard, saying that he could not see
+that it had "any direct connection" with The Grateful Dead. [6]
+He was at least partly in the right, even though his statement was
+misleading. According to his Opinion, [7] "the peculiar feature of the
+Princess (Maiden) being freed from demonic influence by celestial aid,
+is undoubtedly the original form of the tale."
+
+In a series of notes beginning in the year 1858 Köhler [8] supplied
+a large number of variants, which have been invaluable for succeeding
+study of the theme. Nowhere, however, did he give an ordered account of
+the versions at his command or discuss the relation of the elements--a
+regrettable omission. The contributions of Liebrecht, [9] though less
+extensive, were of the same sort. In his article published in 1868 he
+said that he thought The Grateful Dead to be of European origin, [10]
+but he added nothing to our knowledge of the essential form of the
+story. The following decade saw the publication by Sepp of a rather
+brief account of the motive, [11] which was chiefly remarkable for
+its summary of classical and pre-classical references concerning the
+duty of burial. Like Stephens he assumed that the release of a maiden
+from the possession of demons was an essential part of the tale. In
+1886 Cosquin brought the discussion one step further by showing [12]
+that the theme is sometimes found in combination with The Golden
+Bird and The Water of Life. He did not, however, attempt to define
+the original form of the story nor to trace its development.
+
+By all odds the most adequate treatment that The Grateful Dead has
+yet received is found in Hippe's monograph, Untersuchungen zu der
+mittelenglischen Romanze von Sir Amadas, which appeared in 1888. [13]
+Not only did he gather together practically all the variants mentioned
+previous to that time and add some few new ones, but he studied
+the theme with such interpretative insight that anyone going over
+the same field would be tempted to offer an apology for what may
+seem superfluous labour. Such a follower, and all followers, must
+gratefully acknowledge their indebtedness to his labours.
+
+Yet one who follows imperfectly the counsels of perfection may
+discover certain defects in Hippe's work. He neglects altogether
+Cosquin's hint as to the combination of the theme with The Water
+of Life and allied tales, thus leaving out of account an important
+element, which is intimately connected with the chief motive in a large
+number of tales. Indeed, his effort to simplify, commendable and even
+necessary as it is, brings him to conclusions that in some respects,
+I believe, are not sound. Though he states the essential points of the
+primitive story in a form [14] which can hardly be bettered and which
+corresponds almost exactly to the one that I have been led to accept
+from independent consideration of the material, [15] he fails to see
+that he is dealing in almost every case, not with a simple theme with
+modified details but with compound themes. Thus he starts out with the
+"Sage vom dankbaren Toten und der Frau mit den Drachen im Leibe" [16]
+and explains all variations from this type either by the weakening of
+this feature and that or by the introduction of a single new motive,
+the story of The Ransomed Woman. He would thus make it appear [17]
+that we have a well-ordered progression from one combined type to
+various other combined and simplified types. Such a series is possible
+without doubt, but it can hardly be admitted till the interplay of
+all accessible themes, which have entered into combination with the
+chief theme, is investigated. Hippe passes these things over silently
+and so gives the subject a specious air of simplicity to which it
+has no right.
+
+I should be the last to deny the necessity of treating narrative
+themes each for itself, and I have nothing but admiration for the
+general conduct of Hippe's investigation; but I wish to show that
+his methods, and therefore his results, are at fault in so far as
+he does not recognize the nature of the combinations into which
+The Grateful Dead enters. Traces of other stories, unless their
+presence is obviously artificial, must be carefully considered,
+since in dealing with cycles of such fluid stuff as folk-tales it
+is certainly wise to give each element due consideration. Certain
+minor errors in Hippe's article will be mentioned in due course,
+though my constant obligations to it must be emphasized here.
+
+Since the appearance of Hippe's study no one has treated The Grateful
+Dead with such scope as to modify his conclusions. Perhaps the
+most interesting work in the field has been that of Dr. Dutz [18]
+on the relation of George Peele's Old Wives' Tale to our theme. He
+follows Hippe's scheme, but gives some interesting new variants. Of
+less importance, but useful within its limits, is the section devoted
+to the saga by Dr. Heinrich Wilhelmi in his Studien über die Chanson
+de Lion de Bourges. [19] Though he added no new versions, the author
+studied in detail the relationship of some of the mediaeval forms to
+one another, basing his results for the most part on careful textual
+comparison. His gravest fault was the thoroughly artificial way in
+which he mapped out the field as a whole, a method which could lead
+only to erroneous conclusions, since he classified according to a
+couple of superficial traits. An English study by Mr. F. H. Groome
+on Tobit and Jack the Giant-Killer [20] unhappily was written without
+regard to the previous literature of the subject, and simply rehearses
+a number of well-known variants.
+
+In this brief review I have touched only on such studies of The
+Grateful Dead as have materially enlarged the knowledge of the subject
+or have attempted a discussion of the theme in a broad way. In the
+following chapter reference will be made to other works, in which
+particular versions have been printed or summarized.
+
+
+
+
+
+
+
+CHAPTER II.
+
+BIBLIOGRAPHY.
+
+
+The following list of variants of The Grateful Dead includes only
+such tales as have the fundamental traits, as sketched above, either
+expressed or clearly implied. Thus Der gute Gerhard, for example, is
+not mentioned because it has only the motive of The Ransomed Woman,
+while one of the folk-tales from Hungary is admitted because it follows
+in general outline one of the combined types to be discussed later,
+even though the burial of the dead is obscured. I cite by the short
+titles which will be used to indicate the stories in the subsequent
+discussion. The arrangement is roughly geographical.
+
+
+Tobit.
+
+In the apocryphal book of Tobit. According to Neubauer, The Book of
+Tobit, a Chaldee Text from a unique MS. in the Bodleian Library, 1878,
+p. xv, Tobit was originally written in Hebrew, although the Hebrew text
+preserved was taken from Chaldee. Neubauer (p. xvii) quotes Graetz,
+Geschichte der Juden, (2nd ed.) iv. 466, as saying that the book was
+written in the time of Hadrian, and he concludes that it cannot be
+earlier because it was unknown to Josephus. The correspondence with
+Sir Amadas, and thus with The Grateful Dead generally, seems to have
+been first noted by Simrock, p. 131 f., again by Köhler, Germania,
+iii. 203, by Stephens, p. 7, by Hippe, p. 142, etc.
+
+
+Armenian.
+
+A. von Haxthausen, Transkaukasia, 1856, i. 333 f. A modern
+folk-tale. Reprinted entire by Benfey, Pantschatantra, i. 219,
+note, and by Köhler, Germania, iii. 202 f. A somewhat inadequate
+summary is given by Hippe, p. 143; a better one is found in
+Arch. f. slav. Phil. v. 43, by Köhler, who mentioned the tale again
+in Or. und Occ. ii. 328, and iii. 96. Summarized also by Sepp, p. 681,
+Groome, Folk-Lore, ix. 228 f., and mentioned by Wilhelmi, p.45.
+
+
+Jewish.
+
+Reischer, Schaare Jeruschalajim, 1880, pp. 86-99. Summarized by
+Gaster, Germania, xxvi. 200-202, and from him by Hippe, pp. 143,
+144. A modern folk-tale from Palestine.
+
+
+Annamite.
+
+Landes, Contes et légendes annamites, 1886, pp. 162, 163, "La
+reconnaissance de l'étudiant mort." A modern folk-tale.
+
+
+Siberian.
+
+Radloff, Proben der Volkslitteratur der türkischen
+Stämme Süd-Siberiens, 1866, i. 329-331. See Köhler,
+Arch. f. slav. Phil. v. 43, note.
+
+
+Simonides.
+
+Cicero, De Divinatione, i. 27, referred to again in ii. 65 and
+66. Retold by Valerius Maximus, Facta et Dicta, i. 7; after him by
+Robert Holkot, Super Libros Sapientiae, Lectio 103; and again by
+Chaucer in the Nun's Priest's Tale, Cant. Tales, B, 4257-4294. For
+the relationship of Chaucer's anecdote to those in Latin see Skeat,
+note in his edition, Lounsbury, Studies in Chaucer, 1892, ii. 274,
+and Petersen, On the Sources of the Nonne Prestes Tale, 1898,
+pp. 106-117. Connected with The Grateful Dead by Freudenberg in a
+review of Simrock in Jahrbücher des Vereins von Alterthumsfreunden im
+Rheinlande, xxv. 172. See also Köhler, Germania iii. 209, Liebrecht in
+Heidelberger Jahrbücher der Lit. lxi. 449, 450, and Sepp. p. 680. Not
+treated by Hippe.
+
+
+Gypsy.
+
+A. G. Paspati, Études sur les Tchinghianés ou Bohémiens de
+l'Empire Ottoman, 1870, pp. 601-605, Translated from Paspati by
+F. H. Groome, Gypsy Folk-Tales, 1899, pp. 1-3. Summarized by Köhler,
+Arch. f. slav. Phil. v. 43 and carelessly by Hippe, p. 143. This
+tale was heard near Adrianople. Cited by Foerster, Richars li Biaus,
+p. xxviii, and by Wilhelmi, p. 45.
+
+
+Greek.
+
+J. G. von Hahn, Griechische und albanesische Märchen, 1864, no. 53,
+pp. 288-295, "Belohnte Treue." Summarized in part by Hippe, p. 149. See
+also Liebrecht, Heid. Jahrbücher, lxi. 451, and by Groome, Folk-Lore,
+ix. 243. This tale was found in northern Euboea.
+
+
+Maltese.
+
+Hans Stumme, Maltesische Märchen, Gedichte und Rätsel, 1904, no. 12,
+pp. 39-45.
+
+
+Russian I.
+
+Afansjew, Russische Volksmärchen, Heft 6, p. 323 f. Analyzed by
+Schiefner, Or. und Occ. ii. 174, 175, and after him by Hippe, p. 144,
+with some omissions. See Köhler, Or. und Occ. iii. 93-103, and Sepp,
+p. 684.
+
+
+Russian II.
+
+Chudjakow, Grossrussische Märchen, Heft 3, pp. 165-168. Translation
+by Schiefner, Or. und Occ. iii. 93-96 in article by Köhler. In
+English by Groome, Folk-Lore, ix. 229 ff. Summarized by Köhler,
+Arch. f. slav. Phil. v. 43, and (with an important omission) by Hippe,
+pp. 144, 145. See Köhler's notes in Gonzenbach, Sicilianische Märchen,
+ii. 250.
+
+
+Russian III.
+
+Reproduced from an illustrated folk-book in the Publications of
+the Society of Friends of Old Literature in St. Petersburg, 1880,
+no. 49. Summarized by V. Jagic, Arch. f. slav. Phil. v. 480, and by
+Hippe, p. 145. Jagic remarks that the tale must have been widely known
+in Russia in the eighteenth century, though clearly of foreign origin.
+
+
+Russian IV.
+
+Dietrich, Russische Volksmärchen in den Urschrift gesammelt,
+1831, no. 16, pp. 199-207. English translation, Russian Popular
+Tales. Translated from the German Version of Anton Dietrich, 1857,
+pp. 179-186. "Sila Zarewitsch und Iwaschka mit dem weissen Hemde." Like
+other tales in the collection this was taken from a popular print
+bought at Moscow. Mentioned by Benfey, Pantschatantra, i. 220, and
+by Köhler, Or. u. Occ. ii. 328.
+
+
+Russian V. [21]
+
+P. V. Sejn, Materialien zur Kenntniss der russischen Bevölkerung
+von Nordwest-Russland, 1893, ii. 66-68, no. 33. Cited by Polívka in
+Arch. f. slav. Phil. xix. 251.
+
+
+Russian VI.
+
+P. V. Sejn, work cited, ii. 401-407, no. 227. Cited by Polívka,
+Arch. f. slav. Phil. xix. 262.
+
+
+Servian I.
+
+Vuk Stefanovic Karadzic, 2nd ed. of his Servian folk-tales,
+1870. Translated by Madam Mijatovies (Mijatovich), Serbian
+Folk-Lore, 1874, p. 96. Summarized from Servian by Köhler,
+Arch. f. slav. Phil. ii. 631, 632, and from him by Hippe, p. 145.
+
+
+Servian II.
+
+Summarized from Gj. K. Stefanovic's collection, 1871, no. 15, by
+Jagic in Arch. f. slav. Phil. v. 40 f. with the title "Vlatko und
+der dankbare Todte." Thence by Hippe, p. 145.
+
+
+Servian III.
+
+Jagic in Arch. f. slav. Phil. v. 41 f, from Stojanovic's collection,
+no. 31. Hippe's summary, p. 146, is exceedingly brief and faulty.
+
+
+Servian IV.
+
+Jagic, Arch. f. slav. Phil. v. 42, from Matica, B. 105 (A.D. 1863,
+St. Novakovic). Summary of this by Hippe, p. 146. Jagic calls the tale
+"Ein Goldfisch."
+
+
+Servian V.
+
+Krauss, Sagen und Märchen der Südslaven, 1883, i. 385-388, "Der
+Vilaberg." Summarized by Dutz, p. 11.
+
+
+Servian VI.
+
+Krauss, work cited, i. 114-119. "Fuhrmann Tueguts Himmelswagen." From
+the manuscript collection of Valjavec. Summarized by Dutz, p. 18,
+note 2.
+
+
+Bohemian. [22]
+
+Waldau, Böhmisches Märchenbuch, 1860, pp. 213-241. Mentioned by Köhler,
+Or. und Occ. ii. 329, and by Hippe, p. 146. Summarized by the former,
+Or. und Occ. iii. 97 f.
+
+
+Polish.
+
+K. W. Wójcicki, Klechdy, Starozytne podania i powiesci ludowe,
+2nd ed., Warsaw, 1851. Translated into German by F. H. Lewestam,
+Polnische Volkssagen und Märchen, 1839, pp. 130 ff; into English by
+A. H. Wratislaw, Sixty Folk-Tales from exclusively Slavonic Sources,
+1889, pp. 121 ff.; and into French by Louis Leger, Recueil de contes
+populaires slaves, 1882, pp. 119 ff. Summarized by Köhler, Germania,
+iii. 200 f., and by Hippe, pp. 146 f. See also Sepp, p. 684, Dutz,
+p. 11, Groome, Gypsy Folk-Tales, p. 3, note, and Arivau, Folk-Lore
+de Proaza, 1886, p. 205.
+
+
+Bulgarian.
+
+Lydia Schischmánoff, Légendes religieuses bulgares, 1896, no. 77,
+pp. 202-209, [23] "Le berger, son fils, et l'archange."
+
+
+Lithuanian I.
+
+L. Geitler, Litauische Studien, 1875, pp. 21-23. Analyzed by Köhler,
+Arch. f. slav. Phil. ii. 633, and after him briefly by Hippe, [24]
+p. 147, as his "Lithuanian II."
+
+
+Lithuanian II.
+
+Köhler, Arch. f. slav. Phil. ii. 633 f. From Prussian
+Lithuania. Summarized by Hippe, p. 147, as his "Lithuanian III."
+
+
+Hungarian I.
+
+G. Stier, Ungarische Sagen und Märchen, 1850, pp. 110-122. Mentioned
+by Köhler, Germania, iii. 202, and by Hippe, p. 147.
+
+
+Hungarian II.
+
+G. Stier, Ungarische Volksmärchen, 1857, pp. 153-167. Summarized by
+Köhler, Germania, iii. 199 f., and too briefly by Hippe, p. 148.
+
+
+Rumanian I.
+
+Arthur Schott, Neue walachische Märchen, in Hackländer and Hoefer's
+Hausblätter, 1857, iv. 470-473. Mentioned by Stephens, p. 10, Hippe,
+p. 147, and Benfey, Pantschatantra, ii. 532.
+
+
+Rumanian II.
+
+F. Obert, Romänische Märchen und Sagen aus Siebenbürgen, in Das
+Ausland, 1858, p. 117. Mentioned by Köhler, Germania, iii. 202,
+and by Hippe, p. 147.
+
+
+Transylvanian.
+
+Haltrich, Deutsche Volksmärchen aus dem Sachsenlande in Siebenbürgen,
+1856, pp. 42-45. Analyzed by Köhler, Or. und Occ. ii. 326, and
+incompletely by Hippe, p. 148. Mentioned by Stephens, p. 10, and Sepp,
+p. 684.
+
+
+Esthonian I.
+
+Schiefner, Or. und Occ. ii. 175 f., whence the analysis by Hippe,
+p. 148.
+
+
+Esthonian II.
+
+Reisen in mehrere russische Gouvernements in den Jahren 1801, 1807
+und 1815, 1830, v. 186-192, from Ein Ausflug nach Esthland im Junius
+1807. Reprinted by Kletke, Märchensaal, 1845, ii. 60-62. Summarized
+by Dutz, p. 18, note 3.
+
+
+Finnish.
+
+Liebrecht, Germania, xxiv. 131, 132. Communicated by Schiefner
+from Suomen, Kansan Satuja, Helsingfors, 1866. Summarized by Hippe,
+pp. 148 f.
+
+
+Catalan.
+
+F. Maspons y Labrós, Lo Rondollayre: Quentos populars catalans, Segona
+Série, 1872, no. 5, pp. 34-37. Analyzed by Liebrecht, Heid. Jahrbücher
+der Lit. lxv. 894 (1872), and after him by Hippe, p. 151. Mentioned
+by d'Ancona, Romania, iii. 192, and by Foerster, Richars li Biaus,
+p. xxviii.
+
+
+Spanish.
+
+Duran, Romancero general, 1849-51, ii. 299-302, nos. 1291,
+1292. Summarized by Köhler, Or. und Occ. ii. 323 f. and after him
+by Cosquin, Contes populaires, i. 215, and by Hippe, p. 151. [25]
+Mentioned by Sepp, p. 686.
+
+
+Lope de Vega.
+
+Comedy in two parts, Don Juan de Castro. According to J. R. Chorley,
+Catálogo de comedias y autos de Frey Félix de Vega Carpio, p. 5, this
+play is to be found in Part xix. of the Comedias published in 1623
+(later issues 1624, 1625, and 1627). A. Schaeffer, Geschichte des
+spanischen Nationaldramas, 1890, i. 141, says that the second part,
+called Las aventuras de don Juan de Alarcos, is in Part xxv. of Lope's
+comedies. The entire play is edited by Hartzenbusch, Comedias Escogidas
+de Lope de Vega, iv. 373 ff. and 395 ff. in the Biblioteca de autores
+españoles, lii. Schaeffer, pp. 141, 142, gives a careful summary of
+the play, and Köhler, Or. und Occ. iii. 100 f., gives another. The
+latter is followed by Hippe, p. 151. Mentioned by Duran, Romancero
+general, ii. 299, by Sepp, p. 686, and by Wilhelmi, pp. 45 ff. and 60.
+
+
+Calderon.
+
+El Mejor Amigo el Muerto, by Luis de Belmonte, Francisco de Rojas,
+and Pedro Calderon de la Barca, in Biblioteca de autores españoles,
+xiv. 471-488, and in Comedias escogidas de los mejores ingenios de
+España, 1657, ix. 53-84. Analyzed by Köhler, Or. und Occ, iii. 100 f.,
+and briefly after him by Hippe, p. 151. Mentioned by Sepp, p. 686,
+and by Wilhelmi, pp. 60 f. Schaeffer, work cited, ii. 283 f., says
+that a play of this name was written by Belmonte alone in 1610,
+which was revised about 1627 with the aid of Rojas and Calderon.
+
+
+Trancoso. [26]
+
+Contos e historias de proveito e exemplo, by Gonçalo Fernandez
+Trancoso, Parte 2, Cont ii., first published in 1575 and frequently
+re-issued during the sixteenth and seventeenth centuries. In
+the edition published at Lisbon in 1693, our tale is found on
+pp. 45r.-60r.; and in that published at the same place in 1710,
+on pp. 110-177. Menéndez y Pelayo, Orígenes de la Novela (Nueva
+Biblioteca de autores españoles vii.), 1907, ii. lxxxvii ff., gives
+a bibliography, the table of contents, and a description of the work
+on the basis of seventeenth century editions; on p. xcv. he connects
+the tale above-mentioned with The Grateful Dead. See T. Braga, Contos
+tradiconaes do povo portuguez, 1883, ii. 63-128, who prints nineteen
+of the tales in abbreviated form, but not ours.
+
+
+Nicholas.
+
+Johannes Junior (Gobius), Scala Celi, 1480, under Elemosina. Gobius
+was born in the south of France and lived about the middle of the
+fourteenth century. [27] Summary by Simrock, pp. 106-109. Mentioned
+by Hippe, p. 169.
+
+
+Richars.
+
+Richars li Biaus, ed. W. Foerster, 1874. A romance written in Picardy
+or eastwards in the thirteenth century (Foerster, p. xxi). Analyzed by
+Köhler, Revue critique, 1868, pp. 412 ff., and Hippe, p. 155. Compared
+in detail with Lion de Bourges by Wilhelmi, pp. 46 ff.
+
+
+Lion de Bourges.
+
+An Old French romance known to exist in two manuscripts, the earlier
+dating from the fourteenth century, [28] the later from about the end
+of the fifteenth. [29] It has never been edited, but the portion which
+concerns us was analyzed in detail by Wilhelmi, pp. 18-38. This summary
+I have made the basis of my discussion. The romance was mentioned by
+P. Paris, Foerster, and Suchier (as cited in note below), Gautier,
+Les épopées françaises, 1st ed. 1865, i. 471-473, Ebert, Jahrbuch
+f. rom. und engl. Lit. iv. 53, 54, and Benfey, Pantschatantra,
+i. 220. A prose translation into German is found in manuscripts of
+the fifteenth century, which does not differ materially from the
+original. [30] This was printed in 1514, and summarized by F. H. von
+der Hagen, Gesammtabenteuer, 1850, i. xcvii-xcix, Simrock, pp. 104-106,
+and Hippe, p. 154. See E. Müller, Überlieferung des Herpin von Burges,
+1905, who analyzes the work and treats its relations to Lion.
+
+
+Oliver.
+
+Olivier de Castille et Artus d'Algarbe, a French prose romance
+composed before 1472, according to Foulché-Delbosc (Revue hispanique,
+ix. 592). The first and second editions were printed at Geneva,
+the first in 1482, the second before 1492. [31] There exist at
+least three manuscripts of the work from the fifteenth century:
+MS. Bibl. nat. fran. 12574 (which attributes the romance to a David
+Aubert, according to Gröber, Grundriss der rom. Phil. ii. 1, 1145);
+MS. Brussels 3861; and Univ. of Ghent, MS. 470. The designs of the
+last have been reproduced, together with a summary of the text, by
+Heins and Bergmans, Olivier de Castille, 1896. An English translation
+was printed by Wynkyn de Worde in 1518. A translation from the second
+French edition into Castilian was made by Philippe Camus, which was
+printed thirteen times between 1499 and 1845. [32] The edition of
+1499 has lately been reproduced in facsimile by A. M. Huntington,
+La historia de los nobles caualleros Oliueros de castilla y artus
+dalgarbe, 1902. A German translation from the French was made
+by Wilhelm Ziely in 1521, and this was translated into English by
+Leighton and Barrett, The History of Oliver and Arthur, 1903. From the
+German prose Hans Sachs took the material for his comedy on the theme
+(publ. 1556). A summary of Ziely's work is given by Frölicher, Thüring
+von Ringoltingen's "Melusine," Wilhelm Ziely's "Olivier und Artus"
+und "Valentin und Orsus," 1889, pp. 65 f., which is used by Wilhelmi,
+pp. 55, 56, in his comparison of the romance with Richars and Lion
+de Bourges. An Italian translation, presumably from the French,
+was printed three or four times from 1552 to 1622. [33] A summary
+of the story is given in Mélanges tirés d'une grande bibliothèque,
+by E. V. 1780, pp. 78 ff., with an incorrect note about the romance,
+reproduced by Hippe, pp. 155 f., with an analysis from the same source
+of the part of the tale belonging to our cycle. Robert Laneham in
+his list of ballads and romances, made in 1575, mentions Olyuer of
+the Castl. See Furnivall, Captain Cox, his Ballads and Books, Ballad
+Soc. 1871, vii. xxxvii and 30.
+
+
+Jean de Calais.
+
+I. Mme. Angélique de Gomez, Histoire de Jean de Calais, 1723. Sketched
+in the Bibliothèque universelle des romans, Dec. 1776, pp. 134
+ff. Köhler, Germania, iii. 204 ff., gives a summary of the work,
+which Mme. de Gomez stated was "tiré d'un livre qui a pour titre:
+Histoire fabuleuse de la Maison des Rois de Portugal." A later
+anonymous redaction of this Jean de Calais exists in prints of 1770,
+1776, and 1787, and it continued to be issued in the nineteenth
+century. Summarized by Hippe, pp. 156 f., and by Sepp, pp. 685
+f. Mentioned by Köhler in Gonzenbach, Sicil. Märchen, ii. 250.
+
+II. Bladé, Contes populaires de la Gascogne, 1886, ii. 67-90. This
+and the following folk-versions of Jean deserve careful consideration
+because of the interesting character of their variations.
+
+III. J. B. Andrews, Folk-Lore Record, iii. 48 ff., from Mentone. See
+Liebrecht, Engl. Stud. v. 158, and Hippe, p. 157.
+
+IV. and V. J. B. Andrews, Contes ligures, traditions de la Rivière,
+1892, pp. 111-116, no. 26, and pp. 187-192, no. 41. These two versions
+differ slightly from one another, but more from the preceding.
+
+VI. P. Sébillot, Contes populaires de la Haute-Bretagne, 3me. série,
+1882, pp. 164-171.
+
+VII. Wentworth Webster, Basque Legends, 1877, pp. 151-154. See Luzel,
+Légendes chrétiennes, p. 90, note.
+
+VIII. A. Le Braz, La légende de la mort chez les Bretons armoricains,
+nouv. éd., 1902, ii. 211-231.
+
+IX. L. Giner Arivau, Folk-Lore de Proaza (Asturia), in Biblioteca de
+las tradiciones populares españolas, viii. 194-201 (1886).
+
+X. Gittée and Lemoine, Contes populaires du pays Wallon, 1891,
+pp. 57-61.
+
+
+Walewein.
+
+Roman van Walewein, ed. Jonckbloet, 1846. Analyzed by G. Paris,
+Hist. litt. de la France, xxx. 82-84, and by W. P. Ker, The Roman
+van Walewein (Gawain) in Folk-Lore, v. 121-127 (1894). My analysis
+is a combination made from these two summaries.
+
+
+Lotharingian.
+
+Cosquin, Contes populaires de Lorraine, 1886, i. 208-212
+(no. xix). Noted by Hippe, p. 157.
+
+
+Gasconian.
+
+Cénac Moncaut, Contes populaires de la Gascogne, 1861, pp. 5-14,
+"Rira bien qui rira le dernier." Summarized by Köhler, Or. und
+Occ. ii. 329. Mentioned by Hippe, p. 157, and by Groome, Folk-Lore,
+ix. 239.
+
+
+Dianese.
+
+Novella di Messer Dianese e di Messer Gigliotto, ed. d'Ancona and
+Sforza, 1868. Analyzed by Liebrecht, Heid. Jahrbücher der Lit. lxi. 450
+(1868), by d'Ancona, Romania, iii. 191, (reprinted in his Studj di
+critica e storia, 1880, p. 353), and by Hippe, p. 152. D'Ancona's
+summary is from Papanti, nov. xxi. The variant is of the fourteenth
+century, according to the writer of the introduction of the edition of
+1868, p. 5. See also Foerster, Richars li Biaus, p. xxiv, and Wilhelmi,
+pp. 44 and 57.
+
+
+Stellante Costantina.
+
+D'Ancona, Romania, iii. 192, mentions the popular poem Istoria
+bellissima di Stellante Costantina figliuola del gran turco, la
+quale fu rubata da certi cristiani che teneva in corte suo padre e fu
+venduta a un mercante di Vicenza presso Salerno, con molti intervalli
+e successi, composta da Giovanni Orazio Brunetto. I have not been able
+to find this poem and do not know how closely it accords with Dianese.
+
+
+Straparola I.
+
+Notti piacevoli, notte xi, favola 2. Analyzed by Grimm, Kinder-
+und Hausmärchen, 1856, iii, 289; and rather too briefly by Simrock,
+pp. 98-100, and Hippe, p. 153. See Benfey, Pant. i. 221, Köhler in
+Gonzenbach, Sicil. Märchen, ii. 249, and Groome, Tobit and Jack,
+Folk-Lore, ix. 226 f., and Gypsy Folk-Tales, p. 3, note.
+
+
+Straparola II.
+
+Notti piacevoli, notte v, favola 1. See Benfey, Pant. ii. 532.
+
+
+Tuscan.
+
+G. Nerucci, Sessanta novelle popolari, 1880, pp. 430-437, no. lii. A
+folk-tale from the neighbourhood of Pistoia. See Webster, Basque
+Legends, pp. 182-187, Crane, Italian Popular Tales, p. 350, and
+Cosquin, Contes populaires, i. 215.
+
+
+Istrian.
+
+Ive, Novelline popolari rovignesi, 1877, p. 19. See d'Ancona, Studj di
+critica, 1880, p. 354, and the summary by Crane, Italian Popular Tales,
+1885, no. xxxv. pp. 131-136, from whom, as Ive's collection has been
+inaccessible to me, I derive my knowledge of the story. Crane gives
+the title of Ive as Fiabe, etc., d'Ancona as above.
+
+
+Venetian.
+
+G. Bernoni, Tradizioni populari veneziane, 1875, pp. 89-96. Referred
+to by Crane, Italian Popular Tales, p. 350.
+
+
+Sicilian.
+
+Laura Gonzenbach, Sicilianische Märchen, 1870, ii. 96-103. Summarized
+briefly by Hippe, pp. 153 f., and by Groome, Folk-Lore, ix. 239 f.
+
+
+Brazilian.
+
+Roméro and Braga, Contos populares do Brazil, 1885, no. x. pp. 215. See
+Cosquin, Contes populaires, i. 215.
+
+
+Basque I.
+
+Wentworth Webster, Basque Legends, 1877, pp. 182-187. See Cosquin,
+Contes populaires, i. 215, and Luzel, Légendes chrétiennes, p. 90,
+note.
+
+
+Basque II.
+
+Webster, work cited, pp. 146-150. See Crane, Italian Popular Tales,
+p. 351.
+
+
+Gaelic.
+
+Campbell, Popular Tales of the West Highlands, new ed. 1890,
+ii. 121-140, no. 32, "The Barra Widow's Son." Summarized by Köhler,
+Or. und Occ. ii. 322 f., by Sepp, p. 685, by Hippe, p. 150, and by
+Groome, Folk-Lore, ix. 235. See Köhler in Gonzenbach, Sicil. Märchen,
+ii. 249, and Groome, Gypsy Folk-Tales, p. 3, note.
+
+
+Irish I.
+
+W. Larminie, West Irish Folk-Tales and Romances, 1893, pp. 155-167,
+"Beauty of the World." Mentioned by Kittredge, Harvard Notes and
+Studies, viii. 250, note.
+
+
+Irish II.
+
+Douglas Hyde, Beside the Fire. A Collection of Irish Gaelic
+Folk-Stories, 1890, pp. 18-47, "The King of Ireland's Son." [34]
+Mentioned by Kittredge, place cited.
+
+
+Irish III.
+
+P. Kennedy, Legendary Fictions of the Irish Celts, 1866, pp. 32-38,
+"Jack the Master and Jack the Servant."
+
+
+Breton I.
+
+Souvestre, Le foyer breton, contes et récits populaires,
+nouv. éd. 1874, ii. 1-21. Analyzed by Simrock, pp. 94-98, by Sepp,
+p. 685, and in part by Hippe, p. 149. See Luzel, Légendes chrétiennes,
+i. 90, note.
+
+
+Breton II.
+
+F. M. Luzel, Légendes chrétiennes de la Basse-Bretagne, 1881,
+i. 68-90, "Le fils de Saint Pierre." Cited by von Weilen,
+Zts. f. vergl. Litteraturgeschichte, N.F. i. 105. Analyzed in part
+by Hippe, pp. 149 f.
+
+
+Breton III.
+
+Luzel, work cited, ii. 40-58. Mentioned by von Weilen, place cited,
+and analyzed by Hippe, p. 150. The title, slightly misquoted by Hippe,
+is "Cantique spirituel sur la charité que montra Saint-Corentin
+envers un jeune homme qui fut chassé de chez son père et sa mère,
+sans motif ni raison."
+
+
+Breton IV.
+
+P. Sébillot, Contes populaires de la Haute-Bretagne, 1880,
+pp. 1-8. Noted by Luzel, work cited, p. 90, note, and by Cosquin,
+Contes populaires, i. 215.
+
+
+Breton V.
+
+F. M. Luzel, Contes populaires de Basse-Bretagne, 1887, ii. 176-194,
+"La princesse Marcassa."
+
+
+Breton VI.
+
+F. M. Luzel, work cited, ii. 209-230, "La princesse de Hongrie."
+
+
+Breton VII.
+
+F. M. Luzel, work cited, i. 403-424, "Iouenn Kerménou, l'homme
+de parole."
+
+
+Old Swedish.
+
+Stephens, pp. 73 f., reprinted with translation from his Ett
+Forn-Svenskt Legendarium, 1858, ii. 731 f. This variant from 1265-1270
+is analyzed by Hippe, pp. 158 f.
+
+
+Swedish.
+
+P. O. Bäckström, Svenska Folkböcker, 1845-48, ii. 144-156,
+from H--d (Hammarsköld) and I--s (Imnelius), Svenska Folksagor,
+1819, i. 157-189. Bäckström also cites several editions of the
+folk-book, which he says is of native origin. Mentioned by Stephens,
+p. 8. Summarized by Liebrecht, Germania, xxiv. 130 f., and by Hippe,
+p. 158.
+
+
+Danish I.
+
+S. Grundtvig, Gamle Danske Minder i Folkemunde, 1854, pp. 77-80,
+"Det fattige Lig." Mentioned by Stephens, p. 8, by Hippe, p. 160,
+and by Wilhelmi, p. 45. Summarized by Köhler, Or. und Occ. iii. 99.
+
+
+Danish II.
+
+Grundtvig, work cited, pp. 105-108, "De tre Mark." Summarized by
+Köhler, Or. und Occ. iii. 100. Cited by Hippe, p. 160, and Wilhelmi,
+p. 45.
+
+
+Danish III.
+
+Andersen, "Reisekammeraten," in Samlede Skrifter, xx. 54
+ff. (1855). Found in most English editions of Andersen's tales as
+"The Travelling Companion." Based on Norwegian II. Analyzed by Sepp,
+p. 678. Cited by Köhler, Or. und Occ. ii. 327, by Hippe, p. 159,
+and by Groome, Gypsy Folk-Tales, p. 3, note.
+
+
+Norwegian I.
+
+Asbjörnsen, Iuletraeet, 1866, no. 8, and Norske Folke-Eventyr, 1871,
+no. 99, pp. 198-201. Summarized by Liebrecht, Heid. Jahrbücher der
+Lit. lxi. 451 (1868), and by Hippe, p. 159. See Liebrecht, Germania,
+xxiv. 131.
+
+
+Norwegian II.
+
+Asbjörnsen, Illustreret Kalender, 1855, pp. 32-39, Iuletraeet, no. 9,
+and Norske Folke-Eventyr, no. 100, pp. 201-214. Translated by Dasent,
+Tales from the Fjeld, 1874, pp. 71-88. Cited by Stephens, p. 8,
+Liebrecht, Germania, xxiv. 131, and Groome, Gypsy Folk-Tales, p. 3,
+note. Somewhat inadequate summaries by Liebrecht, Heid. Jahrbücher
+der Lit. lxi. 452, Hippe, p. 159, and Groome, Folk-Lore, ix. 230.
+
+
+Icelandic I.
+
+Árnason, Íslenzkar þjósögur og æfintýri, 1864, ii. 473-479. English
+translation in Powell and Magnússon, Legends Collected by Jón. Arnason,
+1866, pp. 527-540. German translation in Poestion, Isländische Märchen,
+1884, p. 274. Cited by Liebrecht, Heid. Jahrbücher, lxi. 451, and
+Germania, xxiv. 131, and by Wilhelmi, p. 45. Summary by Köhler,
+Or. und Occ. iii. 101 f., and by Hippe, p. 159.
+
+
+Icelandic II.
+
+A. Ritterhaus, Die neuisländischen Volksmärchen, 1902, no. 57,
+pp. 232-235. From MS. 537, Landesbibliothek, Reykjavík.
+
+
+Rittertriuwe.
+
+F. H. von der Hagen, Gesammtabenteuer, 1850, i. 105-128, no. 6. A
+poem of 866 lines from the fourteenth century. Summaries in Benfey,
+Pant. i. 221, in Simrock, pp. 100-103, and, with a rather bad error,
+in Hippe, p. 164. See Foerster, Richars li Biaus, p. xxiv. Compared
+with Richars, Oliver, and Lion de Bourges by Wilhelmi, pp. 56 f.
+
+
+Treu Heinrich.
+
+Der Junker und der treue Heinrich, ed. K. Kinzel, 1880. Previously
+edited and analyzed by von der Hagen, Gesammtabenteuer, iii. 197-255,
+no. 64. Summary by Simrock, pp. 103 f. Cited by Hippe, p. 165.
+
+
+Simrock I.
+
+J. W. Wolf, Deutsche Hausmärchen, 1858, pp. 243-250, contributed by
+W. von Plönnies. Summary by Simrock, pp. 46-51, by Köhler, Or. und
+Occ. iii. 98, and by Sepp, p. 683. Cited by Hippe, p. 165.
+
+
+Simrock II.
+
+W. von Plönnies in Zts. f. deutsche Myth. ii. 373-377. From the
+Odenwald. Summary by Simrock, pp. 51-54. See Hippe, p. 165. This
+is the story analyzed by Sepp, p. 688 f., though he also refers to
+Wolf's and Zingerle's tales.
+
+
+Simrock III.
+
+E. Meier, Deutsche Volksmärchen aus Schwaben, 1852,
+no. 42. pp. 143-153. Summarized by Simrock, pp. 54-58, Köhler,
+Or. und Occ. iii. 99, and Sepp, pp. 686 f. See Hippe, p. 165.
+
+
+Simrock IV.
+
+H. Pröhle, Kinder- und Volksmärchen, 1853, pp. 239-246. Summary by
+Simrock, pp. 58-62. See Hippe, p. 165.
+
+
+Simrock V.
+
+Simrock, pp. 62-65, contributed by Zingerle, who afterwards printed
+it in the Zts. f. deutsche Myth. ii. 367 ff., in Sagen, Märchen und
+Gebräuche aus Tirol, 1859, pp. 444 f., and in Kinder- und Hausmärchen
+aus Tirol, 2nd ed., 1870, pp. 261-267. Analyzed without mention of
+source by Sepp, pp. 687 f. See Hippe, p. 165.
+
+
+Simrock VI.
+
+Simrock, pp. 65-68, from Xanten. See Hippe, p. 165.
+
+
+Simrock VII.
+
+Simrock, pp. 68-75, from Xanten. See Hippe, p. 165.
+
+
+Simrock VIII.
+
+F. Woeste, Zts. f. deutsche Myth. iii. 46-50, from Grafschaft
+Mark. Given by Simrock, pp. 75-80. Analyzed by Sepp, p. 685, who
+inadvertently speaks of it as "nach irischer Sage." See Hippe, p. 165.
+
+
+Simrock IX.
+
+Simrock, pp. 80-89, contributed by Zingerle, who afterwards printed
+it in Sagen, Märchen und Gebräuche aus Tirol, 1859, pp. 446-450, and
+in Kinder- und Hausmärchen aus Tirol, 2nd ed., 1870, pp. 254-260. See
+Stephens, p. 9, Hippe, pp. 165 f., and Wilhelmi, p. 45.
+
+
+Simrock X.
+
+Simrock, pp. 89-94, from the foot of the Tomberg. Summarized by Köhler,
+Or. und Occ. ii. 326. See Hippe, p. 166, and Wilhelmi, p. 45.
+
+
+Oldenburgian.
+
+L. Strackerjan, Aberglaube und Sagen aus dem Herzogtum Oldenburg,
+1867, ii. 308 ff. Cited by Hippe, p. 166, and by Foerster, Richars
+li Biaus, p. xxviii.
+
+
+Harz I.
+
+A. Ey, Harzmärchenbuch, 1862, pp. 64-74. Summary by Köhler, Or. und
+Occ. iii. 96. Cited by Hippe, p. 166.
+
+
+Harz II.
+
+A. Ey, work cited, pp. 113-118. Summary by Köhler, Or. und
+Occ. iii. 97. Cited by Hippe, p. 166.
+
+
+Sir Amadas.
+
+Ed. Weber, Metrical Romances, 1810, iii. 241-275, Robson, Three Early
+English Metrical Romances, 1842, pp. 27-56, Stephens, Ghost-Thanks,
+1860. Stephens seems to have been the first to note the connection of
+Sir Amadas with The Grateful Dead. The romance, as it is preserved in
+two manuscripts of the fifteenth century, must accordingly have been
+composed as early as the second half of the preceding century. It
+contains 778 verses in the tail-rhyme stanza. Summarized by Köhler,
+Or. und Occ. ii. 325, by Foerster, Richars li Biaus, pp. xxiv-xxvi,
+by Groome, Folk-Lore, ix. 236, and by Hippe (with great care),
+pp. 160-164. Compared with Oliver by Wilhelmi, pp. 58 f.
+
+
+Jack the Giant Killer.
+
+Found without essential difference in several chapbooks, the earliest
+owned by the British Museum being entitled: The Second Part of |
+Jack and the Giants. | Giving a full Account of his victorious
+Conquests over | the North Country Giants; destroying the inchanted |
+Castle kept by Galligantus; dispersed the fiery Grif- | fins; put
+the Conjuror to Flight; and released not | only many Knights and
+Ladies, but likewise a Duke's | Daughter, to whom he was honourably
+married. Newcastle-on-Tyne, 1711. [35] Other editions with the story
+are: The History of Jack and the Giants, Aldermary Churchyard, London;
+same title, Bow Church Yard, London; same title, Cowgate, Edinburgh;
+The Pleasant and delightful History of Jack and the Giants, Nottingham,
+Printed for the Running Stationers, and The Wonderful History of Jack
+the Giant-Killer, Manchester, Printed by A. Swindells; all without
+date. The Newcastle edition was reprinted by Halliwell-Phillipps in
+Popular Rhymes and Nursery Tales, 1849, in which our tale appears
+at pp. 67-77. Apparently the British Museum copy dated 1711 is that
+owned by Halliwell-Phillipps. From his edition it has been reprinted
+by Groome, Folk-Lore, ix. 237 f., and summarized by Köhler, Or. und
+Occ. ii. 327 f., and Sepp, p. 685. See also Stephens, p. 8, Hippe,
+p. 164, and Wilhelmi, p. 45.
+
+
+Factor's Garland. [36]
+
+The Factor's Garland or The Turkey Factor, a tale in English verse,
+which may be regarded as a popular ballad, though by no means
+as a primitive one. It has often been reprinted as a chapbook or
+broadside. The library of Harvard University possesses copies of
+no less than eight different editions (see W. C. Lane, Catalogue
+of English and American Chap-Books and Broadside Ballads in Harvard
+College Library, 1905, nos. 809-815, 2420). An examination of these
+shows that they differ from each other in no essential point, though
+they vary considerably in statements of time. The British Museum
+Catalogue of Printed Books lists seven editions, all different from
+those at Harvard, with one possible exception. The popularity of the
+story, at one time at least, is thus strikingly illustrated. Another
+variant, reported from oral tradition, has been found in North
+Carolina. See the paper read by J. B. Henneman before the Modern
+Language Association of America on Dec 29, 1906.
+
+
+Old Wives' Tale.
+
+George Peele, The Old Wives' Tale (1590), published in 1595, Ed. by
+Dyce, 1828 and 1861, by Bullen, 1888, and by Gummere in Gayley's
+Representative English Comedies, 1903, pp. 349-382. See H. Dutz for
+an elaborate discussion of the connection of the play with our theme.
+
+
+Fatal Dowry.
+
+Philip Massinger (and Nathaniel Field), The Fatal Dowry. First printed
+in 1632. Ed. A. Symons, Mermaid Series, 1889, ii. 87-182.
+
+
+Fair Penitent.
+
+Nicholas Rowe, The Fair Penitent, The Dramatick Works of Nicholas
+Rowe Esq., 1720, vol. i.
+
+
+
+
+
+
+
+CHAPTER III.
+
+TALES WITH THE SIMPLE THEME AND MISCELLANEOUS COMBINATIONS.
+
+
+Of the tales enumerated in the previous chapter, over one hundred in
+number, all but seventeen fall into well-defined categories as having
+The Grateful Dead combined with one or more of three given themes:
+The Possessed Woman, The Ransomed Woman, and The Water of Life. Of
+these seventeen variants, moreover, only four can be regarded as
+having the simple motive of The Grateful Dead; and they are in part
+doubtful members of the family.
+
+The first of them is Simonides, thus related by Cicero: "Unum de
+Simonide: qui cum ignotum quendam proiectum mortuum vidisisset eumque
+humavisset haberetque in animo navem conscendere, moneri visus est
+ne id faceret ab eo, quem sepultura adfecerat; si navigavisset, eum
+naufragio esse periturum; itaque Simonidem redisse, perisse ceteros,
+qui tum navigavissent." The source of Cicero's story we do not know,
+but in all probability it was Greek. Whether it really belongs to
+our cycle, being so simple in form and nearly two centuries earlier
+in date than any other version yet unearthed, is a matter for very
+great doubt. It may have arisen quite independently of other similar
+tales in various parts of the world, and have no essential connection
+with our tale; but it deserves special consideration, not only
+from its antiquity, but also from its subsequent history in lineal
+descent through Valerius Maximus, and possibly Robert Holkot [37] to
+Chaucer. We are at least justified in looking for some influence of so
+well-known an anecdote upon better-authenticated members of the cycle.
+
+The three other variants with the simple theme are all folk-tales
+of recent gathering. The first of them is Jewish, [38] which runs
+as follows: The son of a rich merchant of Jerusalem sets off after
+his father's death to see the world. At Stamboul he finds hanging in
+chains the body of a Jew, which the Sultan has commanded to be left
+there until his co-religionists shall have repaid the sum that the
+man is suspected of having stolen from his royal master. The hero pays
+this sum, and has the corpse buried. Later during a storm at sea he is
+saved by a stone on which he is brought to land, whence he is carried
+by an eagle back to Jerusalem. There a white-clad man appears to him,
+explaining that he is the ghost of the dead, and that he has already
+appeared as stone and eagle. The spirit further promises the hero a
+reward for his good deed in the present and in the future life.
+
+The second variant is the Annamite tale. Two poor students were
+friends. One died and was buried by the other, whose fidelity was
+such that he remained three years by the tomb. He dreamed that his
+friend came to him and said that he should gain the title of trang
+nguyên. So he built a chapel by the tomb, where the dead friend often
+appeared to him. When the king heard of his loyalty, he was praised
+and rewarded with a title. After his death the two friends appeared
+to their son and daughter, bidding them marry. [39]
+
+The third story is Servian VI. An uncle of Adam, who honoured God
+and the "Vile," [40] was so good a man that God came to him in human
+form one day. After a battle between the good and evil in the world,
+the latter would not bury the slain. The Vile told Tuegut that this
+would not do, so he hitched up his wagon and carried the slain to their
+graves. Then God came to earth, told him to put all he possessed in
+his wagon, and carried him on a cloud to heaven, where he was made
+the constellation now called Driver Tuegut's Heavenly Wagon.
+
+Of these three tales the Annamite does not fulfil the usual condition
+that the dead man shall be a stranger to the one who does the good
+action. Together with Simonides, all of them vary widely in the reward
+given the hero. In Simonides he is warned against embarkation, and
+thus saved from shipwreck; in the Jewish he is actually rescued from
+a storm-tossed vessel by the ghost, which masquerades as a rock and an
+eagle, and afterward promises him further rewards here and hereafter;
+in the Annamite he is provided with earthly glory; and in Servian
+VI. he becomes a part of the galaxy of heaven. Only the underlying
+idea is the same,--that the burial of the dead is a pious act and
+a sacred duty, which will meet a fitting reward. [41] This belief
+is so widespread and ancient that it is not difficult to surmise how
+stories inculcating the duty might have grown up independently in many
+lands. At the same time, the very diversity of reward in these simple
+tales allies them to one or another of the compound types, which,
+though multiform and widespread, are yet unmistakably the offspring
+of a single parent form, or better, of a chance union between two
+motives. [42] Thus Simonides and Jewish recall the combination of
+The Grateful Dead with The Ransomed Woman, since they have the hero
+rescued from drowning by the ghost, and they suggest one point of
+union between the two themes. It therefore seems best to include
+them in our list, not only for the sake of completeness, but because
+they point to the reason which sometime and somewhere gave rise to a
+more developed form of the motive,--to the märchen as we shall study
+it. A consideration of these basal principles can be undertaken,
+however, only after the story theme in its various ramifications and
+modifications has been thoroughly discussed.
+
+The probability that The Grateful Dead once existed in a simple,
+uncompounded form, which became the parent on one side of the more
+important combined types, is strengthened by the minor compounds in
+which it is found. How can the correspondences of detail seen in
+a considerable number of different compounds, as far as they run
+parallel, be otherwise explained? Surely it is more reasonable to
+believe in the existence of such a parent form than to suppose that
+an originally complicated form was hacked and hewn asunder to produce
+new compounds. This will become clearer, I hope, as we proceed.
+
+In Greek, a boy was sold to a pasha, who betrothed him to his
+daughter. Because of the mother's objections, however, he was sent
+away as a shepherd, while the girl was promised to another pasha's
+son. The hero fed his flock under the shelter of the castle, and was
+summoned by the maiden, who gave him her betrothal ring in a beaker,
+though pretending not to know him. The next day she asked her parents
+to let the two suitors go into the world with a thousand piasters
+apiece, and see which came back with the most money. So they were
+sent forth. The pasha's son remained in a city enjoying his money,
+while the shepherd went on till he met an old man, to whom he told
+his story. The man gave him a thousand piasters more, and told him to
+buy an ape in a town hard by. He succeeded in doing this, and brought
+the ape back to the old man, who cut it in pieces, much to the youth's
+disgust, and made eye-salve of the brain. With this he sent the hero
+away after exacting a promise of half of what was obtained. The youth
+won a thousand piasters by curing the blind, and later a great sum,
+besides thirty ships, by healing a very rich man. With this wealth he
+returned to the old man, and with him to the city where the pasha's son
+had sojourned. The latter agreed to let the shepherd's seal be burned
+on his arm in return for the payment of his debts; but, while the hero
+and the old man sailed home, he rode fast by land with the story that
+his rival was dead. The shepherd arrived at home just in time for his
+rival's wedding, and at the end of it showed the bride her ring. She
+recognized her lover, called her parents, and, after the hero had
+told his story and proved it by the seal on his rival's arm, married
+him. That night the old man knocked on the door of their chamber,
+and demanded that the bride be divided. According to his promise,
+the hero prepared to cut her in twain, when the intruder said that
+he wished only to test his fidelity, explaining that he was God,
+Who had taken him under His protection because his father had sold
+him in order to keep the lamp burning in honour of his saint.
+
+In this variant the elements of The Grateful Dead have been merged
+with a story about how a young man of low birth won a princess
+by overcoming another suitor in spite of the treachery of the
+latter. As I have met with but one example of this, from Lesbos,
+[43] I will summarize it briefly. A princess becomes enamoured of
+the son of her father's gardener, and refuses to marry the son of
+the first minister. So the two suitors are sent out to a far country
+with the understanding that the one who returns first shall have the
+princess. On the way the gardener's son helps an old beggar-woman,
+whom his rival has spurned, and is told by her how to cure a sick king
+(by boiling him and sprinkling him with a certain powder). For this
+service the youth obtains a ring of bronze, which has the virtue
+of giving whatever its possessor desires. By means of this he gets
+a wonderful ship, and sails to the city where the minister's son,
+through extravagance, has fallen into poverty. He provides him with
+a wretched ship, in which to return home, on condition that he may
+mark him with his ring. The minister's son reaches home in his crazy
+vessel, and is about to marry the princess, when the hero appears on
+his beautiful ship of gold, exposes his rival, and weds the lady. The
+remainder of the story, which tells how the magical ring was lost
+and afterward recovered, does not concern us. It will be seen that
+Greek has preserved only the later part of The Grateful Dead at all
+clearly, though that combination with a tale of the type of the Lesbian
+narrative has actually taken place is evident from the part which the
+helper plays. He not only obtains a promise of division, but calls for
+its fulfilment. His first appearance is, however, quite unmotivated,
+while the old woman of the Lesbian story serves the purpose, according
+to a common formula, of showing the hero's kindness in contrast to
+his rival's hard heart. The point common to the two tales, which led
+to their combination, is without doubt this helping friend.
+
+In Servian V. a youth on a journey pays his all to rescue a debtor from
+hanging. By his new-found friend the youth is led to the wondrous
+Vilaberg, where he is left with the admonition that he must not
+speak. He disobeys, and is made dumb and blind by an enchantress;
+but he is cured by the man whom he rescued, who plays on a pipe
+and gives him a healing draught. So he dwells for some years in the
+mountain with one of the ladies as his wife, but afterward goes home,
+though every summer he returns to his friends in the Vilaberg.
+
+Here we have our theme combined with a form of The Swan-Maiden,
+[44] which occurs in only one other case, as far as I am able to
+discover. The reason for the combination is not far to seek. The
+latter part of the tale represents the reward of the rescuer by the
+rescued. That the benefit does not take the form of actual burial
+need not disturb us. The man was at least far gone towards death, and
+he was a debtor--a trait found in about two-thirds of the variants
+known to me. Moreover, the supernatural character of the comrade is
+indicated by the adventure into which he leads the youth. The tale
+has been partly rationalised, that is all.
+
+Esthonian I. [45] shows a different combination, which is unique as
+far as I know. In a gorge not far from the village of Arukäla (near
+Wesenberg) a howling was heard every night for years. Finally a bold
+man went by night to the place and found the skeleton of a murdered
+king, which told him that it had howled thus for a hundred years
+because it had not been buried with holy rites. The next day the man
+took the bones to a priest, and, while burying them, discovered an
+enormous treasure.
+
+As Schiefner said, [46] when he first printed the story, it recalls
+the Grimms' Der singende Knochen, [47] which in turn is a compound
+of The Water of Life, with the idea of murder discovered by means of
+a dead man's bones. The Esthonian tale has, however, only the latter
+circumstance, combined with a simple form of The Grateful Dead. The
+hero's reward is immediate--he finds gold in the earth while digging
+the grave; and the ghost does not appear. The variant is thus of no
+great significance.
+
+The group of tales that must next be considered furnishes rather
+more important evidence as to the development of the theme. It
+is a compound of The Grateful Dead with the motive which we may
+call The Spendthrift Knight. As far as I know, the type is purely
+mediaeval. The group includes Richars, Lion de Bourges, Dianese,
+Old Swedish, Rittertriuwe, and Sir Amadas.
+
+The plot of Richars, as far as it concerns us, runs thus: Richars, in
+the pursuit of knightly exercises, wastes all his father's property
+as lord of Mangorie. When he hears that the King of Montorgueil has
+promised the hand of his daughter to the victor in a tourney, he is
+sad at the thought of his inability to engage. Through the generosity
+of a provost, however, he is enabled to set out with a horse, three
+attendants, and a supply of gold. At the city of Osteriche he spends
+part of his money in giving a great feast. In the roof of the house
+where he stays he is astonished to see a corpse lying on two beams,
+and he learns that it is the body of a knight, who died owing the
+householder three thousand pounds. Richars gives everything he has,
+even to his armour, to secure the release and burial of the dead
+man. He then proceeds to the tourney on a poor horse that his host
+gives him, and quite alone, since his attendants have deserted him. On
+the way he is joined by a White Knight, who offers him help in the
+tourney and places at his disposal his noble steed. Richars wins the
+tourney and obtains the hand of the Princess Rose. He now offers the
+White Knight his choice of the lady or the property. The stranger,
+however, refuses any division, explains that he is the ghost of the
+indebted knight, and disappears. [48]
+
+Lion de Bourges runs thus: Lion, son of Duke Harpin de Bourges, was
+found by a knight in a lion's den and reared as his son. When he grew
+up, he wasted his foster-father's property in chivalry. Finally, he
+heard that King Henry of Sicily had promised the hand of his daughter
+to the knight who should win a tourney that he had established. So Lion
+started for the court, and on the way ransomed the body of a knight,
+which he found hanging in the smoke, on account of unpaid debts. At
+Montluisant the hero won the favour of the Princess Florentine, and,
+before the tourney, obtained from a White Knight the charger which
+he still lacked, on condition of sharing his winnings, the princess
+excepted. With the help of this knight Lion was victorious and obtained
+the princess. He was then asked by his helper to give up either the
+lady or the whole kingdom, and did not hesitate to do the latter. At
+this, the stranger explained that he was the ghost of the ransomed
+knight and disappeared, though he afterwards returned to assist the
+hero at need.
+
+According to Dianese, [49] the knight of that name has wasted his
+substance. When he hears that the King of Chornualglia (Cornwall)
+has promised his daughter and half of his kingdom to the knight who
+wins the tourney that he has called, Dianese gets his friends to fit
+him out and sets forth. On the way he passes through a town where the
+traffic is diverted from the main street because of a corpse which
+has long been lying on a bier before a church. He learns that it is
+the body of a knight, who cannot be buried till his creditors have
+been paid. At the cost of everything he possesses, save his horse,
+the hero satisfies the creditors and has the knight buried. When he
+has gone on two miles, he is joined by a merchant, who promises him
+money, horses, and weapons if he will give in return half of what he
+wins in the tourney. Dianese agrees, is fitted out anew, and succeeds
+in overcoming all comers in the contest. Thus he obtains the hand
+of the princess and half the kingdom. With his bride, the merchant,
+and his followers he starts for home; but, when they are only a
+day's journey from their destination, he is required by the merchant
+to fulfil his promise--to choose between his bride as one half, his
+possessions as the other. Dianese takes the lady and rides on. Soon,
+however, he is joined by the merchant, who praises his faithfulness,
+gives up the treasures, explains that he is the ghost of the debtor
+knight, and disappears.
+
+In Old Swedish [50] the daughter and heiress of the King of France
+promises to marry whatever knight is victor in a tourney which she
+announces. Pippin, the Duke of Lorraine, hears of this and sets out
+for France. At the end of his first day's journey he finds lodging
+at the house of a widow, who is lamenting because her husband, once
+in good circumstances, has died so poor that she cannot bury him
+properly. Pippin takes pity on her, and pays for the man's funeral. On
+his further journey he falls in with a man on a noble steed, who gives
+him the horse on condition of receiving half of whatever he shall
+win. Unthinkingly Pippin agrees and wins the tourney with the help of
+the horse. After he has married the princess, he is asked by the helper
+to fulfil his promise. He offers at first half, then the whole of his
+kingdom, in order to keep his bride, and is finally told by the man
+that he is the ghost of the dead, while the horse was an angel of God.
+
+Rittertriuwe is of the same romantic character. When Graf Willekin von
+Montabour had spent his substance in chivalrous exercises, he learned
+that a beautiful and rich maiden had promised her hand to the knight,
+who should win a tourney, which she had established. Thereupon he
+set forth and came to the place announced for the combats. There he
+found lodging in the house of a man, who would only receive him if he
+would promise to pay the debts of a dead man, whose body lay unburied
+in the dung of a horse-stall. [51] Willekin was moved by this story
+and paid seventy marks, almost all his money, to ransom the corpse
+and give it suitable burial. He then had to borrow from his host in
+order to indulge in his customary generosity. On the morning of the
+jousting he obtained from a stranger knight a fine horse on condition
+of dividing everything that he won. He succeeded in the tourney above
+all the other contestants, and so wedded the maiden. On the second
+night after the marriage the stranger entered his room and demanded
+a share in his marital rights. After he had offered instead to give
+all his possessions, the hero started from the room in tears, when
+the stranger called him back and explained that he was the ghost of
+the dead, then disappeared.
+
+A brief summary of Sir Amadas, [52] the last of the six variants,
+must now be given. Amadas finds himself financially embarrassed,
+and sets forth for seven years of errantry with only forty pounds
+in hand. This he pays to release and bury the body of a merchant who
+has died in debt. When thus reduced to absolute penury, Amadas meets
+a White Knight, who tells him that he will aid him on condition of
+receiving half the gains. The hero finds a rich wreck on the seacoast,
+and so with new apparel goes to the court, where he wins wealth in a
+tourney and the princess's heart at a feast. After he marries her and
+has a son born to him, the White Knight reappears and demands that the
+accepted conditions be complied with. Hesitatingly Amadas prepares to
+divide first his wife and afterwards his son, but he is stayed by the
+stranger, who explains that he is the ghost of the dead merchant. So
+Amadas is at last released from misfortune and lives in happiness.
+
+In all six of these stories we have a knight, who sets out to
+win a tourney in which the victor's prize is to be the hand of a
+princess. In all of them save Old Swedish he is represented as being
+impoverished by previous extravagance, in Richars, Lion de Bourges,
+and Rittertriuwe it being expressly stated that he had wasted his
+fortune by over-indulgence in his passion for jousting. On his way
+to the place appointed for the contest the hero pays for the burial
+[53] of a man whose corpse is held for debt. [54] He goes on and
+is approached either before (Richars, Lion de Bourges, Dianese, Old
+Swedish, and Sir Amadas) or after (Rittertriuwe) he reaches the lists
+by a man, who provides him with a horse, by the aid of which he wins
+the tourney and the princess. In Dianese the hero is a merchant, in Old
+Swedish his estate is not mentioned, but in the other four variants
+he appears as a knight (a white knight in Richars, Lion de Bourges,
+and Sir Amadas). In Dianese the hero is also provided with armour;
+in Richars and Lion de Bourges he is assisted in his jousting by the
+White Knight; and in Sir Amadas he finds a wreck on the coast from
+which he obtains all things needful. In Richars we find the somewhat
+inept conclusion that the hero asks his friendly helper whether
+he will take the princess or the property [55] as his share. The
+latter responds that he wishes only his horse, explains who he is,
+and vanishes. In all the other variants, however, the condition is
+made that the hero divide whatever he shall gain. [56]
+
+With reference to Richars and Lion de Bourges, Wilhelmi's careful
+discussion [57] has made it clear that, though they agree in many
+points as against all the other related versions, not only in respect
+to The Grateful Dead, but to the further course of a complicated
+narrative, neither one could have been taken from the other. The
+difference in the matter of the division between Richars and all the
+other variants he neglects, though it strengthens his position. Back
+of Richars and Lion de Bourges, earlier than the thirteenth century,
+there must have existed a literary work which was their common
+source. This hypothetical French romance may be considered as the
+foundation of the whole group which we are discussing.
+
+Since Old Swedish agrees with most of the other variants with regard
+to the division, and furthermore with Rittertriuwe, in stating
+that the hero offered all his property in order to keep his wife,
+there seems to be no doubt that it belongs to this particular group,
+despite the fact that it says nothing about the hero's poverty. The
+connection is not improbable on the score of chronology, if we suppose
+that the source of Richars and Lion de Bourges, or some similar tale,
+found its way into the North by translation in the first half of the
+thirteenth century, a time when translations into Icelandic at any
+rate were made in great numbers. Indeed, the names Pippin, Lorraine,
+etc., immediately suggest a French source; and the story is not really
+a legend at all, though it appears in a legendary, but a narrative
+quite in the style of the romans d'adventure.
+
+With reference to Sir Amadas, two points of special interest
+appear. The hero is provided the wherewithal for his successful
+courtship by means of a wreck to which he is directed by the White
+Knight; and he is required to divide his child as well as his wife with
+his helper. These peculiarities, together with the different opening,
+make it improbable that Richars, as preserved, was the direct source
+of the romance, though its author may have known some text either of
+that romance, or of Lion de Bourges. It seems more likely, however,
+that the source of Sir Amadas was rather the common original of
+both those versions. In the present state of the evidence it is
+impossible to do more than to show, as I have attempted to do, that
+the fourteenth-century Sir Amadas is a member of the little group
+under discussion.
+
+The proposed division of the son is peculiarly important in that it
+connects the group with the stories in which The Grateful Dead is
+compounded with the theme of Amis and Amiloun. Indeed, the general
+relationship of The Spendthrift Knight to that theme must be considered
+in a later chapter [58] after more important compounds have been
+discussed. It will be noted that the group just considered is purely
+literary and purely mediaeval. Though it has representatives in Italy,
+Germany, Sweden, and England, it is to all intents and purposes French
+in source and character. Five of its members are the only variants
+treated in this chapter where the question of dividing the hero's
+prize is brought up. The group thus stands by itself, and may be
+considered as an entity when we come to a discussion of the larger
+matters of relationship.
+
+A solitary folk-tale now demands attention--my Breton II. The
+Grateful Dead in a simple form is here combined with a story told of
+Gregory the Great, [59] as Luzel, to whom the tale was recounted by
+a Breton peasant, indeed briefly noted. [60] The Breton tale runs as
+follows: A rich lord and lady had no children. While the lady was
+praying to St. Peter in a chapel that was being repaired, she fell
+a victim to a young painter, and had by him a son, who was named
+after St. Peter. When the boy was twelve years of age, he carried
+St. Peter across a stream one day, while his shepherd companion carried
+Christ. The companion died soon after. Pierre then set forth to visit
+his patron in Paradise. On his way he stopped overnight at the house of
+an old woman, whose husband lay unburied because there was no money to
+pay the priest. Pierre gave all his money for the interment, and went
+on. When he came to the sea, a naked man, who said that he was the
+dead, carried him across to a point near the gates of Paradise. There
+he found Peter, and was shown the glories of heaven by the Saviour,
+as well as Purgatory and Hell. In the last he saw a chair reserved
+for his mother, but by his entreaties induced the Lord to grant her
+a release on condition of doing penance himself for her. So he was
+told to put on a spiked girdle, to throw the key of it into the sea,
+and not to take it off till the key should be found. After donning
+this instrument Pierre was carried by the ghost back to his own land,
+where he lived on alms--first on the public ways, and later, without
+discovering himself, in his father's castle. During his father's
+absence he was killed at the command of his mother, but was dug up
+alive by his father and treated with respect. One day at a feast
+he found the key in the head of a fish. When the girdle was opened,
+he died, and his soul was borne to heaven by angels.
+
+Two Danish variants present a curious but not inexplicable combination
+of The Grateful Dead with Puss in Boots, as was noted by Köhler. [61]
+Danish I. relates how a youth pays three marks, which is his all,
+to bury the body of a dead man, for whose interment the priest has
+demanded payment in advance. He is then joined by another youth,
+who is the ghost of the dead, and goes to a certain city. There, by
+giving himself out as a prince at the advice of his companion, who
+provides him with proper trappings, he wins the hand of a princess. In
+Danish II. an old soldier pays his last three marks to prevent three
+creditors from digging up a corpse. He is joined by a pale stranger,
+who takes him in a leaden ship to a land where he marries a princess,
+who is fated to marry no one save a man who comes in this way. The
+stranger secures, by a lying ruse, a troll's castle for the hero, and,
+after explaining that he is the ghost of the buried debtor, disappears.
+
+The traces of the Puss in Boots motive [62] are, I think, sufficiently
+clear, especially in the first of the two variants, since the point
+of that familiar tale is certainly that the hero marries a woman of
+high estate by making himself out as of equal rank, substantiating
+his statements by a succession of clever ruses. That the grateful dead
+enables him to fulfil the required conditions is an introduction that
+could easily replace the ordinary one, especially since a helper of
+some sort is necessary to the story. Just what the relation of these
+two variants is to other Puss in Boots stories does not here concern
+us. From the side of The Grateful Dead, however, it is possible
+to see how the combination--found only in two folk-tales from a
+single country, it will be observed--may have arisen. The benefits
+bestowed on the hero show an essential likeness to those found in a
+widespread compound type to be studied in a later chapter, [63] where
+the thankful dead helps his friend to obtain a wife by the performance
+of some feat. Since the combination now in consideration seems to
+be confined to the region about Denmark, while mediaeval and modern
+examples of the other are found in many lands, it may be regarded as
+a mere variation on the better-known compound type, produced by the
+similarity of the two endings. Yet it has to be treated separately,
+because it involves an independent theme.
+
+An echo of the simple theme of The Grateful Dead is found in two
+English plays--Massinger's Fatal Dowry and Rowe's Fair Penitent. In
+the former young Charolais goes to prison to release his father's
+body from the clutch of creditors, who wish to keep it unburied
+for vengeance. [64] He is rescued by Rochfort, who pays the debts
+and gives him his daughter in marriage. The intrigues of love and
+vengeance that follow do not concern us. In Rowe's play, which was
+based on Massinger's, this part has been curtailed to a few slight
+references. Altamont gives himself as ransom for his father's body
+to the greedy creditors, who will not allow burial to take place. He
+is rewarded by the care and bounty of Sciolto, who becomes a second
+father to him.
+
+Stephens was certainly right in connecting [65] the story in The Fatal
+Dowry with The Grateful Dead, though it is only a fragment and lacks
+some of the most essential features of the complete theme. The ghost,
+indeed, does not appear at all, but the part played by Rochfort may
+be regarded as a greatly sophisticated reminiscence of that trait,
+especially since he not only rescues the hero, but provides him with
+a wife. The echo of the theme is too vague for us to distinguish the
+form in which it was found by Massinger, though I think that we should
+not go far wrong in supposing that he had in mind some narrative,
+either popular or literary, nearly approaching the compound type
+treated in chapter vi. below. As one of the comparatively few traces
+that the motive has left in England this double dramatic use is not
+without interest. [66]
+
+
+
+
+
+
+
+CHAPTER IV.
+
+THE GRATEFUL DEAD AND THE POISON MAIDEN.
+
+
+One of the most prevalent types of The Grateful Dead is that in which
+it has combined with The Poison Maiden, a theme almost world-wide in
+distribution and application. From the time of Benfey and Stephens
+[67] the connection between the two themes has been regarded
+as vital. Though Hippe recognized that the stories were perhaps
+originally independent, [68] he took the compound as his point of
+departure and derived all other forms from it. As will be seen in
+the course of our study, such a filiation is exceedingly improbable,
+if the essential features of The Grateful Dead and The Poison Maiden
+be closely examined. Hippe went wrong, I should say, in failing to
+differentiate between what traits belong to the former and what to
+the latter theme.
+
+As a matter of fact, The Poison Maiden exists in a cycle of its
+own. Any doubt about this and any necessity of studying the theme in
+detail here is removed by the valuable monograph of Wilhelm Hertz,
+Die Sage vom Giftmädchen, [69] in which the literature of the subject
+has been marshalled with masterly skill. Starting with the stories of
+how a maiden, who had been fed with snake-poison, was sent to Alexander
+the Great from India by an enemy, and how the plot to kill the emperor
+through her embraces was foiled by the cunning of Aristotle, [70]
+Hertz shows [71] that the central idea of the tale is the belief that
+a man could be killed by sexual connection with a woman who had been
+nourished on poison. In most of the variants, to be sure, it is the
+bite of the woman that is venomous, while in others it is her glance
+or her breath; but these are natural modifications. Without following
+the study into details, the important fact to remember is that there
+has existed from early times a tale relating how a man was saved by
+a watchful friend on his bridal night from a maiden whose embraces
+were certain death. [72] With this in mind we can safely proceed
+to a consideration of the variants of The Grateful Dead which have
+similar features.
+
+Twenty-four of the stories in my list fall into this category,
+viz.: Tobit, Armenian, Gypsy, Siberian, Russian I., II., III.,
+and IV., Servian II., III., and IV., Bulgarian, Esthonian II.,
+Finnish, Rumanian I., Irish I., II., and III., Breton I., Danish
+III., Norwegian II., Simrock X., Harz I., Jack the Giant Killer,
+and Old Wives' Tale. All but three of them [73] are folk-tales,
+a fact that considerably simplifies the discussion.
+
+According to the apocryphal story, Tobit buries by night the dead
+who lie in the street. He is thrown into prison, and later becomes
+blind and poverty-stricken. He sends his son Tobias to his brother
+Gabael for the return of a loan. The youth is accompanied by the
+angel Raphael in disguise, who calls himself Azarias. On the journey
+Tobias catches a fish and preserves the heart, liver, and gall at the
+bidding of his companion. When they arrive at their journey's end,
+the angel, as go-between, asks Gabael's daughter Sara in wedlock for
+Tobias, though seven men have died while consummating their marriage
+with her. By burning the heart and liver of the fish at the command
+of the angel, and by prayer, Tobias escapes; for the demon Asmodeus
+is driven out of the maiden and bound by Raphael. With his bride and
+companion Tobias goes home, where he cures Tobit's blindness by means
+of the gall of the fish. After being offered half of the wealth that he
+has brought the family, Raphael explains his identity and disappears.
+
+This variant is peculiar in that the father does the good action, while
+the son is chiefly rewarded. Indeed, it is the son whose life is saved
+from the possessed woman whom he marries. Moreover, the grateful dead
+is replaced by an angel, who indeed commends Tobit for his good deed,
+but is certainly a substitute for the ghost. Obviously Tobit with
+such peculiarities as these cannot be regarded as the general source
+of the widespread folk-tale. At the same time we must not forget
+that it has been, perhaps, the best-loved story in the Apocrypha,
+[74] and that its influence on details of the narrative may be looked
+for almost anywhere in Christendom.
+
+In the Armenian story from Transcaucasia [75] a man finds a corpse
+hanging in a tree and being beaten by his late creditors. The man pays
+the debt and buries the body. Some years later he becomes poor. A rich
+man offers him in marriage his daughter, with whom five bridegrooms
+have already met death on the wedding night. While thinking over
+the proposition, he is approached by a man who offers to become his
+servant for half of his future possessions, and counsels him to
+marry the woman. On the night of the marriage the servant stands
+with a sword in the chamber, cuts off the head of a serpent that
+comes from the bride's mouth, and pulls out its body. Later he asks
+for his share of his master's gains. When he is about to split the
+woman through the middle, a second snake glides from her mouth. The
+servant then says that he is the ghost of the corpse long ago rescued,
+and disappears. Here the story appears in a very normal form, except
+that the hero is not taking a journey at the time of his kind deed,
+and that he waits several years for his reward. Moreover, the second
+snake appears to be due to reduplication.
+
+In Gypsy a youth gives his last twelve piasters for the release of a
+corpse, which is being maltreated by Jews. The ghost of the dead man
+follows him and promises to get him a bride if he will share her with
+him. The youth consents and marries a woman whose five bridegrooms
+have died on the wedding night. The companion keeps watch in the
+chamber and cuts off the head of a dragon that comes from the bride's
+mouth. Later he demands his half of the woman, and takes a sword to
+cut her asunder, when she screams and disgorges the dragon's body. The
+ghost then explains the situation and disappears. [76]
+
+With the Siberian variant some very important modifications enter. A
+soldier buys a picture of the Saviour from a peasant and maltreats
+it. A merchant's son then buys it out of reverence and takes it to
+his mother. Later he helps an old man on a raft and goes with him to
+market. There he meets the daughter of a priest and, by the advice of
+his friend, marries her. When the old man strikes her with a whip,
+she splits open, and the devil comes out. She is put together again
+by the mysterious companion, and accompanies them home, where the old
+man asks for a division of the gains they have made together. Again
+he divides the woman. After she has been burned, she is found living
+and purified. Then the old man says that he is God and departs.
+
+This tale, found among the Turkish race of southern Siberia, has
+transformed the opening incident altogether. For the burial of
+the corpse it substitutes a good deed, which is entirely different
+from the original trait. Yet it is evident that we have to do with
+The Grateful Dead, after all, since the divine image is rescued
+from senseless contumely and God himself appears in the rôle of the
+thankful ghost. It is evident also that the theme is combined with
+The Poison Maiden. Though we do not hear of any misadventures of
+other men with the priest's daughter, the marvels which attend her
+purification indicate the danger in which the hero stood.
+
+Russian I. is likewise peculiar in several respects. The younger of
+two brothers angers his parents by going to the wars without their
+permission. He is killed. Later he appears to his brother, asking
+him to implore pardon of their mother, whose anger prevents him
+from resting quietly in his grave. The elder brother thus succeeds
+in giving peace to the ghost. Later, when he marries a merchant's
+daughter, whose first two husbands have been killed by a dragon on
+the wedding night, he is saved by the ghost of the dead, which keeps
+watch in the chamber with a sword and kills the nine-headed dragon.
+
+This tale stands almost alone [77] in giving the two chief characters
+personal relations, since it is nearly always a total stranger whom
+the hero benefits. That actual burial of the dead does not come in
+question is not so remarkable, as various changes have been made in
+this trait. One story, [78] indeed, which otherwise has no likeness,
+similarly makes the dead man uneasy in his grave. The beginning of
+Russian I. has thus suffered considerable modification. The ending
+is also different from the normal type in that the division of the
+property and the woman has entirely disappeared.
+
+Russian II. has also some peculiarities, though none which is
+difficult to explain. A youth named Hans receives three hundred
+rubles from his uncle, who has taken his inheritance, and goes into
+the world. In another province he ransoms with his whole stock of
+money an unbeliever, who is being bled by the people. He has the
+poor man baptised, but is not able to save his life, so sorely has
+he been wounded. The people, however, pay for proper burial. Hans
+goes on and is joined by an angel, who proposes that he take him as
+uncle and divide with him whatever they get while in one another's
+company. They come to a city where the king proposes that Hans marry
+his daughter, and to this the hero agrees at his companion's advice,
+despite the protests of the citizens, who say that the princess
+has already strangled six bridegrooms. On the wedding night the
+uncle keeps watch, and slays a dragon which is approaching to kill
+the young man. After two months the pair set out for home with
+the uncle. On the way they are saved by the old man from robbers,
+and get a store of gold. When they arrive at the place where the
+uncle first appeared, he calls for a fulfilment of their agreement,
+and saws the bride asunder. Young dragons come out of her; but, when
+she has been washed and sprinkled with water, she is made whole. The
+angel thereupon parts with the couple.
+
+For the burial of the dead we have in this tale the interesting
+substitution of an unsuccessful attempt of the hero to save a man's
+life by paying his entire inheritance as ransom. That the man dies and
+is buried shows how the change probably arose. Strangely enough, as in
+the case of Tobit, an angel appears in the rôle of the grateful dead,
+and, even more oddly, takes the form of the hero's uncle, who gave
+him the money with which he set forth on his journey. The recurrence
+of the angel in this and in one other variant [79] inclines me to
+the belief that the essential feature of the reward in the original
+story was that it came from heaven. The remainder of Russian II. has
+no characteristic unusual in the tales where the woman is actually
+divided to get rid of the snakes or dragons.
+
+In Russian III. [80] the youngest of three brothers rescues a swimming
+coffin from the sea and takes it on his ship. From the coffin comes a
+man clothed in a white shirt, who enters the service of his rescuer,
+and helps him win a beautiful princess as wife. A six-headed dragon
+has hitherto killed all her bridegrooms on the wedding night, but it
+is overcome by the hero through his obedience to the advice of his
+servant. The latter cleanses the bride's body of the dragon brood
+and goes away. Here the opening has been modified, though not beyond
+recognition, since the rescued man is clearly enough the grateful dead.
+
+Russian IV., taken like the preceding from a folk-book, differs from
+that in only minor points, though the ampler form in which I have
+found it makes it of more importance. The three sons of a czar go
+out in separate ships to see the world. The youngest, named Sila,
+rescues a swimming coffin, which his brothers have not heeded,
+and buries it on shore. There he leaves his companions, and goes
+on alone till joined by a man dressed in a shroud, who says that he
+is the rescued corpse and proposes that Sila win a certain Princess
+Truda as wife by his aid. The hero is dismayed when he sees the walls
+of her city decorated with the heads of countless former suitors,
+but he is told by his servant not to fear. On the bridal night he
+is counselled to keep silence, and, when his wife presses her hand
+on his breast, to beat her, as she is in league with a six-headed
+dragon. Sila obeys, the dragon appears, and the servant cuts off two
+of its heads. Two more heads are cut off on the second night, and the
+remaining two on the third. The bride is not completely cleansed,
+however, till the end of a year, when the servant cuts her in two,
+burns the evil things that emerge from her body, and sprinkles her
+with living water to make her well again. He then disappears.
+
+Here the grateful dead appears with perfect clearness, as he did not
+in Russian III. The course of events by which the lady is won does not
+differ materially from that of Russian II. Presumably III. would follow
+the same procedure, had we an adequate summary. III. and IV. are like
+I., and different from II., in omitting all mention of any division
+of property or of the woman between hero and assistant. The division
+for the sake of cleansing in IV. is, however, actual.
+
+Not without contamination from another source, Russian V. and
+VI. still belong to the class containing variants with The Poison
+Maiden. In Russian V. the only son of a rich man went out into the
+world to seek his fortune. On the road he gave a large sum of money
+for two horses. Later he stopped at an inn, where the widow of the
+landlord was weeping because she had no money to pay the debts of her
+husband, who was cursed by all the people, though he had been dead
+two years. The hero gave all his money to save the memory of the dead
+man, and proceeded. Soon he met two unsatisfied creditors, who still
+cursed the dead landlord, and to them he gave his two horses. Not long
+afterward he was joined by a man, who accompanied him on condition of
+receiving half of what they might win together. They came to a place
+where a lord offered a thousand rubles to anyone who would watch his
+daughter's corpse over night in a chapel. The hero undertook the
+adventure, and received payment in advance. At dark his companion
+came to him, and gave him a cross as protection. At midnight the
+lady came out of her coffin, but could not find the man because he
+held the cross. The same adventure was repeated the next night. On
+the third night the hero, according to his companion's advice, got
+into the coffin when the vampire rose, and would not get out for all
+her entreaties, being protected by the cross. So in the morning both
+were found alive, and were betrothed. Then came the companion, cut the
+maiden into halves, took out her entrails, and put her together again,
+when she became very beautiful. Next day he called the hero aside,
+explained his identity with the dead landlord, and disappeared.
+
+Russian VI. differs from the above in several points, but is closely
+allied to it. There were two brothers, one good and the other
+stingy. The former expended in benevolence all his wealth, save
+a hundred rubles, while the latter grew richer and richer. A poor
+man borrowed a hundred rubles from the miser, calling St. George as
+witness that he would pay; but he died in debt. The rich brother came
+to the widow, and said that he would get his money from St. George if
+not from the dead man. He pulled down an image of the saint from the
+wall, dug up the corpse, and spat upon them both. At this juncture
+the good brother came by, and gave his last hundred rubles to put
+the matter right. He then went to a large city, where the king's
+daughter had eaten all the deacons who watched with her dead body. So
+when volunteers were called for to stay with her, the hero offered
+to undertake the task at the advice of an old man, who promised to
+pray for his safety on condition of receiving half his winnings. He
+received payment in advance from the king, and divided with the old
+man, by whom he was given a sanctified coal, a taper, a cross, and a
+scapulary, together with advice how to act. So he entered the chapel,
+lighted his taper, closed his eyes, made the sign of the cross, and
+enclosed himself in a circle marked with the coal near the head of
+the bier. At cockcrow the vampire came out all blue and grinning;
+but, though she yelled horribly, she could not touch the man in the
+circle, who put the cross in the coffin. At the second cockcrow she
+tried to get into the coffin, and unavailingly begged him to take
+out the cross. At the third cockcrow he put the scapulary on her,
+whereupon she rose and thanked him, promising to be his wife and
+servant. So in the morning the hero married her and received the
+kingdom from her father. To their chamber that night came the old man,
+and recalled the agreement to divide. He cut the lady into halves,
+minced her flesh on the table, and blew on the bits, whereupon she
+came together more beautiful than ever. The helper then threw off
+his gaberdine, and showed himself to be St. George.
+
+In the two stories just summarized The Grateful Dead is clear enough,
+though in VI. St. George has ousted the ghost from part of its proper
+functions, just as the angel does in Tobit, Russian II., and Simrock
+IV., God in Siberian, and various saints elsewhere. The introduction
+in VI. is a unique trait, as far as I know. In both the variants
+the main features of the theme appear without distortion, including
+the picturesque cleansing of the woman by actual division. The
+Poison Maiden, however, has been replaced by a story of similar
+character, but of different content, which I have not elsewhere found
+compounded with The Grateful Dead. A vampire infests a church (or a
+churchyard). A soldier is sent to watch nights, and to try to dislodge
+her. He successfully counters her tricks, and finally gets hold of
+something belonging to her, which he refuses to return. Thereupon she
+is reduced to submission, promises him happiness, and is married to
+him with the consent of the king. [81] This tale, it will be evident,
+bears a strong likeness to The Poison Maiden in the figure of the
+heroine, though it certainly is independent. The vital difference
+between the two is the absence of any helping friend in the story of
+the vampire. Because of the lack of this figure it seems improbable
+that the tale was compounded with The Grateful Dead without the
+intermediary stage in which The Poison Maiden appears. I regard the
+vampire as usurping the place of the possessed maiden, and the two
+Russian variants as a secondary growth. Given the normal form of the
+compound as it appears in Russian II., for instance, there would be
+no difficulty in substituting an even more gruesome figure for that
+of the heroine there depicted, and in making the hero's danger lie
+in a prenuptial attack on her part.
+
+The three Servian tales, which fall in this section, differ widely
+in their characteristics. The first of them, Servian II., [82] is
+the most nearly normal. Vlatko goes into the world to trade, but
+pays all his money to free from debt a corpse, which creditors are
+digging up in order to vent their spite upon it. He returns home,
+and is sent out again by his parents, receiving a greater sum of
+money and, from his mother, an apple by means of which he can tell
+the intentions of anyone who desires his friendship by the way. [83]
+He is joined by a man, who cuts the apple into two exact halves,
+and so is accepted as a friend. After Vlatko has prospered in trade,
+the friend proposes that he marry the emperor's daughter, with whom
+ninety-nine men have already died on the wedding night. Arrangements
+are made, and the friend keeps watch in the bridal chamber. During
+the night he cuts off the heads of three snakes, which come from the
+lady's mouth. Sometime afterwards all three set out for Vlatko's home;
+and on the way the hero divides his property with his friend. Jestingly
+the latter proposes that they divide the wife, and, after blindfolding
+the husband, shakes her three times, when three dead snakes come out
+of her. Thereupon he disappears.
+
+Like Armenian and Gypsy, this variant has the ghost cut off the head of
+the monster (here three snakes) that possesses the maiden. The actual
+division of the woman as it appears in those tales occurs here as a
+mere jest, which is the case with most of the European versions. [84]
+
+Servian III. has a more romantic character. The daughter of an emperor
+had been married thirteen times, but each of her bridegrooms had died
+on the wedding night. A certain prince, who had fallen in love with
+her through a dream, set out for her castle. On the way he paid the
+debts of a poor man, whose corpse was held by creditors, and buried
+him. Soon after, he was met by a man who became his servant, and won
+a castle for him by a wonderful adventure. After the wedding this
+man killed the snakes that came out of the bride, and also caused
+her to disgorge three snake eggs by threatening her with his drawn
+sword. He then disappeared.
+
+This variant shows traces of foreign substance in the dream and
+the winning of the castle by the unrevealed companion. Possibly the
+latter trait unites it with the combined type of which The Water of
+Life is one of the elements. It will be noticed that the division of
+the property and of the woman is not brought into question, though
+the sword is used somewhat incongruously for the removal of the last
+traces of the heroine's snaky infestation. Thus, by an evident change
+in structure, the identity of the hero's companion is never explained.
+
+With Servian IV. [85] we encounter a most serious problem, which must
+receive special treatment later on, [86]--the relation of The Grateful
+Dead to The Thankful Beasts theme. A poor youth three times set free
+a gold-fish which he had three times caught. Later he was cast out of
+his father's house and sent into the world. He was joined by a man,
+who swore friendship with him on a sword, and accompanied him to a
+city where many men had been mysteriously slain while undertaking
+to pass a night with the king's daughter. The hero undertook the
+adventure, and was saved by his companion, who cut off the head of
+a serpent that came from the princess's mouth. In the morning the
+youth was married to the lady, and divided all his property with his
+helper. On their way home the latter demanded half of the bride, and,
+while she was held by two servants, swung a sword above her. With
+a shriek she cast first two sections, and finally the tail, of a
+serpent from her mouth. Thereupon the friend leaped into the sea,
+for he was the gold-fish.
+
+The burial of the dead has here been ousted by a good deed which the
+hero does to a gold-fish. That the trait is foreign to the type,
+however, seems clear. From the time when the companion appears to
+the hero, the story follows the normal course until the very end,
+when the man unexpectedly leaps into the sea. The thankful dead has
+been replaced by the thankful beast, but the tale really belongs to
+the present category, since otherwise it has all the characteristics
+of the type. Thus the division of the woman is almost precisely
+similar to that of Armenian and Gypsy--that is, the sword is raised,
+and the woman disgorges the serpent with a scream. That it comes out
+piecemeal may be a faulty recollection of the actual division. As so
+often, it is not stated that the companion made a share of the gains
+a condition of his help.
+
+Bulgarian is in some respects very primitive, though fragmentary. A
+father sends his son out into the world to gain experience. The youth
+is joined by an archangel, who promises him assistance on condition
+that he will pay their joint expenses and will be obedient. The
+companion kills a negro and a serpent, and goes with the hero into
+their den, where the adventurers find, but leave, great treasure. They
+come to a city where the king's daughter has been thrice married,
+each time only to have her bridegroom die on the wedding night. Now
+she is to be given to any man who can live with her one night; and
+many wooers have died in the attempt. The youth offers himself as a
+suitor, and is saved by the archangel, who draws a serpent out of the
+woman. Later he helps the hero to get the wealth previously found in
+the cave, and demands the division of everything, even the wife. When
+he cuts her in two, many little snakes fall out of her body. He then
+unites her, and gives the hero all the riches they have obtained.
+
+The burial of the dead has entirely disappeared, as will be observed,
+though the other traits of the story show that we must regard it as
+of the type now under consideration. The appearance of the archangel
+as companion, and the plunder which they take by the way, suggest the
+influence of Tobit, which indeed appears as a folk-tale in the same
+collection. [87] The conditions made by the angel are only slightly
+altered from the normal form, while every other feature is found
+intact, even to the actual division of the woman.
+
+Esthonian II. has altogether lost the essential features of our theme;
+and it has besides put in several traits from a märchen, which, as
+we shall soon see, is joined to ours with considerable frequency. The
+inclusion of this variant here is justified only by some vague traces
+indicating that the extraneous parts of the narrative have replaced
+others which, if preserved, would make it an ordinary representative
+of The Grateful Dead.
+
+A certain couple had a weak-minded son, who could not learn. Wishing
+to get rid of him, the father took the boy into a forest and gave
+him gladly to an old man whom he chanced to meet. From the man the
+youth received books in foreign tongues, which he learned to read in a
+day. He then wandered till he came to a city, where lived a princess
+who was in the power of devils and went to church with them every
+night. The hero watched in the church for three nights, with three,
+six, and twelve candles, successively. Thus on the third night he
+freed the princess and married her, receiving half the kingdom. He then
+sought the old man, who told him to cut the woman in halves and divide
+her. The old man halved her himself, when there sprang out a serpent,
+a toad, and a lizard. After this he gave her back to her husband.
+
+The obscurity of motivation in this tale makes apparent the extensive
+revision that it has undergone. The introduction is nowhere else
+found combined, as far as I know, with the stories of our cycle. The
+characteristics of The Poison Maiden are sufficiently evident in the
+conclusion; but there seems to be no way to account for the peculiar
+form of demonic possession, together with the actual division of
+the woman, except by supposing, with Dutz, [88] that the variant has
+lost the part concerning the burial of the dead man. If this be true,
+the story belongs in the category where it is here placed.
+
+The Finnish variant [89] presents difficulties of a somewhat different
+sort. A merchant's son, to whom it has been foretold that he will marry
+a three-horned maiden, goes abroad to escape this fate. There he sees
+the corpse of a debtor hanging nailed to a church wall, and insulted
+by the passers-by. He expends all but nine silver kopecks in rescuing
+the body, and turns homeward. He is joined by a companion, who makes
+the money last three days, and on the fourth arranges for him to marry
+the three-horned daughter of a king. On the wedding night the helper
+brings the hero fresh-cut twigs. By beating the maiden with these her
+blood is purified, the horns drop off, and she becomes very beautiful.
+
+No new material is here introduced; but the handling is considerably
+changed, and the narrative abridged. The woman in the case is
+three-horned instead of possessed by snakes, nor is there any hint of
+harm to the bridegroom. A reminiscence of the division of the woman,
+though not of the dowry, appears in the beating which the ghostly
+companion gives her, whereby she is freed from her horns and made very
+beautiful. The variant appears to be weakened by frequent retelling.
+
+Rumanian I. is more striking, since it has undergone both revision
+and addition. The only daughter of an emperor wears out twelve pairs
+of slippers every night, until her father offers her hand and the
+heirship of the kingdom to any man who can explain this extraordinary
+and costly habit. Many men of high birth and low make the attempt
+unsuccessfully. Meanwhile, a certain peasant, whose servant had died
+when his year of service was but half ended, had placed the body in a
+chest under the roof in revenge for his disappointment. The new servant
+had discovered this, and had given the corpse the rites due the dead,
+as far as permitted by his master. When he departs at the end of
+his year of service, the dead man comes from the earth, thanks him,
+and proposes that they swear on the cross to be brothers. So they do,
+and go on together till they come to an iron wood. The vampire breaks
+off a twig, and casts it to the earth in the place where the emperor's
+daughter comes at night with the sons of the dragon. When she appears,
+she sees the broken twig, and is afraid. So she goes to the copper
+wood, where she sees another twig broken by the vampire, and hastens
+on to the place where the sons of the dragon dwell. It is in going
+so far that she wears out her slippers. When she comes to the place,
+and is about to sit down at table, she drops her handkerchief. The
+vampire, who has followed her from the copper wood in the form of a
+cat, takes it away, as he does also the spoon that falls from her
+hand and the ring that falls from her finger. He goes back to the
+copper wood with them, and explains everything to his friend. The
+latter takes them to the emperor and wins the lady.
+
+This curious tale has several elements which make it difficult to
+classify. As far as the kindness to the dead goes, the matter is
+simple. Instead of an agreement between the companions to divide their
+gains, however, an oath of brotherhood is introduced. This is probably
+a local substitution, since it has long been a custom of the Slavs of
+the south to swear brotherhood on the cross, [90] but it necessitates
+the further loss of important features at the end of the narrative
+such as the saving of the bridegroom on the wedding night and the
+division of the maiden (or some modification of that feature) by the
+vampire. Indeed, the heroine is rather enchanted than possessed. The
+whole series of acts by which she is freed introduces traits into the
+narrative which we have hitherto met only in Esthonian II. Were it
+not that they are repeated in all the other members of the group save
+Breton I., which we have still to consider, there would be considerable
+doubt about placing this variant under the category of The Grateful
+Dead + The Poison Maiden. As it is, we can with security say that
+this and the following versions belong here. They have simply modified
+the normal form by the addition of certain elements from another theme.
+
+The three Irish versions all have this form. In Irish I. a king's son,
+while hunting, pays five pounds to the creditors of a dead man, so that
+he may be buried. Later the prince kills a raven, and declares that he
+will marry only that woman who has hair as black as the raven, skin as
+white as snow, and cheeks as red as blood upon the snow. [91] On his
+way to find her he meets a red-haired youth, who takes service with him
+for half of what they may gain in a year and a day. The youth obtains
+for him from various giants by threats of what his master will do [92]
+horses of gold and silver, a sword of light, a cloak of darkness,
+and the slippery shoes. When they come to the castle of the maiden,
+he helps the Prince to keep over night a comb and a pair of scissors
+in spite of enchantment, and he obtains at her bidding the lips of
+the giant enchanter, which are the last that she has kissed. He then
+tells the prince and the maiden's father to strike her three times,
+when three devils come from her mouth in fire. So the prince marries
+her, and is ready at the end of a year and a day to divide his child
+[93] at the servant's command. But the latter explains that he is
+the soul of the dead man, and disappears.
+
+Irish II. differs little except in details from the above. The king
+of Ireland's son sets forth to find a woman with hair as black as the
+raven, skin as white as snow, and cheeks as red as blood. Ten pounds
+of the twenty which he takes with him he pays to release the corpse
+of a man on which writs are laid. He meets a short green man, who
+goes with him for his wife's first kiss; and he comes upon a gunner,
+a man listening to the growing grass, a swift runner, a man blowing a
+windmill with one nostril, and a strong man, all of whom accompany him
+for the promise of a house and garden apiece. After various adventures
+in the castles of giants, they arrive in the east, where the prince's
+lady dwells. She says that her suitor must loose her geasa from her
+before she can marry him. With the help of the short green man he
+gives her the scissors, the comb, and the King of Porson's head,
+which she requires. He is then told to get three bottles of healing
+water from the well of the western world. The runner sets out for
+them, and is stopped and put to sleep by an old hag on the way back;
+but the earman hears him snoring, the gunman sees him and wakes him
+up, and the windman keeps the hag back till he returns. Finally the
+strong man crushes three miles of steel needles so that the prince
+can walk over them. Thus the bride is won. The short green man claims
+the first kiss, and finds her full of serpents, which he picks out of
+her. He then tells the youth that he is the man who was in the coffin,
+and disappears with his fellows.
+
+In Irish III. three brothers set out from home with three pounds
+apiece. The youngest gives his all to pay a dead man's debts to three
+giants. He shares his food with a poor man, who offers to be his
+servant, saying that the corpse was his brother, and had appeared
+to him in a dream. [94] Jack the servant frightens the first giant
+into giving up his sword of sharpness, the second giant his cloak
+of darkness, and the third giant his shoes of swiftness. The two
+Jacks come to the castle of a king, whose daughter has to be wooed
+by accomplishing three tasks. Jack the servant follows the princess
+in the cloak of darkness to the demon king of Moróco and rescues
+her scissors. Next day Jack the master runs a race with the king and
+beats him because shod with the shoes of swiftness. That night Jack
+the servant goes again to the demon king and cuts off his head with
+the sword of sharpness, thus accomplishing the third task. So Jack
+the master marries the princess.
+
+These three variants make evident the nature of the foreign material
+in Esthonian II. and Rumanian I. The whole sub-group, indeed, has
+in combination with The Grateful Dead + The Poison Maiden important
+elements from the themes of The Water of Life and The Lady and the
+Monster. These features will be considered in detail in a later
+chapter, [95] when we study the general type The Grateful Dead +
+The Water of Life. For the present it is enough to indicate how the
+addition has affected the type with which we are immediately concerned.
+
+Of the three Irish tales, the first two have best preserved the
+characteristics of the compound as found in Asia and Eastern
+Europe. Irish I. has all the essential features of Armenian and
+Gypsy,--for example, the burial, the agreement to divide what is
+gained, and the removal of the evil things by which the woman is
+possessed. To be sure, the latter are devils, not serpents, and the
+woman is beaten, not divided. Yet the division appears in another
+form, since the hero is ready to share his child with the red-haired
+man, a trait connected with the theme of Amis and Amiloun. [96] Irish
+II. is in some respects more changed, and in some respects less, than
+Irish I. The agreement to divide is changed to a promise that the
+green man shall have the first kiss of the bride. On the other hand,
+the serpents in the woman's body are retained, a trait which is very
+primitive and very important in enabling us to identify the position
+of these variants. Irish III. has lost most of the typical features
+of the compound. Kennedy's evidence shows that Jack the servant
+is to be regarded as really the thankful dead; but the agreement
+to divide the gains and the removal of the demons or serpents have
+entirely disappeared under pressure from the secondary theme, the
+essential idea of which is the accomplishment by the hero of certain
+unspelling tasks. In conjunction with the other two variants, however,
+the position of Irish III. is clear.
+
+Very different from the Irish tales is Breton I., since under the
+influence of a tendency very common in Brittany, the narrative
+has become a Mary legend and has lost its clearness of outline in
+the process. Yet it really belongs to this group, replacing by a
+dragon-fight and a rescue of the hero from the villain the cleansing
+of the bride. At least, I am led to the belief that such is the case
+by the fact that the story fits into no other category. Nor is it
+surprising that the position of the tale should be obscure in view
+of the grotesque transformation which it has undergone.
+
+A youth named Mao pays all his money to have the body of a beggar
+interred. The spirit of the dead man helps him win the daughter of a
+rich man after killing a dragon in the stables. The lady's treacherous
+cousin tries to burn him alive in an old mill, whence he is saved by
+the ghost. He forgives the man, and is tricked into promising him
+half of all his possessions in order to save his wife. When a son
+is born, the villain demands its division. At the hero's appeal, the
+Virgin comes with the ghost and takes Mao and his family to heaven,
+while the cousin is sent to hell.
+
+Norwegian II. and Danish III. stand together, since the relation of
+the latter (Andersen's Reisekammeraten) to the former is simply that
+of a literary redaction to its original. A brief analysis of each is,
+however, necessary.
+
+In Norwegian II. a young peasant on account of a dream sets forth to
+win the hand of a princess. On his way he gives most of his money
+to bury a dishonest tapster, who has been executed and left frozen
+in a block of ice outside a church for passers-by to spit upon. As
+he proceeds, the youth is joined by the ghost of the tapster, who
+accompanies him. They go to a hill, where they get a magic sword from
+one witch, a golden ball of yarn from another, and a magical hat from
+a third. Of the yarn they make a bridge, and so come to the princess's
+castle. The hero is told to keep her scissors overnight and loses them;
+but the companion rides behind the princess on her goat in the hat
+of invisibility, when she goes to her troll lover, and so rescues
+them. The hero is told to keep a golden ball overnight, and the
+same adventure is repeated. The hero is then told to bring what the
+princess is thinking of. The companion rides again with the princess
+and beats her with his sword, gets the troll's head for his master,
+and so enables him to win the lady. On the wedding night the hero flogs
+his wife at the advice of the companion, only just in time to save
+himself, indeed, as she is about to kill him with a butcher-knife. He
+dips her into a tub of whey, whence she comes out black as a raven,
+but after a rubbing with buttermilk and new milk she becomes very
+beautiful. The companion discovers his identity and disappears.
+
+In Danish III. poor John, whose father has died, dreams of a beautiful
+princess, and sets forth to find her. He does various kind deeds by
+the way, and one night takes refuge from the storm in a church. There
+he sees two evil men dragging a corpse from its coffin, and pays his
+all that it may be buried. He is joined by the ghost of the dead
+man, who accompanies him. They get three rods from an old woman,
+who is healed by the comrade's salve, and they come to a city,
+where they get a sword from a showman, whose puppets are made alive
+by the salve. They come to a mountain, where the companion cuts off
+the wings of a great white swan and carries them along. They come at
+length to the city of the beautiful princess, who is a witch. Anyone
+can marry her who guesses three things, but every man who has tried
+has failed and been killed. John tells the king that he will try to
+win her, and is told to come the next day. In the night the comrade
+puts on the wings of the swan, takes the largest of the rods, and
+follows the princess when she flies out to the palace of her wizard
+lover. There he hears that she is to think of her shoe when her suitor
+comes in the morning. All the way to the mountain and back the comrade
+beats her so that the blood flows. The next morning he tells John to
+guess her shoe when asked what she has thought of. Everyone save the
+princess rejoices when the youth guesses right. The next night the
+companion beats the princess with two rods as she flies, and learns
+that she is to think of her glove. Again everyone is pleased with
+John's answer. The third night the companion takes all three rods
+and the sword. He cuts off the wizard's head when he learns that the
+princess is to think of that, and he gives it to John, wrapped in a
+handkerchief. John produces this when asked by the princess what she
+has thought about, and so he wins her. That night, at the bidding
+of the companion, he dips her three times in a tub of water, into
+which have been shaken three swan's feathers and some drops from a
+flask. The first time she becomes a black swan, the second a white
+swan, and the third a more beautiful princess than ever. The next
+day the comrade explains his identity and disappears.
+
+It will be seen that Andersen simply embroidered the Norwegian tale
+as was his wont, adding a good many picturesque details, and softening
+some features. The changes do not materially affect the course of the
+narrative, nor need they delay us here, interesting though they are
+of themselves, [97] since the position of the variant with reference
+to the story-type under consideration is perfectly clear. Norwegian
+II. demands further attention. Like Esthonian II., Rumanian I., and
+Irish I., II., and III., it has the form The Grateful Dead + The Poison
+Maiden + The Water of Life. The burial of the dead is undisturbed,
+but the agreement between the companions to divide their gains has
+entirely disappeared, perhaps because the secondary theme takes so
+large a place. The removal of the poisonous habitants of the bride
+is clearly indicated, though it has been weakened into a flogging,
+which is given, however, only just in time to save the bridegroom
+from death. The subsequent milk bath seems to show a conflict between
+the conclusions of the two subsidiary motives--the end of The Poison
+Maiden being release from something like demonic possession, and that
+of The Water of Life in this form being release from a spell--though
+perhaps the bath is only a reduplication of the purifying process.
+
+Simrock X. is not unlike the two variants just cited. A king's son
+wastes his property, and is sent out to shift for himself. He pays
+the debts of a naked corpse, and has only enough money left to pay
+his reckoning at his inn. So he takes the body to a wood, and buries
+it there. As he goes his way, he is met by a man, who becomes his
+follower and secures three rods, a sword, and a pair of wings from a
+dead raven. They come to a castle, where to win the king's daughter
+the prince has to guess her thoughts for three days in succession. The
+companion flies with her each night when she goes to her wizard for
+counsel, and learns that the prince must say "bread," "the princess's
+jewels," and "the wizard's head" in turn. On the last night he cuts off
+the wizard's head and brings it to his master, who displays it at court
+and so breaks the spell. When the couple are married, the companion
+explains that he is the spirit of the dead man, and disappears.
+
+This variant obviously belongs to the same type as those preceding. As
+in Irish I. and II. the hero is a prince instead of a youth of
+low birth; but there is no general uniformity in this trait. The
+agreement of division and the violent dispossession of the heroine have
+disappeared. Indeed, so far has The Water of Life supplanted the other
+motives that the position of the tale is only evident when it is placed
+side by side with other versions of the same class. When so considered,
+however, the peculiar features of the succession of feats by which
+the bride is won appear very prominently, and establish the type.
+
+Harz I. stands closer to Norwegian II. than the preceding. A youth pays
+his all for the burial of a poor man, whose ghost joins him. They go
+to a city, where a bespelled princess kills all her suitors who cannot
+answer a riddle. The companion spirit tells the youth to save her,
+explaining his own identity. He gives wings and an iron rod to the
+hero, who flies with the princess to a mountain spirit, and hears that
+he must guess that she is thinking of her father's white horse. The
+next night the youth follows her with two rods and is thus enabled
+to guess that she is thinking of her father's sword. The third night
+he follows her with two rods and a sword, with which he cuts off the
+monster's head. This he shows her in the morning when asked the usual
+question, and so he breaks the spell. On the wedding night he dips her
+thrice in water. The first time she comes from the bath a raven, the
+second time a dove, and the third time in her own shape, but purified.
+
+The burial is here retained, but the agreement is entirely
+lost. Though the variant follows Norwegian II. in general, even to
+such details as the preliminary beating of the lady, and the bath
+of final purification, the important trait of flogging the bride,
+by which the hero is saved on the wedding night, has altogether
+disappeared. Like Simrock X., the tale has obscured the first of the
+two secondary themes for the benefit of the second. Its position seems
+sure, however, as a member of the little group now being considered.
+
+Jack the Giant-Killer clearly belongs to this group, approaching
+Irish I. in form. The earliest complete version that I know is
+unfortunately not older than the eighteenth century, and perhaps has
+lost several features of interest which might be found in earlier
+forms. King Arthur's son sets forth to free a lady possessed of seven
+spirits. At a market town in Wales he pays almost all his money to
+release the body of a man who died in debt. He gives his last twopence
+to an old woman, who meets him after he has left the town. Jack the
+Giant-Killer is so pleased with these good deeds that he becomes the
+prince's servant. They go to a giant's castle together. Jack tells
+the giant that a mighty prince is coming [98] and locks him up,
+so that the two take all his gold. Jack takes also an old coat and
+cap, a rusty sword, and a pair of slippers. They arrive at the lady's
+house. She tells the prince to show her in the morning a handkerchief,
+which she conceals in her dress. By putting on the coat of darkness,
+and the shoes of swiftness, and following her when she goes to her
+demon lover, Jack gets the handkerchief for his master. Next day the
+lady tells the prince to get the lips which she will kiss the last
+that night. Jack follows her again and cuts off the demon's head,
+which the prince produces, thus breaking the spell that has bound
+her to the evil spirits.
+
+This variant, even in what is probably a mutilated state, is strikingly
+similar to Irish I. in such details as the means used to follow the
+lady, and the tasks imposed upon the suitor. Indeed, the fact that
+the adventures take place in Wales might lead one to suppose that
+the story in this form was Celtic, were not the knowledge of it so
+persistent in England also. Several features are obscured, at least
+in the form from which I cite. Though the burial of the dead is given
+clearly enough, and the fact that the lady is possessed is insisted on,
+the prince is kind to an old woman as well as to a dead man, and Jack
+is certainly not understood to be a ghost. All mention of an agreement
+between the companions, and of the means taken to free the heroine
+from her possession by dividing her or flogging her, has likewise
+disappeared. However, the correspondence both in outline and in detail
+with Irish I. is sufficient to establish the position of the variant.
+
+In the Old Wives' Tale the theme of The Grateful Dead is imbedded in
+such a mass of folk-lore and folk-tales that it is quite impossible
+to restore adequately the narrative as Peele found it. He treated the
+story as a literary artist, of course, modifying and adding details to
+suit the scheme of his play. The outline of the story, as Peele gives
+it, is as follows: A king, or a lord, or a duke, has a daughter as
+white as snow and as red as blood, who is carried off by a conjurer
+in the form of a dragon. Her two brothers set forth to seek her,
+and by a cross meet an old man named Erestus, who calls himself the
+White Bear of England's Wood. He, they learn, has been enchanted by
+the conjurer, and is a man by day and a bear by night. He tells them
+of his own troubles, and gives them good advice. Later he is met by
+the wandering knight Eumenides, who likewise  is seeking the lady
+Delia and is counselled:
+
+
+           "Bestowe thy almes, give more than all,
+            Till dead men's bones come at thy call."
+
+
+Eumenides pays all his money except three farthings to bury the body
+of Jack, while the conjurer compels Delia to goad her brothers at the
+work to which he has set them. Eumenides is overtaken by the ghost of
+Jack, who becomes his servant, or "copartner," provides him with money,
+and slays the conjurer while invisible, thus breaking the spell of all
+the enchanted persons. Jack then demands his half of Delia, refuses
+to take her whole, and, when Eumenides prepares to cut her in twain,
+explains that he has asked this only as a trial of constancy. He
+quickly disappears.
+
+Dutz has already shown [99] that Old Wives' Tale has three of the
+essential features of The Grateful Dead, viz.: the burial of the
+dead with the peculiar prophetic advice of Erestus, the reward of
+the hero by assistance in getting a wife, and the sharing of the
+woman. Because of the non-schematic nature of his discussion he did
+not make any attempt to classify the variant more specifically. In
+his edition of the play, [100] Professor Gummere, in indicating some
+of the folk-lore which Peele used, has likewise called attention
+[101] to the connection with our theme. Of particular importance is
+his hint as to the likeness of the variant to the story which I call
+Irish III. It is practicable, however, to carry the matter somewhat
+further. The adventures of Delia, Eumenides, and Jack are all that
+really concern us. It will be seen that these conform in essentials
+to the type under consideration. There is the burial, the agreement,
+the death of the wizard, and the division. To be sure, as in other
+instances, the dispossession of the woman has been obscured by other
+elements; yet the type is unmistakable, it seems to me. One trait in
+particular connects Old Wives' Tale with Irish I. and II. In all three
+the hero seeks a maiden who is white as snow and red as blood. On
+the other hand, the ghost is called Jack as in Irish III. and the
+English tale which bears Jack's name. Because of these similarities
+and discrepancies one is forced to conclude that for this part of his
+play Peele drew upon some version of Jack the Giant-Killer, which was
+far better preserved than the forms known to-day. His original must
+have had many points in common with the tale as extant in Ireland,
+though we need not believe that he knew it in other than English dress.
+
+It yet remains to consider the relations of the two sets of variants
+discussed in this chapter to The Poison Maiden and to one another. The
+group is peculiar in that all the members of it are folk-tales, save
+three: Tobit, Danish III. and Old Wives' Tale. The two latter are,
+however, immediately derived from popular narratives of an easily
+discernible type. Thus Tobit is an anomaly from almost any point of
+view, obscure in its origin and possessed of only trivial influence
+upon the other tales belonging to the same group. Of the twenty-six
+variants, fifteen have The Grateful Dead + The Poison Maiden simply,
+while the other eleven add thereto more or less distinct elements of
+The Water of Life.
+
+In the following versions the hero is saved on the wedding night, or
+the bride is purified by some means: Tobit, Armenian, Gypsy, Siberian,
+Russian I., Russian II., Russian III., Russian IV., Russian V., Russian
+VI., Servian II., Servian III., Servian IV., Bulgarian, Esthonian II.,
+Irish I., Irish II., Danish III., Norwegian II., and Harz I. Not all
+the stories which I have placed in the group, it will be observed,
+have this feature; but, out of all the variants of The Grateful Dead
+enumerated in the bibliographical list, not one has it except members
+of the group. Now this purification of the bride, by means of which
+the hero is saved, is precisely the element of The Poison Maiden which
+is most essential. There can be no doubt, therefore, that this theme
+actually united with a more primitive form of The Grateful Dead to
+form the compound discussed in this chapter. The combination must
+have been made very early and in Asia, as Tobit and Armenian bear
+witness. It will be noted that all the variants, save Finnish, which
+have the simple compound, retain the rescue of the bridegroom, while
+only half of those where a subsidiary motive has been introduced have
+the like. Apparently the intrusion of new matter of a very romantic
+sort tended to obscure the original climax of the combined type.
+
+Another feature of much importance in this connection is the division
+of the woman, or whatever is substituted for it. In a large majority
+of the variants studied, which have the trait at all, the purpose
+of the division proposed or accomplished is to test the fidelity of
+the hero. Hippe believed [102] that this was a modification of the
+original trait, an opinion which would be justified if the compound
+type The Grateful Dead + The Poison Maiden only were considered. The
+versions which have the purification are the following: Armenian,
+Gypsy, Siberian, Russian II., Russian IV., Russian V., Russian VI.,
+Servian II., Servian III., Servian IV., Bulgarian, Esthonian II.,
+Finnish, Irish I., Irish II., and Old Wives' Tale. In these the
+purpose of the division, or beating, whether actually performed or
+not, is the disposal of serpents or other venomous creatures by which
+the woman is possessed. [103] It will be noted, however, that all
+of these variants are of the type treated in the present chapter. If
+the division for the sake of purification were then regarded as more
+primitive and older than the division for the sake of sharing the
+gains or of testing the hero, it would naturally follow that all
+the combined types must proceed from The Grateful Dead + The Poison
+Maiden. Hippe followed the logical course from his premises in so
+regarding the relationship of the groups. [104] However, it seems
+clear to me--and it will be increasingly evident as we study the
+other groups--that the division for purification belongs solely to
+the compound treated in this chapter. It would follow logically from
+combining The Poison Maiden, where a friend saves the hero from the
+fatal embraces of a woman, with The Grateful Dead, where the hero
+is willing to divide his wife to satisfy the agreement which he has
+made with his benefactor. Only by such an explanation is it possible
+to account for the development of the several groups from a common
+root. The barbarous character of the division for purification,
+and the softening which it has undergone in the group which we have
+been studying, give it an appearance of antiquity to which it has
+no right. In point of fact, it belongs only to this group, which is
+thus clearly set off from all the others as an independent branch. The
+division for the sake of fulfilling an obligation is more widespread,
+though it has suffered many modifications.
+
+
+
+
+
+
+
+CHAPTER V.
+
+THE GRATEFUL DEAD AND THE RANSOMED WOMAN.
+
+
+As has already been shown, [105] Simrock regarded as an essential
+feature of The Grateful Dead the release of a maiden from captivity by
+the hero. Stephens and Hippe [106] saw that such was not the case. The
+latter's treatment of the matter [107] leaves little to be desired
+as far as it goes, save that it implies a derivation of the compound
+The Grateful Dead + The Ransomed Woman from the compound treated in
+the last chapter--a view which I believe erroneous.
+
+The Ransomed Woman appears as a separate tale or in combination with
+other themes than The Grateful Dead more than once. A prolonged study
+of the motive would probably yield a rich harvest of examples, though
+it is sufficient for the present purpose to refer to Hippe's article as
+establishing the existence of the form. His Wendish folk-tale [108] and
+Guter Gerhard, from the latter of which Simrock started his enquiry,
+are of themselves evidence enough. [109] Neither example has anything
+whatever to do with The Grateful Dead. [110] The characteristics
+of The Ransomed Woman will appear as we consider the compound type,
+which contains folk-tales almost exclusively, as was the case with
+the type studied in the previous chapter, but in most cases from
+Western Europe instead of from both Asia and Europe.
+
+Nineteen variants have The Grateful Dead and The Ransomed Woman
+combined in a comparatively simple form without admixture with related
+themes. These are: Servian I., Lithuanian I., [111] Hungarian II.,
+Transylvanian, Catalan, Spanish, Trancoso, Nicholas, Gasconian,
+Straparola I., Istrian, Gaelic, Breton III., [112] Swedish, Norwegian
+I., Icelandic I. and II., and Simrock IV. and VI.
+
+In Servian I. a merchant's son, while on a journey, ransoms a company
+of slaves whom he finds in the hands of freebooters. Among them is
+a beautiful maiden with her nurse. He marries the lady, who proves
+to be the daughter of an emperor. On a second voyage he ransoms two
+peasants, who have been imprisoned for not paying their taxes to the
+emperor. On his third journey he comes to his father-in-law's court,
+and is sent back for his wife. He is, however, cast into the sea
+by a former lover of the princess, and succeeds in getting ashore
+on a lonely island, where he remains for fifteen days and fifteen
+nights. [113] Then an angel in the disguise of an old man appears to
+him, and, on condition of receiving half of his possessions, brings
+him to court, where he is reunited with his wife. After renouncing
+his claim, the old man explains who he is, and disappears.
+
+The most striking peculiarity of the variant is the loss of the burial,
+for which appears rather awkwardly the ransoming of some peasants on
+the hero's second voyage. That substitution has occurred is apparent,
+however, both from the clumsiness of the device by which the original
+trait is replaced, and from the angel in the form of an old man,
+who takes the rôle of the ghost. It will be remembered that the
+same substitution has already been met with in the case of Tobit and
+Russian II.
+
+In Lithuanian I. is found a variant which, as we shall find, is of
+a common type. A king's son pays three hundred gold-pieces, all that
+he possesses, to release a dead man from his creditors and have him
+buried. The hero then becomes a merchant, and finds a princess on an
+island, whither she has been driven by a storm. He takes her to a city,
+where he makes his home, and marries her. A messenger, sent out by
+her father to seek her, arrives, takes them aboard ship, and pitches
+the hero into the sea in order to obtain the offered reward. He is
+saved by a man in a boat, who says that he is the ghost of the dead,
+and instructs him how to rejoin his bride. So everything ends happily.
+
+The events as here related follow a very normal course, which is
+repeated again and again in stories of this type: a burial, a ransom,
+an act of treachery, a rescue by the ghost, and a happy reunion
+of the lovers. The agreement between the hero and the ghost, which
+is found in Servian I., and very frequently elsewhere, is lacking,
+however. A peculiarity of the variant is the change in status of the
+hero. He is a prince, but becomes a merchant, thus uniting the two
+characters given him in the other tales of this class.
+
+Hungarian II. is in some respects more interesting than the variant
+just cited. A merchant's son while in Turkey pays the debts and for
+the burial of a mistreated corpse. After returning home, he goes to
+England and rescues a French princess with her two maids, but by his
+cunning saves the gold that he has agreed to pay for them. At her
+bidding he goes to Paris and tells the king that she is safe. On
+his return to bring her to her home, where he is to marry her,
+he is placed on a desert island by a general who is enamoured of
+the princess. Thence he is rescued by an old man, the ghost of the
+dead, who takes him to the Continent. He goes to Paris, where he is
+recognized by the princess, when he drops a ring that she has given
+him into a beaker. When she comes to him in his room, he threatens to
+kill her if she does not go away; but when she agrees that he has the
+right to do so since he has saved her life, he says that his threat
+was only a test of loyalty. So the story ends happily.
+
+The course of events is not very different from that of Lithuanian
+I., since the variant has all the normal elements save the agreement
+between the ghost and the hero. A peculiarity is the final scene
+in which the hero tests his lady. It will be evident, I think,
+that this is an obscured and modified form of the test to which
+the ghost elsewhere submits the hero, a test of fidelity likewise,
+though different in its nature.
+
+In the Transylvanian variant, a merchant's son while on a journey pays
+fifty florins, half of his capital, for the burial of a dead man. On
+a second journey he pays one hundred florins, again one-half of his
+store, for the ransom of a princess who has been imprisoned while
+out doing charity incognito. She gives him a ring and sends him to
+the castle, where her father turns him out of doors. He then meets
+an old man--the ghost--and promises him one-half of his gains after
+seven years for his help. He is then enabled to marry the princess, who
+recognizes him, at the castle by his ring. They have two children. When
+the old man comes back at the end of seven years, the hero gives
+up one of his children, and, after offering her whole, is ready to
+divide his wife. The old man renounces his claim, and disappears.
+
+Every step in the narrative is here clearly marked, even to the
+conditional agreement with the ghost, which so frequently is
+wanting. The variant thus appears to be entirely normal as far as
+The Grateful Dead goes, though it does not have the rescue by the
+ghost--an important feature of The Ransomed Woman.
+
+In Catalan [114] a young man on a journey has a poor man buried at
+his expense, and ransoms a princess. Later he goes to the court of
+her parents with a flag on which she has embroidered her name. They
+recognize this, and send the youth back for the lady. On the way he
+is cast into the sea by the sailors, but is saved by the thankful
+dead and brought to the court again, where he espouses the princess.
+
+In Spanish [115] a young Venetian merchant pays the debts of a
+Christian at Tunis, and has him buried. At the house of the creditor
+he also buys a Christian slave girl. He takes her back to Venice and
+marries her. At the wedding a sea-captain recognizes the lady, and
+lures the couple aboard his ship. The young man is cast into the sea,
+but by clinging to a plank reaches land, where he lives seven months
+with a hermit. At the end of that time he is sent to the coast,
+where he finds a ship, and is transported to Ireland. There he is
+entrusted by the captain with two letters to the king. The one says
+that he is a great physician, who will heal the sick princess; the
+other that the plank, the hermit, and the captain who has brought him
+to Ireland are one and all the ghost of the man whom he buried. The
+hero is recognized at court by the princess, who has been brought
+thither by the traitor, and has explained all to her father.
+
+In these tales the theme of The Grateful Dead is somewhat abbreviated
+for the sake of the romantic features of the secondary motive. In
+both, the agreement with the ghost and every trace of a division
+have disappeared, though they differ in the details of the treachery
+by which the lovers are separated. In the former [116] much is
+made of the manner by which the hero gets a favourable reception
+at the court of the princess's father, while in the latter this is
+suppressed. Recognition by some such means, it will appear, is an
+important feature of the majority of the variants in this section. It
+must be remembered, of course, that Spanish is a semi-literary version,
+even though popular in origin.
+
+Trancoso, the work of a sixteenth century Portuguese story-teller,
+is even more consciously literary. It shows, besides, the tendency of
+the narrative to take on a religious colouring. The son of a Lusitanian
+merchant, while in Fez on a trading expedition, buys the relics of a
+Christian saint. In spite of his father's anger, he does this a second
+time, and is so successful in retailing the bones that he is sent out
+a third time with instructions to buy as many relics as possible. On
+this expedition, however, he succeeds merely in ransoming a Christian
+girl, whom he takes home. At her request he carries to the King of
+England a piece of linen, on which she has embroidered the story of
+her adventures. He learns that she is the king's daughter, and restores
+her to her father. Subsequently he wanders over Europe in despair, for
+he has hoped to marry the princess, till he meets with two minstrels,
+who accompany him to the English court. There he makes himself known
+to the princess by a song; and, by the aid of the two minstrels, he
+wins her hand in a tournament. Later the two friends reveal themselves
+as the saints whose bones he had rescued from the Moors.
+
+Though this version clearly belongs in the category now under
+discussion, it has certain features that can be explained only on
+the supposition that Trancoso altered his source to suit his personal
+fancy. The clever substitute for actual burial, the duplication of that
+trait (which occurs nowhere else), the humorous touch with reference
+to the hero's success in selling relics, and the appearance of the
+ghosts as minstrels, are all strokes of individual invention. The
+wanderings of the hero and his manner of revealing himself to the
+princess are doubtless reminiscences from the popular romances of
+Spain, while the tournament probably comes, as Menéndez y Pelayo hints,
+[117] from an earlier version of our theme, Oliver, which will be
+treated below. In spite of these peculiarities, the ordinary features
+of the combined theme are not more obscured than in the two preceding
+variants. The agreement, the division, and the rescue are the only
+ones that disappear.
+
+In the fourteenth century variant from Scala Celi, Nicholas, our
+story is altogether transformed into a legend. The only son of a widow
+[118] of Bordeaux is sent as a merchant to a distant city with fifty
+pounds. He gives it all to help rebuild a church of St Nicholas, and
+returns home empty-handed. Much later he is sent out with one hundred
+pounds, and buys the Sultan's daughter. His mother disowns him, and
+he is supported by the embroidery which the princess makes. With her
+wares he goes to a festival at Alexandria, but, at her bidding, keeps
+away from the castle. When he journeys to Alexandria a second time,
+however, he goes to the castle and is imprisoned, as the handiwork
+of the princess is recognized. She is sent for, while the hero is
+released and goes home. Since he does not find the maiden there, he
+returns to Alexandria with a piece of embroidery which she has sent
+him, meets her, and elopes by the aid of St. Nicholas, who sends them
+a ship opportunely.
+
+Because of its legendary character the variant has been materially
+transformed, but not beyond recognition. The thankful dead is replaced
+by the saint throughout, so that the burial is altered into church
+building, and both the agreement and the division of the gains
+disappear. The various elements of The Ransomed Woman fare better:
+the act of treachery done the hero is the only one lacking, and that
+perhaps is replaced by his imprisonment in the Sultan's castle. It
+is remarkable that the details of the narrative have been so little
+altered in spite of its complete change of purpose.
+
+In the Gasconian folk-tale Jean du Boucau, the son of a mariner, goes
+to fight the corsairs. On the shore of the sea he rescues a man named
+Uartia, who is pretending death to escape from his creditors. Later
+this man becomes a prosperous freebooter, and is sailing with a load
+of captives when met again by Jean. The latter is so shocked by his
+evil deeds that he encloses him in the coffin prepared for him on
+the previous occasion, and throws him into the sea. Jean then marries
+the most beautiful of the captives, who is the daughter of the King
+of Bilbao.
+
+The variant is excessively rationalized, it will be observed, and
+most traces of The Grateful Dead have disappeared. Though various
+substitutions for the burial are found in each of the groups, this
+is the only case that I know where the man plays 'possum to escape
+his creditors. The story is likewise unique in making the hero take
+vengeance on the man whom he has helped earlier, and accordingly in
+making him rescue the maiden from the hands of the person who is in
+the character of the thankful dead. The variant has been modified by
+a free fancy; yet its position in the group remains perfectly clear
+in spite of the loss of such traits as the agreement, the act of
+treachery, the rescue of the hero, and the division of the gains.
+
+Straparola I., one of the Italian novelist's two renderings of
+our theme, is far more normal than the above, and is probably based
+directly on a folk-story. Bertuccio pays one hundred ducats to free a
+corpse from a robber and bury it, greatly to his mother's disgust. He
+goes out again with two hundred ducats, and pays them for the ransom
+of the daughter of the King of Navarre. His mother is still more
+angry. The princess is taken home to Navarre by officers of the court
+who have been searching for her, but first she tells Bertuccio to come
+to her, and to hold his hand to his head as a sign when he hears that
+she is to be married. On his way to Navarre he meets a knight who
+gives him a horse and clothing on condition of his returning them,
+together with half of his gains. He marries the princess, and is
+returning home, when he meets the knight again and offers to give up
+his wife whole rather than kill her by division. Whereupon the knight
+explains that he is the spirit of the dead, and resigns his claim.
+
+All the traits previously mentioned are here evident save the act
+of treachery by which the hero comes near losing his bride. The
+sign appears as a means of communication between the lovers, as in
+Transylvanian and elsewhere. The question of division is simply a
+matter of fulfilling a bargain, but it shows how easily by a slight
+shift of emphasis the test of loyalty could be made the important
+element.
+
+None of the Italian folk variants, which I know, conforms to the above
+closely enough to be regarded as a near relative. Istrian, however,
+belongs in the same category. A youth called Fair Brow sets out to
+trade with six thousand scudi, which he pays to bury a debtor on
+the shore, for whom passers-by are giving alms. On his return home,
+he tells his father that he has been robbed, and again is sent
+out with six thousand scudi. He pays these for a maiden, who has
+been stolen from the Sultan, and he is consequently disowned by his
+father. After his marriage to the girl, the young couple live by the
+sale of the wife's paintings. Some sailors of the Sultan see these,
+and carry the lady off home. Fair Brow goes fishing with an old man
+whom he meets by the sea. They are driven by a storm to Turkey, and
+are sold to the Sultan as slaves, but they escape with the wife and
+considerable treasure. The old man then asks for a division of the
+property, even of the woman. When the hero offers him three-quarters
+of the wealth in order to keep the woman, the old man declares that
+he is the ghost, and disappears.
+
+All of the essential traits, except the preliminary agreement and
+the rescue of the hero, are here clearly marked. The latter is,
+indeed, probably accounted for by the storm which the hero and the
+ghost encounter together. The fact that the young couple live by
+the sale of the wife's handiwork, and that this in some way or other
+leads to her restoration to her parents or earlier connections, is
+an important feature of The Ransomed Woman, being found clearly in
+the Wendish tale as well as in many variants of the compound type.
+
+Gaelic is an interesting example of the theme. Iain, the son of a
+Barra widow, becomes the master of a ship and goes to Turkey, where
+he pays the debts of a dead Christian and buries the corpse. He
+ransoms a Christian maiden, the daughter of the King of Spain, with
+her servant, on the same journey, and takes her back to England,
+together with much gold. At her advice he goes to Spain and attends
+church, where the king recognizes by his clothing, his ring, his
+book, and his whistle that he has news of the lost princess. Iain
+then returns to England for the maiden, whom he is to marry. While
+going with her to Spain he is left on a desert island by a general,
+who has secreted himself on the ship; but after a time he is rescued
+by a man in a boat, to whom he promises half of his wife and of his
+children, if he shall have any. In Spain the princess, who has gone
+mad, recognizes him when he plays his whistle. So they are married,
+and the general burned. When three sons have been born, the rescuer
+appears and asks for his share; but as soon as Iain accedes he declares
+himself to be the ghost, and disappears.
+
+Apart from the dressing of the story, which is unusually good, the
+variant follows the normal course. The several signs by which the
+hero is recognized by the king and the princess mark the imaginative
+wealth of the Celt, though the appearance of a ring, and the fact
+that the hero is left on a desert island by an infatuated general,
+show a close correspondence with Hungarian II. The introduction of
+the children as part of the property to be divided is interesting,
+since it shows the connecting link by which the simple compound now
+under consideration passed into combination with the theme of The
+Two Friends. [119] Gaelic, however, clearly belongs where it is here
+placed. The healing of the princess at the hero's coming reminds one
+of the similar trait in Spanish.
+
+Breton III. [120] is peculiar in several ways. A young man, who had
+been unjustly cast off by his parents, put himself under the protection
+of St. Corentin and the Virgin. To an old woman he gave all his stock
+of money that she might bury her husband and have masses said for
+his soul. The saint and the Virgin then led the hero to a nobleman,
+whose daughter he married. On a hunt he was cast into the sea by
+an envious uncle of his wife, at a time when she was pregnant; but
+he was brought to an island by some mysterious power and nourished
+there for five years by St. Corentin. Finally an old man appeared and
+took him home after he had promised half of his possessions to the
+rescuer. When a year had passed, the old man came back and demanded
+half of the child; but just as the mysterious stranger was about to
+divide the child St. Corentin and the Virgin appeared and explained
+their identity, together with that of the old man, who was the saint
+himself. They told the hero, furthermore, that God was well pleased
+with him, and would take his son and himself to Paradise. Father and
+son fell dead immediately, while the wife went into a convent.
+
+This tale, like Nicholas, has been dressed up as a legend, chiefly
+in the praise of St. Corentin, with the result that the elements
+are confused. The burial, however, persists, though the ransoming of
+the woman has been feebly replaced by the aid of the saint and the
+Virgin. The hero is cast into the sea by an avaricious uncle of the
+bride, again a weakened trait. The rescue and the agreement to divide
+are normal in essentials, though adorned with superfluous miracles,
+as is again the conclusion of the tale. It illustrates how easily
+such a narrative may be adapted, whether consciously or not, to a
+religious purpose. The division of the child, which comes in question,
+is of precisely the same character as in Gaelic; it does not imply
+the presence of a new motive, though it indicates the possibility of
+a new combination.
+
+Swedish [121] is a somewhat abbreviated form of the normal type. Pelle
+Båtsman, while on a journey, pays the debts of a dead man, and so
+brings repose to him; for he has been hunted from his grave and soundly
+beaten every night by his creditors, who are likewise dead. Pelle
+then falls in with robbers, with whom he finds the daughter of the
+King of Armenia. He escapes with her, and goes on board a ship to seek
+her father, but he is thrown overboard by the envious captain. He is
+saved by the thankful dead and brought to Armenia, where he marries
+the princess. Here the burial is peculiar in that the dead man is
+harassed by creditors who are already dead. This is a marvel, which
+need excite no surprise in view of the modifications of the trait
+found elsewhere. The ransom in this case does not imply a money
+payment, since the hero escapes from robbers with the maiden. The
+way in which the hero is left behind by the master of the vessel
+on which the lovers sail is a trait similar to the one in Catalan
+and Spanish. The agreement between the hero and the ghost, the sign
+employed by the hero, and the division of gains are all lacking;
+but no new feature replaces them.
+
+Norwegian I. [122] is not very different from the preceding tale. A man
+in the service of a merchant pays all he has, while on one voyage,
+to bury the body of a dead man. On his next voyage he ransoms a
+princess, and sets out with her for England. On the way she is
+carried off by her brother and a former suitor. The hero overtakes
+them and is given a ring by the lady, but is cast into the sea by the
+suitor. For seven years he lives on a desert isle, till an old man
+appears, tells him that it is the princess's bridal day, carries him
+to England, and gives him a flask. This the hero sends to his lady,
+is thus recognized, and is married. The agreement with the ghost and
+the division of the woman are entirely lacking, though the burial, the
+ransom, the treachery of the suitor, and the aid of the ghost appear
+in normal fashion. The sign enters only as a means of communication
+between the lovers. The tale thus has no very unusual traits.
+
+Icelandic I. [123] is a fuller, and, for our purpose, more interesting
+variant than the last. Thorsteinn, a king's son, who has wasted his
+substance, sells his kingdom and sets forth into the world. He pays
+two hundred rix-dollars to free from debt a dead man, whose grave is
+beaten every day by a creditor to destroy his rest. The prince goes on,
+and in the castle of a giant finds a princess hanging by the hair. He
+frees her, and is taking her home when he meets Raudr, a knight to
+whom her hand has been promised if he can find her. Raudr puts the
+prince to sea alone in a boat and carries the lady home. Thorsteinn,
+however, is brought thither also by the ghost and is recognized by
+the princess, when she is about to be married to the traitor. So
+Raudr is punished, and Thorsteinn obtains the princess.
+
+Here, again, the agreement, the sign, and the division do not appear,
+though the version is otherwise normal. To be sure, the ransom of the
+lady is replaced by a rescue, as in Swedish, and the beating of the
+grave preserves a bit of northern superstition, which is interesting
+even though not primitive as far as our tale is concerned. [124]
+
+Icelandic II. is similar to the variant just cited in several
+particulars, though it has important differences. Vilhjálmur,
+a merchant's son, loses his property and becomes the servant of
+twelve robbers. In their den he finds a princess named Ása hanging
+by the hair. He escapes with her by sea, taking along the thieves'
+treasure. This he pays to have the body of a debtor buried. To the
+haven where this happens comes Rauður in search of the princess,
+takes the couple on his ship, but puts the hero to sea in a rudderless
+boat. A man appears to Vilhjálmur in a dream, saying that he is the
+ghost of the man whom he has buried, and that he will bring him to
+land and show him treasure. So the hero is brought to the land of
+the princess and tells his story at the wedding of the traitor with
+the princess. Thus the bride is won for him.
+
+The hero, it will be observed, is a merchant instead of a prince,
+as in Icelandic I., and the burial of the dead is customary in form
+though exceptionally placed in the narrative. Otherwise the two
+variants correspond rather closely, even in such a detail as the name
+of the traitor. There is the same omission of elements peculiar to The
+Grateful Dead, the same preponderance of the secondary motive, found in
+all the northern versions of this particular group. The two Icelandic
+variants seem to be perfectly distinct, though they are nearly related.
+
+The two German folk-tales which fall into this group are not very
+different from one another. In Simrock IV. a merchant's son pays the
+debts of a man who is being devoured by dogs, but does not succeed
+in saving his life. He goes on, finds two maidens exposed on a rock,
+and takes them home. In spite of his father's objections, he marries
+one of them. He goes to sea again, wearing a ring that his wife has
+given him, and carrying a flag marked with her name. Coming to the
+royal court of her father, he is sent back for the princess with a
+minister. On his voyage to court again he is put overboard by the
+minister, who hopes thus to win the princess. However, he is cast up
+on an island, where the ghost of the dead man appears to him in sleep
+and transports him miraculously to court. There he is recognized by
+his ring and reunited to his wife.
+
+Details such as those concerning the burial, the rescue of the lady,
+and the help given miraculously by the ghost mark the independence
+of the variant, though they do not alter the normal course of the
+narrative. As so often in this group, the agreement with the ghost
+and the division are entirely lacking.
+
+In Simrock VI. the variations from the normal are even
+slighter. Heinrich of Hamburg buys a beautiful maiden in a foreign
+land. On the sea-coast, when he is returning home with her, he pays
+the debts of a corpse and has it buried. He wishes to marry the girl,
+but she asks that he delay the wedding for a year and make a journey
+first. So she gives him two coffers, with which he crosses the sea. By
+the help of a shipman he finds his betrothed's royal father, but on
+his way back to fetch her home is cast overboard by the mariner, who
+is the original kidnapper of the maiden. This man gets her and carries
+her to the court with the hope of marrying her. The hero is saved
+from the sea, however, by the ghost of the dead man, who brings him
+to the garden of the princess's palace, where he is found by his bride.
+
+The order of the burial and the ransoming [125] is here reversed,
+but the facts are given in the ordinary form. Otherwise the variant
+does not differ essentially from the preceding.
+
+In Transylvanian, [126] and more clearly in Gaelic and Breton III.,
+[127] a tendency has been remarked to introduce the children of the
+hero as part of the gains which he is asked to divide with the thankful
+ghost. In a series of tales belonging to the general type The Grateful
+Dead + The Ransomed Woman this tendency has been accentuated so far
+that it seems best to group them together, because of their approach
+to the theme of The Two Friends. Since an actual combination of this
+motive with The Grateful Dead in its simple form is found in only
+three variants, all of them literary, it will perhaps be best to
+discuss the relationship of the main to the minor theme at this point.
+
+The Two Friends is the chief motive of Amis and Amiloun, which in its
+various forms [128] is the mediaeval epic of ideal friendship. Its
+essential feature, as far as the present study is concerned, is the
+sacrifice of his two sons by Amis to cure the leprosy of Amiloun. They
+are actually slain, but are miraculously brought to life again by
+the power of God. This story, which exercised a powerful influence
+on the imagination of European peoples, easily became connected with
+the sacrifice of his wife by the hero of The Grateful Dead.
+
+The three variants with the simple compound, or forming a group on
+that basis, are those entered in the bibliography as Lope de Vega,
+Calderon, and Oliver.
+
+The plot of Oliver runs as follows [129]: Oliver, the son of the
+King of Castille, becomes the close friend of Arthur of Algarbe,
+the son of his stepmother. When he has grown up, he flees from home
+because of the love which the queen declares for him, leaving to
+Arthur a vial in which the water would grow dark, were he to come
+into danger. He is shipwrecked while on his way to Constantinople,
+but, together with another knight, is saved miraculously by a stag,
+which carries them to England. Talbot, the other knight, is ill,
+and asks Oliver to take him to his home at Canterbury, where he
+dies. Because of debts that his parents will not pay he cannot be
+buried in consecrated ground till Oliver himself attends to the
+matter. The hero then starts for a tourney where the hand of the
+king's daughter is the prize. On the way he loses his horse and
+money, but is supplied anew by a mysterious knight, on condition of
+receiving half of what he gets at the tourney. Here he is victor,
+and after a further successful war in Ireland marries the princess,
+who bears him two children. While hunting he is taken prisoner by
+the King of Ireland and placed in a dungeon. Arthur, who is acting
+as regent in Spain, notices that the vial has grown dark, and sets
+out to rescue his brother. In Ireland he is wounded by a dragon,
+but is healed by a white knight, who notices his resemblance to
+Oliver, and takes him to London to solace the princess. He only
+escapes her embraces by the pretence of a vow, and sets forth to
+deliver Oliver. On their way back he tells of his visit at London,
+and so excites Oliver's jealousy, who leaves him. At home, however,
+Oliver discovers his mistake, and determines to find his brother, who,
+after a punitive expedition into Ireland, falls gravely ill. Oliver
+learns in a dream that Arthur can only be cured by the blood of his
+children, whom he slays accordingly. On his return home, however,
+he finds them as well as ever. Later appears the mysterious knight
+to demand his share of wife and children, as well as of all his
+property. As Oliver raises his sword to divide his wife, he is told
+to desist, since his loyalty is proved. The knight then explains that
+he is the ghost of Talbot. Later Arthur marries Oliver's daughter,
+and eventually unites the kingdoms of England, Castille, and Algarbe.
+
+Oliver has certain elements not to be accounted for by the combination
+of The Two Friends with The Grateful Dead. Such are the motive of
+the hero's journey, for example, which allies it with the tales of
+incestuous step-mothers; and the tourney in which the hero wins
+his bride. Yet the burial of the dead man (here a knight and a
+friend of the hero's) [130] corresponds to the normal form of the
+episode in that Oliver pays the creditors and the sum necessary
+for the man's interment. So, too, the demand made by the ghost for
+half of all that has been won runs true to the original form. The
+distinctive trait of Amis and Amiloun, at the same time, comes out
+more clearly than in the case of such folk-tales as Gaelic--the
+hero actually kills his little children to save the life of his old
+friend and foster-brother. One factor leads me to think that the
+romance and the two romantic plays are to be regarded as forms of
+the general type treated in this chapter, with additions from other
+stories. The ghost rescues the hero from imprisonment A rescue of
+the sort--normally after the hero has been cast into the sea or left
+behind by his rival--is characteristic of The Grateful Dead + The
+Ransomed Woman. In Oliver this rescue takes place, to be sure, after
+the marriage instead of before, which is the normal order, yet it is
+a factor of considerable importance. The romance takes a position
+somewhat apart; and even though this is partly due to the literary
+handling which it has undergone, it must remain doubtfully classed
+with the immediate circle of variants belonging to the compound type.
+
+The position of the play by Lope de Vega is involved with that of
+Oliver. Don Juan de Castro flees to England because of the unlawful
+love of his stepmother, the Princess of Galicia. His ship is wrecked
+on the English coast, and the captain, Tibaldo, is cast ashore in
+a dying condition. To free the latter's mind from unrest, Don Juan
+pays his debts of two thousand ducats, though this is half of the
+hero's possessions. He hears that the princess Clarinda is promised
+to anyone of princely blood who wins an approaching tournament. While
+he is sorrowful that he cannot enter the contest, because of his
+poverty, the ghost of Tibaldo appears to him one night and promises the
+necessary equipment on condition of receiving one-half the gains. The
+next morning he finds everything ready and wins the princess. He is
+later taken prisoner by one of the contestants through a ruse, and
+is carried off to Ireland. By the ghost's advice, his stepbrother
+and double comes to London and takes his place, while Don Juan is
+freed by force of arms and restored to his wife. After some years,
+when the couple have two children, the stepbrother falls ill of a
+dreadful malady, which can only be cured, Don Juan learns in a dream,
+by the blood of his children. So he slays them and gives their blood
+to the sick man to drink. They are found alive by a miracle; but Don
+Juan is troubled, and does not find rest till the ghost appears and
+tells him that the only remedy for his affliction is to fulfil his
+promise of a division. The hero prepares to divide his wife, when
+the ghost stops him and explains that the demand was only a test.
+
+As Schaeffer pointed out, [131] Lope's plot is clearly taken from
+Oliver, probably from the Spanish translation issued in 1499. Indeed,
+the drama follows the romance with far more fidelity than could have
+been expected of such an adaptation. The various elements of the
+motive appear without essential alteration.
+
+The play El mejor amigo el muerto, listed for convenience as Calderon,
+has suffered, in contrast to Lope's play, from many changes. Prince
+Robert of Ireland and Don Juan de Castro are wrecked on the English
+coast. The former finds the sea-captain Lidoro in a dying condition,
+and refuses to give him aid. Don Juan, on the other hand, finds
+Lidoro's body, which a creditor keeps from interment, and pays for
+his burial out of his scanty savings from the wreck. He then goes
+to London, where there is trouble because Queen Clarinda will not
+marry Prince Robert. Don Juan is cast into prison on a false charge,
+his identity being unknown to the queen, though he is recognized
+by Robert. He is saved by the aid of Lidoro's ghost, nevertheless,
+lays siege for Clarinda's hand, overcomes Robert, and so becomes king
+of England.
+
+The correspondence of names and details makes it clear that the source
+of this play is Lope de Vega, though the plot has been modified in
+several features. In the process of adaptation all trace of The Two
+Friends has dropped out, a fact which would make the position of the
+variant difficult to ascertain, had the authors not left most of the
+characters their original names. The change in the position of the
+rescue of the hero from prison, indeed, gives a specious resemblance
+to the normal type The Grateful Dead + The Ransomed Woman, which is
+quite unjustified by the real state of the case.
+
+All the other variants in which there is question of dividing a child,
+save one, [132] are folk-tales; and all of them save three [133]
+clearly belong in the category now under discussion. If they did not
+group themselves in this way, I should be unwilling even to consider
+the possibility of any general influence from The Two Friends upon
+these tales, since the only trait borrowed by any of them is precisely
+the division. Only in Oliver and Lope de Vega is this sacrifice
+made for the healing of a friend; and we have seen in the case of
+Transylvanian, Gaelic, and Breton III. how naturally the division of
+the child grows out of the division of the wife. As the matter stands,
+however, the case for the influence of The Two Friends is sufficiently
+strong to warrant the grouping of these tales together. The general
+relationship of the theme may be deferred to a later chapter. [134]
+
+Lithuanian II. [135] is a characteristic specimen of the class of
+tales just referred to. A prince, while travelling, sees a corpse
+gnawed by swine in a street. He pays the man's creditors for his
+release and has the body buried. Later, on the same journey, he
+buys two maidens, one of whom is a king's daughter, and takes them
+home. After a year he goes on a second journey with the princess's
+picture for a figure-head on his ship, and a ring, which she has
+given him. The picture is recognized by the maiden's father, and
+the prince is sent back in the company of certain nobles to fetch
+her. While they are returning to her home with the princess, one of
+the nobles pushes the prince overboard. He lives on an island for two
+years, until a man comes to him and promises to bring him to court
+before the princess marries the traitor, on condition of receiving
+his first-born son. The agreement is made, and the prince wins his
+bride. After a son has been born to them, the man appears and demands
+the child. He is put off for fifteen years, and at the end of that
+time explains that he is the ghost of the rescued dead man.
+
+All the traits of the compound type, as it has already been analyzed,
+are here apparent, save that the sacrifice of the child is substituted
+for that of the wife. The variant does not demand any further comment.
+
+We come now to the various forms of Jean de Calais, which make up
+a little group by themselves. The ten examples of the story that I
+have been able to find differ from one another sufficiently to make
+separate analyses of most of them necessary.
+
+The version by Mme. de Gomez (I.) runs as follows: [136] Jean,
+the son of a rich merchant at Calais, while on a journey, comes to
+the city of Palmanie on the island of Orimanie. There he pays the
+debts and secures the burial of a corpse which is being devoured by
+dogs. He also ransoms two slave girls, one of whom he marries and takes
+home. The woman is the daughter of the King of Portugal. While taking
+her to her father's court, Jean is separated from her by a treacherous
+general, but is saved by the grateful dead, and enabled to rejoin his
+wife. Later the ghost, who appears in the form of a man, demands half
+of their son according to the agreement of division which they have
+made. When Jean gives him the child to divide, the stranger praises
+his loyalty and disappears.
+
+This story has all the characteristics of the type The Grateful Dead
++ The Ransomed Woman + the demand that the hero's son be divided. In
+general outline it is scarcely distinguishable from Lithuanian II.,
+save that the hero Jean is a merchant's son instead of a prince. In
+details, however, it differs considerably. For example, Jean marries
+one of the captive maidens as soon as he buys her; there is no question
+of signs by which the hero is recognized by his wife's father or by the
+princess herself; and the ghost is less dilatory in his demands. Some
+of these differences are doubtless to be accounted for through the
+unfaithfulness of the rendering, which is semi-literary.
+
+At all events, Jean de Calais III., IV., and V., all three of which
+were heard on the Riviera, have several changes from I., though they
+vary from one another only in very minor matters. [137] A single
+analysis will suffice for the three. Jean de Calais, the son of a
+merchant, on his first voyage gives all his profits to bury the corpse
+of a deceased debtor. On his second he ransoms a beautiful woman (with
+or without a companion), and lives with her in poverty because of his
+father's displeasure. On a subsequent voyage he bears her portrait on
+the prow of the ship, where it is seen by her father. A former suitor
+meets him on his return to court with his wife (in III. goes with
+him) and throws him into the sea either by violence or by a ruse. He
+is cast up on an island (in III. is carried thither in a boat by the
+ghost in human form), whence he is conveyed by the ghost, on condition
+of receiving half of his first son, or half of what he loves best,
+to the court just as the princess is to marry the traitor. By a ruse
+he enters the palace and is recognized. Later the ghost appears,
+but stays Jean when he is about to sacrifice his son.
+
+Jean de Calais VI., though from Brittany instead of southern France,
+does not differ greatly from the above, nor from I. Jean buries the
+dead man and ransoms two women on a single voyage, as in I. He is
+kindly received at home in spite of his extravagance, in which the
+variant differs from III., IV., and V., and he marries one of the
+maidens there. On his next voyage the King of Portugal (as in I. and
+III.) recognizes his daughter's portrait and that of her maid, which
+the hero has displayed on his ship. He brings his wife to the court,
+after which they go back, together with a former suitor, for their
+possessions. On the voyage Jean is thrown overboard, but is washed up
+on an island, whither the ghost comes, announces himself immediately,
+and bargains rescue for half of the hero's child. Jean is transported
+to court miraculously, and there meets with the customary adventures
+at the close of the tale.
+
+The variant is chiefly peculiar, it will be remarked, in placing the
+treachery of the former suitor after the marriage has been recognized
+by the king, and in making the ghost announce himself at once. Jean
+makes no blind bargain, a fact which detracts somewhat from the
+interest.
+
+Jean de Calais II. and VII. differ from the other forms of the story in
+several ways. In the former [138] Jean is the son of a rich merchant,
+and has wasted much money. He is sent out to seek his fortune on land
+with seven thousand pistoles, but he pays his all for the debts and
+burial of a poor man. On his return, he is commended by his father,
+but again falls into evil ways. Once more he is sent forth with
+seven thousand pistoles, and passes the cemetery where he buried
+the debtor. As he does so, a great white bird speaks from the cross,
+saying that it is the soul of the dead man and will not forget. Jean
+buys the two daughters of the King of Portugal from a pirate and
+takes them home, where, with his complaisant father's approval, he
+marries the elder. Later he journeys to Lisbon with the portraits
+of the sisters, which are recognized by the king. [139] He is sent
+back for his wife, but is pushed overboard by a traitor, being driven
+on a rock in the sea, where he is fed by the white bird. Meanwhile,
+the traitor goes to Calais and remains there seven years as a suitor
+for the princess's hand. He is about to be rewarded, when Jean,
+after promising half of what he loves best to the white bird, is
+miraculously transported to Calais, whither the King of Portugal comes
+at the same time. The white bird bears witness to the hero's identity,
+and demands half of his child. When Jean is about to divide the boy,
+however, it stops him and flies away.
+
+Version VII. has certain characteristics in common with the above. It
+is a Basque tale. Juan de Kalais, the son of a widow, sets off as a
+merchant, but sells his cargo and ship to pay the debts of a corpse,
+which is being dragged about on a dung-heap. On his return, his mother
+is angry. Again he goes on a voyage, but with a very poor ship, and
+is compelled by an English captain to ransom a beautiful maiden with
+all his cargo. The hero's mother is again angry at this seemingly bad
+bargain, but she does not forbid his marrying the girl. Juan is now
+sent to Portugal by his wife with a portrait on a flag, a handkerchief,
+and a ring. At the same time she tells him that she has been called
+Marie Madeleine. When the King of Portugal sees the portrait, he sends
+the hero back with a general to fetch Marie, who is his daughter. The
+general pitches Juan overboard and goes for the princess, whom he
+persuades to marry him after seven years. At the end of that time,
+a fox comes to Juan on an island, where he has lived, and bargains to
+rescue him for half of all he has at present and will have later. The
+hero arrives in Portugal, is recognized by the king, tells his story,
+and has the general burned. After a year the fox appears and demands
+payment, but, when Juan is going to divide his child, it says that
+it is the soul of the dead man whom he buried long before.
+
+The two variants are chiefly peculiar in that they introduce a new
+element into the compound,--The Thankful Beast. This substitution
+of some beast for the ghost has been encountered twice before [140]
+in connection with Jewish and Servian IV., and must receive special
+treatment later on. [141] For the present it is sufficient to remark
+the variation from all other forms of Jean de Calais except X. [142]
+In both II. and VII. Jean makes two journeys, [143] as in III., IV.,
+and V., as against I. and VI. The attitude of the parent differs
+widely in the two. The maiden whom the hero marries is a Portuguese
+princess, which is the prevailing form of the tale. The portrait is
+also found in each, and both state the time of Jean's exile as seven
+years. II. differs from all the other versions in placing the later
+adventures of the story at Calais rather than at the court of the
+heroine's father. In II., as in VI., the ghost announces himself at
+the first meeting, which is undoubtedly a modification of the original
+story. Thus the two forms are sufficiently independent of one another,
+in spite of their common use of an animal as the hero's friend.
+
+Jean de Calais VIII., though like VI. from a Breton source, differs
+from all the other variants, chiefly in transposing the burial and the
+ransom. Jean Carré, sent out by his godmother as a sea-captain, ransoms
+an English princess with her maid, and marries the former. After two
+years, when a son has been born to them, Jean goes on another voyage,
+and adorns the stern of his vessel with portraits of his wife, the
+child, and the maid, which he is begged to show while anchored at
+London. He does so, and is received by the king as a son-in-law. One
+day he sees a poor debtor's body dragged along the street, pays the
+debts, and has it buried. He then sets out with a fleet to seek his
+wife, and is cast overboard by a Jew, who is the pilot; but he is
+saved by a supernatural man, who carries him to a green rock in the
+sea. The princess refuses to go to England when the fleet arrives, and
+is wooed by the Jew so persistently that after two years she promises
+him marriage. At this juncture Jean, who has been asleep during the
+whole interval, is awakened by his rescuer and carried over the sea,
+where the man explains that he is the ghost of the debtor. Jean is
+first recognized by his little son, the Jew is burned by the gendarmes,
+and all ends well.
+
+The transposition mentioned above is clearly a change due to the
+individual narrator or some local predecessor, since everywhere else
+the burial takes place before the ransom. The mention of a Jew as
+traitor is also peculiar and unreasonable, since no motive for his
+action appears until later, and then incongruously. The variant is
+likewise defective in not having any bargain between the ghost and
+the hero. In other respects it is normal save in minor details. As
+in V., the heroine is made an English princess, which occurs nowhere
+else. On the whole the version is picturesque, but defective.
+
+Jean de Calais IX. is unique in certain features, though in most
+respects normal. It is from Asturia in Spain. Juan de Calais goes
+out into the world to seek his fortune with a single peseta as his
+store. This he gives to bury a corpse, and proceeds. In a certain
+kingdom he attracts the notice of a princess, who marries him after
+considerable opposition. When the wedding is over, he takes his
+wife to seek his father's blessing, but is cast off the ship by a
+former suitor of the lady, her cousin. He is carried to an island by
+invisible hands, where he lives until a phantom bargains to take him
+to court for half of what he gets by his marriage. He arrives on the
+day of the princess's wedding. He is recognized by the king, who puts
+to his guests a parable of an old key found just when a new one has
+been made, while the suitor flees. On the following night, when Juan
+is dejected at the thought of giving up half his son, the phantom
+appears and releases him from his agreement, explaining its identity.
+
+Juan wins the gratitude of the dead man, and obtains his bride
+in this version on a single journey, as in I. and VI., but its
+chief peculiarity is the manner in which he gets his wife, with
+the sequel that the couple set out to seek his father instead of
+hers. The ransom is replaced by a romantic but more natural wooing,
+while the ghost appears somewhat unusually in propria persona. One
+of the oddest traits in the whole version is the parable of the key,
+by which the king introduces the hero to the assembled guests. This
+will be encountered again in Breton VII.
+
+In Jean de Calais X., finally, a Walloon variant, appear certain
+interesting changes in the fabric. The King of Calais sent his son
+Jean to America to trade, but the prince was shipwrecked on the coast
+of Portugal, and there ransomed and rescued a corpse, which was being
+dragged through the streets because the man had died in debt. The king
+scolded his son for wasting so much money, but the next year sent him
+to Portugal to trade. There he encountered brigands, who had captured
+the king's daughter with her maid, and ransomed them. On returning to
+Calais with his bride, he was ill received, and resolved to go back
+to Portugal. A young lord of Calais accompanied them and threw Jean
+into the sea, while he took the princess onward and obtained from
+her a promise of marriage in a year. Happily Jean found a plank by
+which he reached an island, where a crow fed him every day. At the
+end of a year he promised the crow half his blood for rescue, and
+was taken to Portugal by a flock of crows. There he was recognized,
+and the traitor hanged. One day the crow appeared and demanded the
+fulfilment of the promise. Jean was about to slay his son, when the
+bird explained its identity with the ghost of the dead man.
+
+This is the only version which makes Jean a prince; and it is curious
+that the change should occur in a tale from a region not very remote
+from Calais. Most of the events of the tale take place in Portugal,
+however, which is an extension of the ordinary appearance of that
+country as the home of the heroine. The most striking peculiarity of
+the version is the home of the traitor, who is a lord of Calais instead
+of Portugal. All mention of signs is lacking, which is doubtless due
+to the changes just mentioned. In the matter of the appearance of
+the ghost as an animal the variant allies itself with II. and VII.,
+though it has no special likeness to them in other respects.
+
+Basque II. is like Gaelic [144] in general outline. Juan Dekos is sent
+out with a ship to complete his education. He pays all that he gets for
+his cargo to ransom and bury the corpse of a debtor. His father is not
+pleased, but sends him out again. This time he uses all his money to
+ransom eight slaves, seven of whom he sends to their homes, but carries
+one home with him. His father is still more angry, and casts him off;
+but Juan has a portrait of Marie Louise painted for the figure-head of
+his ship, and sets off with her for her own land. The lame mate pitches
+him overboard, and carries the lady to her father's dwelling-place,
+where he is to marry her after a year and a day. Juan is saved by an
+angel and placed on a rock. On Marie's wedding-day the angel returns,
+and offers to take the hero to his bride for half of the child that
+will be born. The angel was the soul of the dead man. So Juan arrives
+in time, is recognized by a handkerchief, and tells his story, which
+causes the burning of the mate. After a year the angel comes for his
+half of the babe, but when Juan starts to divide it stays his hand.
+
+Webster, the collector of this tale, noticed [145] its similarity
+to Gaelic, especially in the name of the hero, and surmised that
+the Basques must have borrowed it from the Celts in some way. The
+theory is tenable, though a comparison of the two variants shows
+that the Basques must either have borrowed it in a form considerably
+different from the Highland tale as we have it, or have altered the
+details largely. The first part of the story is entirely different;
+the hero goes on two voyages in Basque II., one only in Gaelic;
+the lady goes with the hero immediately in the former, he returns
+for her in the latter; the treachery and the signs are different;
+the ghost appears as an angel instead of a human being in Basque;
+and the promised division concerns the wife and three sons in Gaelic,
+a single babe in Basque. Thus, apart from the title, there is little
+to substantiate Webster's theory. The differences are certainly more
+important than those between any two versions of Jean de Calais. In
+some particulars, like the voyages and the portrait on the ship,
+Basque is more nearly normal, while in others, like the account of
+the treachery and the appearance of the ghost, Gaelic conforms to
+the ordinary form. Certainly Basque II. is to be regarded as a fairly
+close relative of Lithuanian II. and Jean de Calais.
+
+In Breton VII. a normal form appears, though with some embroidery of
+details. A merchant's son, Iouenn Kerménou, goes out with his father's
+ship to trade. He pays the greater part of the proceeds of the cargo to
+ransom and bury the corpse of a debtor, which dogs are devouring. On
+his way home he gives the rest of his money to ransom a princess,
+who is being carried to a ravaging serpent, which has to be fed with
+a royal princess every seven years. He is cast off by his father when
+he reaches home, but is supported by an aunt and enabled to marry
+his lady. After a son has been born to them, he is sent out by an
+uncle on another ship, which by his wife's counsel has the figure of
+himself and herself with their child carved on the prow. He comes to
+her father's realm, and after some misunderstanding is sent back with
+two ministers of state for the princess. While returning with her, he
+is pushed overboard by the first minister, who is an old suitor for
+the lady's hand, but swims ashore on a desert island. The wife goes
+to court, and after three years consents to marry the minister. All
+this time Iouenn lives alone on his rock, but at the end is greeted
+by the ghost of the man whose body he buried, which appears in a
+very horrible form. On condition of giving in a year and a day half
+of what he and his wife possess, he is taken to court by this being,
+where he is recognized by means of a gold chain, which the princess
+had given him. At the wedding feast, which takes place that day,
+the wife recounts a parable of how she has found the old key of a
+coffer just as a new one was ready, brings in Iouenn, and has the
+minister burned. At the end of a year and a day comes the ghost,
+and demands half of the child (the older one has died) that has been
+born to them. As the hero reluctantly proceeds to divide the child,
+the ghost stops him, praises his fidelity, and disappears.
+
+It will be seen that this variant does not differ in essentials from
+those previously summarized, though its details exactly coincide
+with none of them. The order of events is normal, very like that of
+Lithuanian II., for example, yet it has marks of peculiarity. Chief
+among these are the events connected with the ransom of the lady and
+the parable by which she introduces her long lost husband to court. The
+first is a trait borrowed from the Perseus and Andromeda motive,
+[146] the second is the same as the riddle in Jean de Calais IX. [147]
+How this latter feature should happen to appear in these two widely
+separated variants and nowhere else I am not wise enough to explain.
+
+Simrock I. introduces still another complication in the way of
+compounds. A merchant's son on a journey secures proper burial for a
+black Turkish slave, thereby using all his money. His father is angry
+with him on his return. On his second voyage he ransoms a maiden and
+is cast off by his father when he reaches home. The young couple live
+for a time on the proceeds from the sale of the wife's handiwork, but
+after a little set off to the court of her father, who is a king. On
+the way they meet one of the king's ships, and go aboard. The hero is
+cast into the sea by the captain, but is saved by a black fellow and
+brought back to the ship. Again he is cast overboard. When the princess
+arrives at home, she agrees to marry whoever can paint three rooms to
+her liking. The hero, meanwhile, is again saved by the black man, and
+in return for the promise of his first child on its twelfth birthday he
+is given the power of obtaining his wishes. After a year and a day he
+is taken to court by his friend, where by wishing he paints the three
+rooms, the third with the story of his life. So he is recognized. On
+the twelfth birthday of his first child the black man comes to him and
+is offered the boy, but instead of taking him explains his identity.
+
+As far as The Grateful Dead, The Ransomed Woman, and the sacrifice of
+the child are concerned, this follows the normal course of events,
+except perhaps as to the child, of actually dividing which there is
+no question. Like Lithuanian II., Jean de Calais III., IV., V., and
+X., Basque II., and Norwegian I., it makes the hero and heroine set
+out for her father's court together and of their own free will. [148]
+The colour of the thankful dead is a peculiar trait. Yet the element
+which complicates the question, as mentioned above, is the feat by
+which the hero obtains his wife. If I am not mistaken, this allies
+the variant on one side with stories of the type of The Water of
+Life, where the bride is gained by the performance of some task
+obviously set as impossible. The questions involving the relations
+of such motives with The Grateful Dead will occupy the next chapter,
+so that it needs simply to be mentioned at this point.
+
+In Simrock II. a miller's son goes with merchandise to England. In
+London he pays all his money for the debts and the burial of a poor
+man. He is again sent to England by his father, and this time he gives
+his whole ship to ransom a beautiful maiden. When he returns with her,
+he is cast off by his father, marries the girl, and lives on what
+she makes by her needle. He takes a piece of her embroidery with him
+to England, where it is seen by the king and queen, whose daughter
+has become his wife. He is sent for her in company with a minister,
+who pitches him overboard and goes on for the princess, hoping to
+marry her. The hero swims ashore, in the meantime, and communicates
+with his wife by means of a dove, which also feeds him. Finally a
+spirit conveys him to London, after receiving the promise of half of
+his first child. He obtains work in the kitchen of the castle, and
+sends a ring to his wife, by means of which they are reunited. At the
+birth of their child he refuses to give the spirit half, but offers
+the whole instead, [149] whereupon ensues an explanation.
+
+This variant is of the same type as Jean de Calais II. and VII., [150]
+resembling the latter more than the former in details. The three are
+sufficiently unlike, however, to make any immediate relationship quite
+out of the question, even did not geography forbid. As in Hungarian
+II., Oliver, Lope de Vega, Calderon, Jean de Calais V. and VIII.,
+and Norwegian I., the heroine is an English princess, a point of
+interest, but not of much importance.
+
+Simrock VIII. differs from the above in only two points. The beginning
+states that a merchant while in Turkey pays the debts and burial
+expenses of a poor man. On his next voyage he buys three hundred
+slaves from the Emperor of Constantinople. Three of them he keeps at
+his home, one of whom he marries. The further adventures of the hero
+agree with Simrock II. even in names and most details, except that the
+hero is recognized at the court by dropping his ring in a cup of tea,
+which the princess gives him to drink. It will be evident that the
+two tales are nearly related.
+
+Last, but not least interesting of the versions in which the child
+appears, is the Factor's Garland or Turkey Factor, which must have
+been almost as well known in England at one time as the form of the
+story in Jack the Giant-Killer. It has no very remarkable features in
+its outline. A young Englishman, while acting as a factor in Turkey,
+pays fifty pounds to have the body of a Christian buried. A little
+later he pays one hundred pounds to ransom a beautiful Christian
+slave, and takes her back to his home, where he makes her his
+house-keeper. Later he sets out again, and is told by the woman to
+wear a silk waistcoat that she has embroidered, when he comes to
+the court whither he is bound. The work is recognized by her father,
+the emperor, and the factor sent back to fetch her. While returning
+with the princess, he is pushed overboard in his sleep by the captain,
+but swims to an island, whence he is rescued by an old man in a canoe,
+who bargains with him for his first-born son when three (or thirty)
+months old. The hero is recognized at court and marries the princess,
+while the captain dies by suicide. In two (or three) years the old man
+returns, just when the couple's son is three (or thirty) months old,
+and demands the child. On the hero's yielding, he explains that he
+is the ghost, and disappears.
+
+Like Gaelic [151] and Simrock VIII.--the latter just discussed--this
+version makes the hero undergo his early adventures in Turkey. Indeed,
+the similarity to Gaelic throughout is very notable, far more so than
+in the case of Basque II. [152] The only point in which it differs
+materially is the division of property, which in Gaelic concerns the
+wife and the three children, in the Factor's Garland one son only. In
+this matter there is agreement between the present variant, Basque II.,
+and Simrock VIII. Despite the likeness to Gaelic, there is no good
+reason for arguing any immediate connection with that version. They
+stand close to one another geographically and in content, that is
+all; they cannot be proved to be more than near relatives in the
+same generation.
+
+The variants which introduce the division of the child have now all
+been considered. It is necessary to turn to a few scattered specimens
+in which the compound, The Grateful Dead + The Ransomed Woman, has
+been joined with other material.
+
+Bohemian is a curious and instructive example of the confusion
+which has resulted from welding various themes together. Bolemir,
+a merchant's son, is sent to sea, where he is robbed by pirates
+and imprisoned. He finds means to help an old man, who gives him
+a magic flute, and a princess, who gives him half of her veil and
+ring. By the aid of the flute he succeeds in winning the chief's
+permission to leave the island in the company of his friends. He
+sails with them to another island. There, at the old man's request,
+he strikes him on the head and buries him. He then goes home with
+the princess. On his second voyage he displays from his mast-head
+a golden standard, which the princess has made. He reaches the city
+of the lady's father, tells his story, and returns for the princess
+with the chamberlain. While they are all returning together, he is
+cast into the sea by the chamberlain, who takes the woman to court
+and obtains a promise of marriage, when a church has been built to
+her mind. Bolemir is saved from the sea by the ghost of the old man,
+and is given a wishing ring. He turns himself into an eagle and flies
+to court, into an old man and becomes a watchman at the church. By
+means of his ring he builds the structure, and paints it with the
+story of his life. At the wedding breakfast of the princess, who
+cannot longer delay the bridal, he tells his story, and so marries her.
+
+The peculiar form of the burial in this variant will be at once
+evident, though the reason for it is not clear to me. Disenchantment
+by decapitation is a common phenomenon in folk-lore and romance;
+[153] but though the blow on the head, which the hero gives the old
+man in our tale, surely stands for beheading, it is hard to see where
+any unspelling process comes in. It is perhaps best to suppose the
+trait a confused borrowing, without much meaning as it stands. The
+ransoming of the woman is closely connected with the benefits done
+the old man. That it occurs on the same journey has been shown by the
+variations in Jean de Calais to be a matter of little consequence. With
+respect to the standard and the ring, by which the hero restores his
+wife to her father, and later to himself, the tale is perfectly in
+accord with the prevalent form of the compound type; and so also in
+regard to the rescue of the hero by the ghost. No hint is given of
+any agreement of division between the hero and the ghost. The chief
+peculiarity of the variant, however, is the means by which the heroine
+is won. The feat recalls Simrock I., [154] even in details like the
+demand on the part of the bride for mural decoration. It again shows
+the combination of the present type with a theme akin to The Water
+of Life.
+
+Simrock III. has several points of contact with the above. Karl, the
+son of an English merchant, on his first voyage to Italy pays the
+debts of a merchant who has died bankrupt. On his way home he buys
+two sisters from some pirates at an inn. His father casts him off,
+so he marries the older of the maidens, who tells him that she is
+a princess. They start for Italy together, and on the way meet an
+Italian prince, who is a suitor for the wife's hand. The hero is cast
+overboard, but is brought to land by a great bird, which tells him
+that it is the ghost of the man whom he has buried. It directs him to
+go to court and give himself out as a painter. The bird again comes
+to him there with a dagger in its beak, and tells him to cut off its
+head. Unwillingly Karl obeys, and sees before him the spirit of the
+dead man. The ghost paints the room in which they are standing with the
+hero's history. So on the wedding-day of the princess with the traitor,
+Karl explains the meaning of the pictures and wins his bride again.
+
+This Swabian story has preserved the decapitation [155] in much better
+form than Bohemian, though the reason for its introduction is still
+hard to understand. The ghost is obviously released from some spell
+when it is beheaded, and is thus enabled to help the hero to better
+advantage than before. The episode also occurs in a more logical
+position than in Bohemian. It replaces the more ordinary and normal
+test of the hero by the ghost. Probably the introduction of it in
+the two cases is sporadic, though some connection between the two is
+conceivable. As far as The Grateful Dead and The Ransomed Woman proper
+are concerned, the variant has no peculiarities of special importance,
+being of the type in which the hero and heroine set out for court
+together. [156] It contains, however, the feat by which the bride is
+won, in the same form as in Simrock I. and Bohemian, which is due to
+an alliance with the type of The Water of Life. Yet it differs from
+them in making the ghost appear first as a bird, which connects it
+with Jean de Calais II., VII., and X., and with Simrock II. and VIII.,
+variants that have the thankful beast playing the rôle of ghost. [157]
+
+Simrock VII., together with some other peculiarities, again has the
+feat of winning the bride, though it is a feat of another sort. Wilhelm
+catches a swan-maiden, and later releases her from an enchanted
+mountain by hewing trees, separating grain, and finding his wife among
+three hundred women. Thus by her help he breaks the spell, and carries
+her back home. Later they journey together to her father's court. On
+the way Wilhelm pays the debts of a corpse, and has it buried. They
+meet two officers of the king, who toss Wilhelm overboard from the
+ship in which they sail, but he is saved by the ghost of the dead man
+and brought to court. He is recognized by the princess, and proves
+his identity to her father by means of a ring and a handkerchief.
+
+The most salient point here is the fact that the maiden is not ransomed
+at all, but instead is captured like any other swan-maiden. We have
+already met with the theme of The Swan-Maiden in combination with
+The Grateful Dead in simple form; [158] but Servian V. has evidently
+nothing to do with Simrock VII., since the part played by the borrowed
+motive is different in each. In the former it is introduced as the
+reward bestowed on the hero by the ghost, while in the latter the
+swan-maiden simply replaces the ransomed maiden, as is shown by the
+subsequent events of the story, which follow the normal order as far
+as she is concerned. The feats by which the hero disenchants her are
+essentially like those in Bohemian, Simrock I., and Simrock III.,
+though they are differently placed. Probably the introduction of this
+new material accounts for the transposition of the ransoming and the
+burial, as the latter is in other respects regular. It is curious
+to observe that the process of changing about various features, thus
+begun, continued in other ways, as in the matter of the signs by which
+the hero is recognized by his father-in-law and his wife. These things
+go to show, however, that back of the variant must have existed the
+compound type in a normal form.
+
+In Simrock V. the thankful beast again appears, but in a less
+complicated setting than in the case of Jean de Calais II., VII., and
+X., or Simrock II., III., and VIII. A widow's son on his way home from
+market pays the debts of a corpse and buries it, thus using all his
+money. The next time he goes to market, he gives all his proceeds to
+ransom a maiden, whom he marries. She does embroidery to gain money,
+and one day holds out a piece of it to the king, who is passing. He
+recognizes her as his daughter, and accepts the hero as son-in-law. The
+young couple start back home for the widow, but on the way the servants
+cast the young man into the sea. He escapes, however, to an island,
+where he is fed by an eagle. Later the eagle declares itself to be
+the ghost of the dead man, and brings its benefactor to court.
+
+Oldenburgian is a similar tale. A merchant's son while on a voyage pays
+thirty dollars to bury a man, and also buys a captive princess with
+her maid. Though ill-received by his father on his return, he marries
+the girl. Later he goes on another voyage, with his wife's portrait
+as the figure-head of his ship. This is recognized by the king, who
+sends him back for the princess in the company of a minister. The
+latter pitches him overboard, goes on for the princess, and does not
+tell her of her loss till they arrive at court. She finally consents
+to marry the traitor after five years. Meanwhile, the hero lives on an
+island, whither on the day appointed for the princess's bridal comes
+the ghost of the dead in the form of a snow-white dove. It takes him
+to the court, where he is recognized by a ring, a gift from his bride,
+which he drops into a cup that she offers him.
+
+Of these two variants, Oldenburgian is much better preserved than the
+Tyrolese story (Simrock V.). The latter is dressed in a homely fashion,
+which probably accounts for some of the changes, since the gap between
+the visits to market and the romantic or miraculous features of the
+couple's later adventures was too wide to be easily bridged. The
+disappointed suitor is not mentioned, which leaves the attempt on the
+hero's life without motivation, and clearly indicates some loss. [159]
+The trait is distinctly marked in Oldenburgian, as are all the other
+events connected with The Ransomed Woman, though Simrock V. provides
+an entirely original reason for the voyage of the young couple,--their
+wish to get the hero's mother. The features concerning the rescue by
+the ghost and the hero's return to court are better preserved again
+in Oldenburgian, though both lack the agreement to divide, which is
+probably obscured as elsewhere by the prominence given the rescued
+woman. The most striking similarity between the two, however, lies in
+the fact that the ghost first appears as a bird. This clearly shows
+the existence of a type of The Grateful Dead + The Ransomed Woman,
+on which The Thankful Beasts has had some influence.
+
+It remains to consider the general relations of the variants discussed
+in this chapter. The wide variety in detail of the incidents
+concerned with the history of the hero's wife, yet the essential
+uniformity which they show, would indicate clearly, for one thing,
+that The Ransomed Woman is a motive originally quite independent
+of The Grateful Dead,--that the type of story which is our present
+concern is a true compound. It would even be possible to reconstruct
+the independent theme in a form not unlike the Wendish folk-tale
+cited in the beginning of the chapter. The hero, while on a journey,
+ransoms a princess, takes her home, goes on another journey with some
+sign that attracts her father's notice, goes back to her and is cast
+into the sea by some man who hopes to marry her himself, is rescued,
+and returns to court to claim his bride, usually by means of a token.
+
+The points of contact between this motive and The Grateful Dead would
+seem to be, first, the journey which the hero undertakes at the opening
+of the plot. It will be noted that in the compound he usually makes
+two voyages, burying the dead on the first and ransoming the maiden on
+the second, though the two are sometimes welded. The second point of
+contact, I take it, was the rescue of the hero. In each story he did
+a good act for which he was rewarded in some way. It has been shown
+that this reward sometimes took the form of a rescue in the simple
+form of The Grateful Dead [160] and in the compound with The Poison
+Maiden. [161] What more natural than that it should lead to another
+combination with a story where the hero was saved from death? The
+difference in the case of the latter, of course, would be that the
+agency of rescue was of little importance. Could Simonides be shown
+to have anything more than a literary life in mediaeval Europe, I
+should be inclined to think that the rescue in that tale, even though
+the tale itself is not necessarily connected with The Grateful Dead
+as we know the theme, might have had some influence on the union. As
+the matter stands, however, it is probably better to believe that the
+two motives were united in eastern Europe, the one being Oriental
+and the other of uncertain derivation. That each motive had a wife
+as part of the hero's reward must be taken for granted, and it must
+have helped to combine them.
+
+It follows from this that the compound The Grateful Dead + The Ransomed
+Woman is quite independent of the one discussed in the previous
+chapter, and could not have proceeded from it as Hippe thought. [162]
+It would have been next to impossible for that combined type to divest
+itself of the features peculiar to The Poison Maiden, and to absorb
+in their place those of The Ransomed Woman without leaving some trace
+of the process. Thus the existence of the compound as an independent
+growth is assured. In this connection it is interesting to note that
+the rescue of the hero from drowning in consequence of an act of
+treachery (or from an island) occurs in all the variants of the type
+save four, Transylvanian, Trancoso, Gasconian, and Straparola I.,
+[163] but in no other version of The Grateful Dead as far as I know.
+
+From this general type developed minor varieties with traits borrowed
+from The Water of Life, The Thankful Beasts, and The Two Friends,
+or some such tale. Thus very complex variants arose. The question of
+the connection which these subsidiary elements sustain to the central
+theme cannot properly be discussed until they have been seen in other
+combinations. The part they play in the development of the story, it is
+evident, must have been a secondary one both in importance and in time.
+
+
+
+
+
+
+
+CHAPTER VI.
+
+THE GRATEFUL DEAD AND THE WATER OF LIFE OR KINDRED THEMES.
+
+
+The märchen known in its various forms as The Water of Life [164]
+is based on the myth which goes by the same name. [165] The myth,
+as has been shown quite independently by two recent investigators,
+Dr. Wünsche [166] and Dr. E. W. Hopkins, [167] is of Semitic origin,
+and is found among the traditions of the Assyrio-Babylonian cycle. It
+is to be distinguished from the very similar myth of The Fountain of
+Youth, which apparently originated in India. [168] The latter concerns
+the magic properties of the "water of rejuvenation"; the former in
+its uncontaminated form, at least, deals with water which cures,
+revivifies, or revitalizes. The two have been frequently confused,
+not only in popular tradition of all ages, but in critical writings of
+contemporary date as well. It is the great merit of Professor Hopkins'
+article, to which reference has been made, that their essential
+difference in origin and character is clearly marked. Though he makes
+no pretence that his study of The Fountain of Youth is definitive,
+he has broken ground which sadly needed the plough, and incidentally
+has thrown light upon The Water of Life.
+
+The myth which is properly known by this name is intimately connected
+in origin and development with that of The Tree of Life, [169]
+which finds expression in the legends of the Cross. In the words of
+Dr. Wünsche: [170] "Wie wir aus den kosmogonischen und theogonischen
+Mythen und Sagen der Völker das Rauschen des Lebensbaumes vernehmen,
+durch dessen Früchte sich Götter und Menschen ihre ungeschwächte
+Lebenskraft und ewige Jugendfrische erhalten, so nicht minder das
+Sprudeln einer Quelle des Lebenswassers, die Leben schafft und
+zu Ende gehendes oder bereits erloschenes Leben wieder zu neuem
+Sein erweckt." Both myths are Semitic, and both have profoundly
+influenced Christian doctrine. It is with the "water of life,"
+however, that we are immediately concerned, and with that only as it
+has found embodiment in a widely disseminated and variously modified
+tale. Whence this märchen came we must presently inquire, in order
+to reach some conclusion as to the point in space and time where it
+joined The Grateful Dead, but we must first fix its essential traits.
+
+Owing to the complex variations which the tale presents in its
+various combinations with really foreign themes, there is great
+difficulty in getting at the outline of the original story or even
+the characteristics common to all the known variants. To do this
+satisfactorily would require a searching and detailed study, which
+it is impossible to undertake here,--an examination with The Water
+of Life as the point of attack. It is possible, however, to arrive
+at a rough sketch of the theme.
+
+"Dans tous ces contes," says Cosquin, in his notes on The Water of
+Life, [171] "trois princes vont chercher pour leur père l'eau de la
+vie ou un fruit merveilleux qui doit le guérir, et c'est le plus
+jeune qui réussit dans cette entreprise. Dans plusieurs ... les
+deux aînés font des dettes, et ils sont au moment d'être pendus,
+quand leur frère paie les créanciers (dans des contes allemands et
+dans les contes autrichiens, malgré l'avis que lui avait donné un
+hermite, un nain ou des animaux reconaissants, de ne pas acheter de
+'gibier de potence'). Il est tué par eux ou, dans un conte allemand
+(Meier, no. 5), jeté dans un grand trou; mais ensuite il est rappelé
+à la vie dans des circonstances qu'il serait trop long d'expliquer."
+
+Dr. Wünsche's summary is somewhat different: [172] "Gewöhnlich handelt
+es sich um einen König und seine drei Söhne. Der König leidet an einer
+schlimmen Krankheit, von der ihn kein Arzt zu heilen vermag. Da wird
+ihm durch irgendeine Gelegenheit die Kunde, dass er von seinem Siechtum
+durch das Lebenswasser eines fernen Landes befreit werden könne. Aus
+Liebe zu ihrem Vater machen sich die drei Söhne nacheinander auf den
+Weg, das Lebenswasser zu holen. Doch die beiden ältesten erliegen
+den auf dem Wege ihnen begegnenden Versuchungen, nur der jüngste
+ist wegen seiner Standhaftigkeit und Bescheidenheit so glücklich,
+es zu erhalten. Ein Riese, ein Zwerg, ein alter Mann oder ein alte
+Frau sind ihm zur Auffindung der Wunderquelle behilflich, indem sie
+ihm guten Rat erteilen und ihm sagen, wie er es anzufangen und wovor
+er sich in acht zu nehmen habe. Hier und da greifen auch dienstbare
+Tiere, Vierfüssler, Vögel und Fische hilfreich ein, indem sie dem
+Jünglinge genau die Örtlichkeit des Wassers angeben, oder auch selbst
+ihn mit Schnelligkeit dahin bringen. Die Lebensquelle sprudelt in
+einem Berge, der sich nur zu gewissen Zeiten, gewöhnlich gegen Mittag
+oder Mitternacht von 11-12 Uhr öffnet. Im berge steht in der Regel
+in einem prächtigen Garten ein versunkenes Schloss, das die grossen
+Schätze und Kostbarkeiten birgt, durch deren Anblick der Eintretende
+geblendet wird. In einem Gemache des Schlosses wieder ruht auf einem
+Bett eine Jungfrau von wunderbarer Schönheit, die später als Prinzessin
+hervortritt und den Prinzen, der durch das Schöpfen des Lebenswassers
+sie von ihrem Zauber gelöst hat, zum Gemahle heischt. Der Prinz hat
+nur kurze Zeit bei ihr geruht oder ihr einen flüchtigen Kuss auf die
+Lippen gedrückt. In vielen Fällen wird der Eingang zur Quelle von
+einem Drachen oder einem anderen Ungeheuer bewacht, die erst aus dem
+Wege geräumt werden müssen. Es kostet einen schweren Kampf. Auf dem
+Heimweg trifft der jüngste Königssohn gewöhnlich mit seinen älteren
+Brüdern wieder zusammen, die ihr Leben durch tolle Streiche verwirkt
+haben und die er vom Tode loskauft. Zuweilen sind aber die Brüder
+durch ihre Unbedachtsamkeit in schwarze Steine verwandelt worden und
+liegen am Abhange des Zauberberges, oder stehen als Marmorsäulen
+auf demselben, oder sind infolge ihres Hochmutes in einen tiefen
+Abgrund eingeschlossen. Auch in diesem Zustande werden sie durch den
+jüngsten Bruder bald durch das geschöpfte Wasser des Lebens, bald auf
+seine Bitten hin wieder ins Leben gerufen. Vereint reisen sie nun mit
+ihrem Bruder nach Hause zum Könige. Unterwegs aber erfasst die Beiden
+Falschen Neid und Missgunst, weil ihr Bruder allein in den Besitz
+des Lebenswasser gelangt ist und sie sich vergeblich darum gemüht
+haben. Daher vertauschen sie das Lebenswasser, während der Bruder
+schläft, mit gewöhnlichem Wasser und eilen nun voraus und machen mit
+dem erbeuteten Trank den kranken König gesund, oder sie erscheinen
+nach der Ankunft des Bruders, dessen vertauschtes Wasser den König nur
+noch elender gemacht hat. Dabei raunen sie dem Könige heimlich ins Ohr,
+dass der jüngere Bruder ihn habe vergiften wollen, infolgedessen dieser
+vom Könige verbannt oder gar zum Tode verurteilt wird. Derselbe lebt
+nun längere Zeit zurückgezogen in einer untergeordneten Stellung,
+bis endlich durch die von ihm entzauberte Prinzessin seine Unschuld
+an den Tag kommt."
+
+Dr. Wünsche gives as subsidiary types stories where a princess
+wishes the magic water for herself, and, when her two brothers fail
+to return with it, goes on a quest which results in obtaining the
+water and releasing the enchanted brothers; where a mother and son
+are the chief actors; where a bird, or fruit, or the water of death
+is substituted for the water of life; and where thankful beasts
+appear. All of these elements and more appear in the accessible
+variants, yet not all of them can be said rightly to represent The
+Water of Life as such. The basal traits of the story are much more
+simple than Dr. Wünsche would have us believe. They do not include,
+for example, the wonderful companions whom the hero finds nor the
+adventures with the enchanted princess, since these are in reality
+traits of originally separate themes, as will presently be shown. [173]
+
+On the other hand, Cosquin's outline seems to me defective in two
+ways. First, he does not recognize that there existed in the original
+theme some reward due the hero for his constancy and intelligence in
+the pursuit of his quest. A priori this conclusion would be expected
+from the general manner of folk-tales, and as a matter of fact it
+appears in all the versions which have come to my attention. The reward
+almost always takes the form of a princess, though the manner in which
+she is won varies very greatly. In the second place, Cosquin seems to
+regard The Golden Bird as a theme quite independent of The Water of
+Life. [174] This, I think, is to lose sight of the essential likeness
+between the two tales, despite their difference of introduction. As
+Dr. Wünsche notes, [175] not only a bird, but a fruit or the water of
+death may be substituted for the usual object of the quest. Indeed,
+certain variants have more than one of these magical forces. [176]
+To be sure, this superfluity of riches doubtless results from the
+fusion of subsidiary types, but none the less it points to the original
+unity of the central theme, which is all that I wish to suggest.
+
+From this discussion we emerge with an outline of The Water of Life in
+something like the following form: A sick king has three sons, who go
+out to seek some magical water (or bird, or fruit) for his healing. The
+two older sons fall by the way into some misfortune due to their own
+fault; but the youngest, not without aid of one sort or another from
+beings with supernatural powers, succeeds in the quest and at the
+same time wins a princess as wife. While returning, he rescues his
+brothers, and is exposed by their envy and ingratitude to the loss of
+all he has gained (sometimes even of his life). In the end, however,
+he comes to his own either because the cure cannot be completed
+without him or because his wife brings the older princes to book.
+
+This summary I should be unwilling to have considered as anything more
+than a tentative sketch, since a systematic study of the material
+may bring to light certain features which I have overlooked. [177]
+It will, however, serve its purpose here.
+
+This simple form of The Water of Life is not that with which The
+Grateful Dead has combined. Indeed, the opinion that this union was
+secondary to that of The Grateful Dead with The Poison Maiden and
+The Ransomed Woman [178] is strengthened by the fact that it is found
+with both of these compound types, and that The Water of Life almost
+invariably appears in a somewhat distorted form. In point of fact,
+the latter tale seems to have lent itself with remarkable facility
+to combination with other themes. Thus it is frequently found mixed
+with The Skilful Companions [179] (both with and without The Grateful
+Dead), The Lady and the Monster, [180] and The Thankful Beasts.
+
+The reason for the existence of the compounds just mentioned is
+not far to seek. With The Skilful Companions [181] there is a ready
+point of contact in the hero's need for aid in the accomplishment of
+his quest, another in the circumstance that three or more companions
+set out together with a common end in view, and still another in the
+fact that a maiden is rescued by them. To The Lady and the Monster,
+at least in those variants where The Grateful Dead appears, The Water
+of Life has the necessary approach in the rôle of the lady herself. As
+for The Thankful Beasts, their appearance at opportune moments when
+the heroes of folk-tales need assistance is too frequent to require
+justification in any particular case. It is with such combinations
+as these, intricate and involved, that many variants of The Grateful
+Dead are found joined. Sometimes one element, sometimes another,
+predominates, so that the threads which unite them are hopelessly
+snarled. Sometimes The Water of Life is lost in the entanglement,
+or only appears as a distorted trait, while The Skilful Companions
+or The Lady and the Monster come out more clearly. Through this
+labyrinth we must painfully take our way, exercising what caution
+we can. The present guide recognizes the danger of losing the road
+and does not pretend to more than a rough and ready knowledge of the
+wilderness. Accordingly, he undertakes only to conduct the curious
+wayfarer by the least difficult of the paths that traverse it.
+
+Let us first consider the tales into which The Poison Maiden and The
+Ransomed Woman do not enter, which have only The Grateful Dead + The
+Water of Life or some kindred theme. These include Maltese, Polish,
+Hungarian I., Rumanian II., Straparola II., Venetian, Sicilian,
+Treu Heinrich, and Harz II. They are as widely different in their
+characteristics as in their sources.
+
+Maltese has the following form: The three sons of a king successively
+go out in search of a bird, the song of which will make their father
+young. The elder two lose their all by gambling with a maiden in a
+palace by the way. The youngest brother pays four thousand pounds
+sterling to bury properly a man who has been dead eight months. He
+is warned against the maiden by a ghost, and so wins all from her (by
+using his own cards), thus rescuing his brothers. When he comes to the
+castle, the ghost again appears, and tells him to take the bird that
+he finds in a dirty cage. On the way back he is thrown overboard from
+the steamboat by his brothers, but is saved by the ghost, who appears
+in the form of a rock with a tree on it. He is rescued by another
+steamer, and comes home in rags, where he is recognized by the bird,
+which has hitherto refused to sing. The brothers are banished.
+
+According to the Polish story, a poor scholar pays his all for the
+burial of a corpse lying maltreated by the way. Later he goes to
+sleep under an oak, and on awaking finds his purse full of gold. He is
+robbed of this while crossing a stream, by some scoundrels who cast
+him into the water; but he is rescued by the ghost of the dead man,
+who appears in the form of a plank and gives him the power of turning
+himself into a crow, a hare, or a deer. He becomes a huntsman to a
+king, whose daughter lives on an inaccessible island. In her castle
+is a sword with which a man could overcome the greatest army. When
+war threatens, the king offers the princess to any man who can obtain
+the sword. By means of his power of metamorphosis the hero carries
+her a letter and wins her love. When he exhibits his magical powers,
+she cuts off a bit of the fur, or a feather, from each creature into
+which he turns. With the sword he then starts back to court, but on
+the way he is shot by a rival and robbed of the sword and a letter
+from the princess. He lies in the way in the form of a dead hare
+till the war is ended and the rival is about to marry the princess,
+when he is revived and warned by the ghost. At court he is recognized
+by the princess, who proves his tale by having him turn into various
+shapes and fitting the samples which she has taken.
+
+In Hungarian I. a soldier gave all he had to an old beggar, who in
+turn gave him the power to change at will into a dove, a fish, or a
+hare. He took service with a king, and one day was sent back to the
+castle for a magic ring. There he met the princess, and exhibited to
+her his powers of metamorphosis, permitting her to pull two feathers,
+take eight scales, and cut off his tail. While running back to the king
+in the form of a hare, he was shot by an envious comrade, who took the
+ring and was rewarded. The hero was restored to life by the old beggar,
+and returned to the castle, where he was brought to the princess. She
+succeeded in proving the truth of his story by means of the feathers,
+the scales, and the tail, which she had so fortunately preserved.
+
+Rumanian II., though changed into legendary form, does not differ
+greatly from the two variants just cited. A shepherd boy gave his
+one sheep to Christ, when He asked for food. In return, he received
+a knife with three blades. Later he took service with a man, with
+whom he entered the army of the emperor. One day the monarch found
+that he had forgotten his ring, and promised half his kingdom to
+anybody who could bring it to him from the palace within twenty-four
+hours. By means of his magical knife the hero changed into a hare,
+obtained the emperor's ring as well as one from the princess's own
+hand, and returned to the army. There he was met by his master, who
+plundered him, threw him into a spring, and went to the emperor for
+reward. When the battle was over and all had returned to the capital,
+the princess said that the man who was presented as her bridegroom
+was not he to whom she gave the ring. Meanwhile, Christ had rescued
+the hero from the spring and sent him to the palace in the form of
+a fox with his ring in a basket. The princess recognized from the
+token that he was her true bridegroom, and brought him to the emperor.
+
+Straparola II. introduces certain new elements to our notice. A king's
+son releases a wild man, whom his father has incarcerated, in order to
+get back an arrow that the man has taken from him. The man is really
+a disappointed lover, who had given himself up to a savage life. The
+boy's mother, in fear of the king, sends him away in the care of
+two faithful servants, with whom he lives in obscurity till he is
+sixteen years old. Covetous of his wealth, they are about to kill him,
+when the wild man, transformed into a splendid knight by a grateful
+fairy, joins them. They go to a beautiful city called Ireland, which
+is devastated by a ferocious horse and an equally savage mare. The
+traitorous servants plot to destroy the prince by giving out, first,
+that he has boasted that he can overcome the horse, and, second,
+the mare. By the advice of his unknown friend and the help of the
+latter's fairy horse, he accomplishes these labours. He is told by
+the king that he may have one of his daughters in marriage, if he
+can tell which has hair of gold. He is told by his companion that a
+hornet, which he has released, will appear at the test and fly three
+times around the head of the princess whom he is to choose. The man
+explains at the same time the cause of his benevolence,--gratitude
+because by him he has been delivered from death. The prince is thus
+enabled to pick out the princess with golden hair, and is married to
+her, while his companion receives the sister.
+
+In the Venetian tale, again a peculiar variant, twelve brothers
+seek twelve sisters as wives. Eleven of them go out at first, and
+are turned to stone. The youngest brother sets out after a year, and
+on the way has a poor dead man buried. Later, when he has saved his
+eleven brothers, they become envious, and throw him into a well. The
+thankful dead man then comes, draws him out with a cord, and explains
+who he is. The hero proceeds to his home and tells his story.
+
+Sicilian is more extended but less difficult to place. The three
+orphaned sons of a rich man try to win the daughter of a certain
+king, who has announced that he will marry the princess to anyone
+who can make a ship that will travel alike on land and water. The
+eldest and middle brothers are unsuccessful because they are unkind
+to the poor who ask for work. The youngest brother gives work to both
+old and young, and, when an old man (St. Joseph) appears, makes him
+overseer. After the work is done, he agrees to give half of what he
+obtains to the old man, and goes with him in the ship to court. On
+the way he takes in a man who is found putting clouds in a sack,
+another who is bearing half a forest on his back, another who has
+drunk half a stream, another who is aiming his bow at a quail in
+the underworld, and another who stands with one foot at Catania and
+the other at Messina. At the court the king refuses to give up his
+daughter till the hero can send a message to the underworld and get
+an answer in an hour, which he does by means of the long-strider
+and the shooter; and till he can find a man who will drink half
+the contents of his cellar in one day, which the drinker easily
+accomplishes. The king then offers as dowry only what one man can
+carry away, but he is foiled by the man who bore half the forest on
+his back, who now takes all the contents of the palace and departs
+with the hero, the princess, and their companions. The king pursues
+them, but is befogged by the man with the clouds. When they arrive
+at home, the saint demands his half, even of the king's daughter;
+but when the hero takes his sword to divide her, he cries out that
+he merely wished to test his faithfulness.
+
+In Treu Heinrich a noble youth lost his property through prodigality
+in tournaments. Finally he sold his all to enter a tourney for the
+hand of the daughter of the King of Cyprus, but he gave half to his
+faithful follower Heinrich. After they set out for Cyprus, they were
+joined by a knight, who shared the hero's hospitality for fourteen
+days, agreeing to do the same in return, but at last riding away. In
+destitution they arrived at Famagust in Cyprus. While Heinrich was in
+the city, the hero found a clear stone left by a bird, through which
+he obtained power to become a bird. He then established himself in
+the city, met the princess with the result that they fell in love,
+and flew to her chamber as a bird. He obtained from her not only his
+desire but an ornament which he gave to the strange knight, who had
+again joined him. Later he overcame this knight in the tourney, but
+the latter was mistaken for himself. Again he flew to the princess,
+who gave him a crown, and again, after giving it to the stranger,
+he overcame him in a fight. The princess now gave him a helmet,
+which he kept; and he was proclaimed victor of the jousting. Once
+more he flew to the princess, and obtained from her an ornament for
+his helmet, made by herself. Thus he won her as wife.
+
+In Harz II. our primary motive is far less obscure than in the version
+just summarized. A youth pays his all, thirty-eight dollars, to free a
+dead man from indebtedness. He goes his way, and meets a young fellow,
+who accompanies him. They fall in with a man bearing two trees, a man
+with a hat on one side, a man with a wooden leg, and a man with a blind
+eye. The six go together to a city, where the princess can be won only
+by performing feats, with the penalty of death attached to failure. The
+companions aid the hero by bringing water from a distant spring and
+by keeping a fiery furnace habitable, so that he wins the princess.
+
+These nine variants are, it will be seen, related in very different
+degrees to The Grateful Dead. What a debased type of the märchen they
+represent is shown by the fact that in no less than five [182] the
+burial of the corpse, which is the most fundamental trait of the theme,
+has been lost. Yet for two reasons it is clear that they are really
+scions of the stock. In the first place, wherever the burial has been
+cut away, other elements of the motive in its simple form have been
+retained. Thus in Hungarian I. and Rumanian II. the deeds of the old
+beggar (or Christ) make his identity with the ghost unquestionable;
+in Straparola II., despite its sophistication, the wild man fills the
+same rôle, while his explanations at the end show that the burial
+has been merely blurred; in Sicilian both the agreement to divide
+and the division of the woman as a test are introduced; and in Treu
+Heinrich there is double division in a way, since the hero divides
+his property with his faithful follower to begin with and afterwards
+agrees to an exchange of hospitality with the helpful knight, going
+so far as actually to give him two of the four gifts received from
+the princess. In the second place, certain variants without the
+burial are very closely allied with others which retain it, [183]
+as will be seen in a moment. Thus all those treated here may safely
+be admitted to the group.
+
+The reader must, however, have been struck, while examining the
+summaries just given, with the great diversity of the residuum which
+would be left if the parts properly belonging to The Grateful Dead
+were taken away. Indeed, they may be separated on this score into
+four categories with a couple of minor divisions. Polish, Hungarian
+I., and Rumanian II. are very similar in respect to these matters,
+having a princess who is won by the feat of obtaining something left
+at home by her father (this feat made possible by the power given
+the hero to change his form) and a treacherous rival. Polish has the
+peculiarity that the article to be obtained by the hero is a magical
+sword. [184] Treu Heinrich stands a little apart from these, since
+the rival does not appear and the princess is won by a tourney; yet it
+has the curious metamorphosis, and must be considered as having some
+connection. Maltese and Venetian fall together. Venetian has retained
+from The Water of Life only the misfortune and the treachery of the
+older brothers, [185] while Maltese keeps also the magical bird
+and the features naturally connected therewith. The introduction
+of two steamboats in the latter is a curious illustration of the
+ease with which popular tales change details without altering
+essentials. Sicilian and Harz II. again are alike, both being
+compounded with The Skilful Companions, [186] and making the winning
+of the princess depend on feats really accomplished by the helpers
+characteristic to that tale. Straparola II. must be placed alone,
+having nearly all trace of The Water of Life lost in the traits of
+The Lady and the Monster, with a princess won by the hero's happily
+directed choice. [187]
+
+All of these features will appear again when we come to discuss
+variants which combine the compound types The Grateful Dead + The
+Poison Maiden or The Ransomed Woman with The Water of Life. They may,
+therefore, be passed over for the present, together with the question
+as to whether such a simple combination as The Grateful Dead + The
+Water of Life may be regarded as being the original from which the
+more complicated types have sprung. It is sufficient for the moment
+to recognize the tendency of the simpler variants to fall into groups
+on the basis of the residuum left by subtracting traits belonging to
+The Grateful Dead.
+
+Let us now consider the tales where a thankful beast plays the part
+of the grateful dead through at least a portion of the narrative,
+and where there is still no trace of either The Poison Maiden or The
+Ransomed Woman. The change of beast for ghost is so obvious and easy
+that the separation of these variants from the preceding appears at
+first sight to be of merely formal use. Yet thus considered, they may
+serve to define the sub-divisions already noticed. Nine such versions
+have come to my knowledge: Walewein, Lotharingian, Tuscan, Brazilian,
+Basque I., Breton IV., V., and VI., and Simrock IX. All but one are
+folk-tales, and that, curiously enough, an episode in a thirteenth
+century [188] Dutch romance translated from the French. [189]
+
+Walewein, the variant in question, has the following form: Walewein
+(or more familiarly Gawain) sets forth from Arthur's court to secure
+a magical chessboard. He is promised it by King Wonder if only he
+will get the sword of rings from King Amoris, who in turn will give
+that up if Walewein will bring him the princess of the Garden of
+India. On this quest the hero mortally wounds a certain Red Knight,
+who prays him for Christian burial and is properly interred. He then
+proceeds to the castle of King Assentin, whose daughter recognizes
+in him the ideal knight whom she has seen in a dream. He is led
+under the dark river which surrounds the castle by the Fox Rogès,
+and wins the princess. The lovers and the fox (a prince transformed)
+escape by the help of the Red Knight's ghost. After many adventures
+they come together to the court with a chessboard, which is given up
+by King Wonder in exchange for the sword. Walewein is able to keep
+the princess for his own because of the death of Amoris.
+
+Lotharingian runs as follows: A king has three sons. He sends them
+successively to seek the water of life. Two of them refuse to help a
+shepherd on the way, and rest from their search in Pekin. The third,
+who is deformed, aids the shepherd, and receives from him some arrows,
+which will pierce well whatever they strike, and a flageolet, which
+will make everyone dance within hearing of it. Arrived at Pekin, the
+humpback pays the debts of a corpse, and has it buried. He goes on till
+his money is exhausted. When he is about to shoot a fox one day, he is
+stayed by pity, and is directed by the creature to the castle where
+the water of life is to be found. There he is detained by an ogre,
+and wins battles for him by the aid of the magical arrows. There
+is a princess in the castle, who refuses to marry the ogre. The
+hero makes her dance, and obtains from the ogre as recompense the
+promise of whatever he wishes. He asks for the most beautiful thing
+there and the right to circle the castle three times. So he takes
+the princess, a phial of the water of life, as well as the uglier of
+the two mules and of the two green birds, as the fox has told him,
+and flees away. He meets the fox again, and is warned not to help
+any one in trouble. Nevertheless, he rescues his two brothers from
+the scaffold in Pekin, and is cast into a well by them. They go home,
+but are not able to heal the king. Meanwhile, the prince is saved by
+the fox, and is made straight of body. He goes home, and at his coming
+the king becomes young again, while the brothers are burned. So the
+prince marries the lady.
+
+In Tuscan we learn that the youngest of three princes, while wandering,
+paid the debts of a man whose corpse was being insulted. When he had
+buried the man, he found himself without a farthing, and so slept in
+the forest. In the morning he was greeted by a hare (lieprina) with
+a basket of food in its mouth. He took this gladly, and reflected
+that the creature must be the soul of the man whom he had buried. He
+then came to an inn, and took service with the host, whose beautiful
+daughter he soon discovered to be a princess, who had been bought while
+an infant. After winning her love, the hero went on into two kingdoms,
+where he obtained a magical purse and a wonderful horse from two ugly
+daughters of innkeepers. With these possessions he returned to the
+princess, and started with her for his home. On the way he saved from
+death his two older brothers, who had gone out to seek adventures at
+the same time as himself. They repaid the kindness by trying to drown
+him and by carrying the princess off home, where only by feigning
+illness could she frustrate their plan that she choose one of them as
+husband. Meanwhile, the hero was rescued from drowning by the hare,
+and came home. By pretending to be a physician he obtained access to
+the princess, was recognized, and then revealed himself to his father.
+
+The Brazilian tale is brief but not unusual in type. A prince, while
+seeking a remedy for his father, passes through a town and sees a
+corpse, which is held for debt. He pays the creditors, and has the
+corpse buried. Later he is met by a fox, which helps him obtain not
+only the remedy for his father but in addition a princess as his
+wife. On its last appearance the beast declares that it is the soul
+of the man whom he buried.
+
+Basque I. has the following form: Three sons go out to seek a white
+blackbird by which their father can be healed. Two of them get into
+debt to the same three ladies, and, according to the custom of the
+land, are imprisoned. The third son resists the sirens, ransoms
+his brothers, and also pays the debts of a dead man, whose corpse
+is being maltreated. He arrives at the house of the king who has the
+white blackbird, and is told to get a certain young woman from another
+king. He goes far on till he comes near the castle, where he meets a
+fox and is instructed by it to enter a certain room, in which he will
+find the lady dressed in poor clothing. He must have her put on good
+clothes, and she will sing. He follows the advice, but is interrupted,
+while the lady is singing, by the king of the castle, who tells him
+that he must get a white horse from still another king. He meets the
+fox again, and is instructed that, when he finds the horse with an old
+saddle on it, he must put on a good one, so that it will neigh. Again
+he follows the fox's advice, and is interrupted by people who rush in
+when they hear the horse neigh. From them he obtains the steed, and
+retraces his steps, eloping with the lady at the second king's castle
+and at the first king's carrying off the blackbird. On his arrival
+at home he is thrown into a cistern by his treacherous brothers,
+who take his spoil to the king. He is saved by the fox, however,
+which draws him out with its tail. When he comes into the presence
+of his father, and not till then, is the healing accomplished.
+
+In Breton IV. we find again three sons of a king, who set forth to get
+the white blackbird and also the lady with locks of gold. Jeannot, the
+youngest of them, pays for the interment of a beggar on the way. Later
+a fox comes to him, saying that it is the soul of the poor man. It
+helps him procure the youth-giving blackbird and afterward the lady
+with the marvellous hair. He then meets his brothers, who for envy push
+him over a precipice, but he is saved and sent homeward by the fox.
+
+Breton V. does not differ materially from the preceding, though it
+has interesting minor variations. The three sons of a king seek the
+bird Drédaine in its golden cage in order to cure their father. The
+two elder brothers go to England, and there meet jolly companions,
+but find no trace of the bird. The third brother, the ugly one, comes
+thither, is mocked and robbed by them, but goes his way. One night
+he lodges in a forest hut, and there finds a man's body, which the
+widow cannot bury for lack of money to pay the priest. He is now poor,
+but pays for the interment of the corpse, and proceeds. He is followed
+by a white fox, which instructs him how to achieve his quest. He soon
+reaches the castle, traverses three courts, comes to one chamber where
+he finds a piece of inexhaustible bread, enters a second where he
+gets an unfailing pot of wine and makes love to a sleeping princess,
+and goes on to a third where he finds a magical sword and the bird. He
+hastens away with his booty, guided for a time by the fox, sells his
+bread and his wine to innkeepers on condition that they be given up to
+the princess if ever she comes for them, and arrives at the city where
+his brothers are now in prison. He ransoms them by helping the king,
+and pays their debts by selling his sword. On their way home he is
+thrown into a well by his brothers, who take the bird to their father,
+but do not succeed in curing him. Meanwhile, the hero is saved by the
+fox, which now explains that it is the soul of the man whom he has
+buried, and definitely disappears. He arrives at his home as a beggar,
+and takes service with his father. Later the princess comes thither
+with the son that is the fruit of their union, and brings with her
+the bread, wine, and sword which she has found on the way. The bird
+sings, the king is healed, and the wicked brothers are executed.
+
+Breton VI. lacks some of the interesting traits of the variant just
+given, but embroiders the theme with considerable grace. The three sons
+of a king set out to find the princess of Hungary, who has the only
+remedy that will cure their father. The eldest forgets his purpose, and
+wastes his money in rioting. The second finds him just as he is being
+led to death on account of debt, ransoms him, and shares his riotous
+pleasures. The third brother, a humpback, goes out with little money,
+but on his way procures burial for a man's corpse, which the widow has
+been unable to do because of lack of money to pay the priest. The next
+day a fox with a white tail meets him, and in return for a bit of cake
+leads him to the castle of a princess. There the prince resists the
+lady's advances, which he suspects are derisive, and is sent to her
+sister's castle, where he has the same experience. When he arrives
+at the castle of the third sister, he yields to her proposals,
+is given the remedy for his father and a magical sword, and is
+told how to go home. On the way he rescues his brothers from the
+scaffold by waving his sword, and is robbed and thrown into a well
+by them. Thence he is rescued by the fox, which comes at his call,
+and before it disappears explains that it is the ghost. Meanwhile, the
+older brothers have cured the king by the water of life in a phial;
+so when the hero comes home he is not believed. In a year and a day
+the princess arrives there according to her promise, and with a little
+son. At a feast she proclaims the truth, cuts her husband into bits,
+sprinkles the heap of fragments with the water of life, and marries
+the handsome youth who at once arises--the humpback transformed. [190]
+
+According to Simrock IX., finally, the three sons of a king seek
+the bird phoenix to cure their blind father. The two elder enter the
+castle of a beautiful maiden, and are lost; but the youngest resists
+the temptation, and takes lodging at an inn. There at night he is
+startled by a ghost, which tells him that it is the spirit of a man
+whom the host has buried in the cellar for non-payment of a score,
+and which implores his help. The youth arranges for payment of the
+debt and for proper burial, then goes his way. In the wood he meets a
+wolf, which instructs him how to find the bird phoenix in a cage in the
+magical castle, and carries him thither. Because he fails to take the
+worse-looking bird according to instructions, he has to get a steed
+as swift as wind for the lord of the castle. Again he is disobedient
+when told to take the worst-looking horse only, and so has to get the
+most beautiful woman in the world for the lord of this castle. Again
+he is brought by the wolf to a castle, where he obediently chooses a
+black maiden instead of one who is apparently beautiful. With maiden,
+horse, and bird he turns home. The wolf in parting from him explains
+that it is the ghost of the dead man, and warns him not to buy gallows
+flesh. When he meets his brothers on their way to be hanged, however,
+he forgets this, and ransoms them. In return he is nearly murdered
+by them and left for dead, but is rescued and healed by the wolf,
+and so at last reaches his destination.
+
+In none of these nine stories is the burial of the dead, one of
+the two most fundamental features of our leading motive, in any way
+obscured. They are thus less difficult to treat than was the preceding
+group, in spite of the added complications introduced by the advent
+of the helpful animal. This creature should naturally take the role
+of the ghost, appear as the embodiment of the dead man's soul indeed;
+and with but two exceptions [191] it actually fulfils the part. In
+those two there has been, apparently, imperfect amalgamation, so that
+the helper is duplicated, and the motivation obscured. In Walewein,
+a literary version, consciously adapted to the requirements of a
+roman d'aventure, this need excite no wonder. The ghost does its
+part properly, and the fox is merely an additional agency in the
+service of the hero, acting out of pure kindness of heart [192]
+as far as one can see. Lotharingian, not contented with duplicating
+the trait, triplicates it. The fox, as in the ordinary form of The
+Thankful Beasts, helps the hero because of a benefit received; the
+shepherd bestows magical gifts, as in a common type of The Water of
+Life, because of the hero's kindness; while the dead debtor remains
+inactive after the burial, and plays no further part in the narrative.
+
+As for The Water of Life, there are fewer complications in this
+group than in that where the thankful beast does not appear. In all
+of the variants some of the fundamental traits of the theme remain
+intact. In all save Walewein and Brazilian (which is a degenerate
+form presumably carried across the sea by Spaniards or Portuguese)
+the three brothers set out from home in quite the normal way. Walewein
+again lacks the water of life, which Brazilian retains. All the other
+versions, save Tuscan, keep this water or replace it by some other
+restorative agency. Two variants only fail to make the older brothers
+act treacherously towards the hero, these being again Walewein and
+Brazilian. The former thus lacks three of the essentials of the theme,
+the latter two. Yet since Walewein makes the hero win his princess
+by going on from adventure to adventure quite in the normal manner,
+and since Brazilian makes him obtain both water of life and princess,
+though with loss of interesting details, we are surely justified in
+placing both in this category.
+
+It is worth our while to note in this connection that all these nine
+variants come from southern Europe, directly or by derivation. [193]
+Geographical proximity, though not sufficient in itself as a basis of
+classification, adds welcome confirmation to other proof in cases like
+this, where a small group of highly complicated tales is found to exist
+in neighbouring countries only. That Walewein can be connected with
+this specialized sub-division has important bearings on the question
+whence the material for that romance was taken. In view of the limited
+territory which this form of the story has covered as a folk-tale
+in six hundred years, and the fact that France would be the centre
+of the region, it seems fair to assume that some thirteenth century
+French writer took a märchen of his own land as the basis for his work,
+thus elaborating with native material the adventures of a Celtic hero.
+
+The question now arises as to what light the group just considered
+throws upon the variants which combine the simple theme of The Grateful
+Dead with The Water of Life or some such motive. It appeared, the
+reader will remember, that according to the elements foreign to the
+main motive they must be separated into four classes. Reference to
+these classes [194] will show that the variants with The Thankful
+Beasts are in many respects different from any one of them as far
+as the features peculiar to The Water of Life, or kindred themes,
+are concerned. Yet because Maltese and the brief Venetian, though
+otherwise transformed, are the only tales aside from these [195] that
+preserve the treachery of the hero's brothers, it is safe to class
+them together. Both Maltese and Venetian come, it will be observed,
+from the same general region as all the other members of the group.
+
+Since the elements left by subtracting The Grateful Dead from the
+variants of the four categories thus discovered are very diverse,
+we cannot postulate a parent form from which all four classes might
+have sprung. Indeed, the evidence thus far obtained all points to a
+separate combination of already developed themes with The Grateful
+Dead. The test of this will be found in an examination of those
+variants of those larger compounds, which have also traces of The
+Water of Life or some allied motive.
+
+Turning first to such versions of the combination The Grateful Dead
++ The Poison Maiden, we find eleven on our list, all of which have
+already been summarized and discussed in connection with the simple
+compound. [196] These are Esthonian II., Rumanian I., Irish I., Irish
+II., Irish III., Danish III., Norwegian II., Simrock X., Harz I., Jack
+the Giant-Killer, and Old Wives' Tale. Since we know definitely that
+Danish III. (the tale by Christian Andersen) was taken from Norwegian
+II., it may be left out of account. Ten variants thus remain to be
+studied with reference to the subsidiary elements.
+
+In Esthonian II. the hero releases a princess, who goes with devils
+every night to church, by watching in the church for three nights
+with three, six, and twelve candles on successive nights. In Rumanian
+I. the hero wins a princess by explaining why she wears out twelve
+pairs of slippers every night; and he accomplishes this by the aid
+of his helper, who follows the lady in the form of a cat, and picks
+up the handkerchief, spoon, and ring which she drops in the house of
+the dragons. According to Irish I. the helper obtains for the hero
+horses of gold and silver, a sword of light, a cloak of darkness,
+and a pair of slippery shoes; he helps him keep over night a comb
+and a pair of scissors, in spite of enchantment, and finally gets the
+lips of the giant enchanter, so that the hero unspells and wins the
+lady of his quest. In Irish II. the hero is joined by a green man
+(the grateful dead), a gunner, a listener, a blower, and a strong
+man. By the aid of the first he gives his princess a pair of scissors,
+a comb, and the enchanter's head; by the aid of the others he obtains
+water from the well of the western world, and is enabled to walk over
+three miles of needles. Irish III. has a helper who obtains for the
+hero a sword, a cloak of darkness, and swift shoes, rescues a pair
+of scissors, and obtains the enchanter's head, while the hero wins
+a race by the aid of the shoes. According to Norwegian II. the hero
+and helper get a sword, a ball of yarn, and a hat, while the latter
+follows the princess and rescues a pair of scissors and a ball,
+finally obtaining the troll's head. In Simrock X. the helper secures
+three rods, a sword, and a pair of wings, follows the princess, and
+learns how to answer her riddles, emphasizing his knowledge by getting
+the wizard's head. Harz I. has the helper give wings and a rod to the
+hero, who flies with the princess and learns to guess her riddles,
+cutting off the monster's head. In Jack the Giant-Killer Jack obtains
+gold, a coat and cap, a sword, and a pair of slippers for his master,
+follows the princess, and secures the handkerchief and the demon's
+head, which are requisite to the unspelling. Finally, according to
+Old Wives' Tale, the helper, while invisible, slays the conjuror,
+and so obtains the princess for his master.
+
+It will at once be recognized that all of these variants are of one
+type as far as the traits just specified are concerned. The basal
+element is the hero's success in winning an enchanted princess either
+by accomplishing difficult feats or answering riddles. The water of
+life, as such, appears in only one story, Irish II., and there not
+as the prime goal of the hero's quest, but merely as the object of
+a subsidiary labour. Clearly these tales not only form a group by
+themselves, but have in combination with The Grateful Dead and The
+Poison Maiden a theme which is not properly The Water of Life. This
+theme is as clearly The Lady and the Monster, [197] which is closely
+allied to The Water of Life, but is essentially distinct. It has
+already been found compounded with the simple form of The Grateful
+Dead in the somewhat degenerate and literary Straparola II., [198]
+though the method by which the enchanted princess was won in that
+variant was different from that given in the present group.
+
+Within the group there are minor differences with reference to the
+manner of unspelling the princess, which resolve themselves either, on
+the one hand, into the hero's keeping or obtaining something for her,
+or, on the other, into his guessing the object of her thoughts. These
+details are not, however, of much importance for the purpose in hand,
+though they might become so if an attempt were made to sub-divide the
+group. Thus Esthonian II. is decidedly unusual in its treatment of
+the matter just mentioned. Irish I. has traces of the Sword of Light
+[199] and of The Two Friends. [200] In Harz I. the hero himself follows
+the princess instead of leaving the actual work of unspelling to the
+helper, as is elsewhere the case. Irish II., finally, is peculiar not
+only in bringing in The Water of Life, as mentioned above, but also
+the motive of The Skilful Companions, which we have already met with
+in Sicilian and Harz II. [201]
+
+Irish II. is, indeed, of great importance to our study at this
+point. It is in some way a link between Sicilian and Harz II. and the
+subdivision now under discussion. Furthermore, the fact that Straparola
+II. has some traits of The Lady and the Monster in common with all the
+members of the group under consideration shows that it can safely be
+placed in the same category as Sicilian and Harz II. Though the feats
+by which the princess is won are somewhat different in the last-named
+variants from the feats in Straparola II. on the one hand and in the
+compound The Grateful Dead + The Poison Maiden + The Water of Life
+(The Lady and the Monster) on the other, there can be little doubt,
+it seems to me, that all of them belong together. Irish II. by the
+introduction of The Skilful Companions thus furnishes a clue by which
+the tales having the compound just mentioned may be classed with two
+varieties of the simple combination, and permits us to reduce the
+total number of categories with reference to The Water of Life from
+four to three.
+
+Before proceeding to a general discussion of the means by which this
+theme was brought into connection with The Grateful Dead and the
+comparative date of the combination or series of combinations, it is
+necessary to examine four other versions,--those which have the form
+The Grateful Dead + The Ransomed Woman + The Water of Life. Like the
+group just treated, all of them have been summarized and discussed
+with reference to the prime features of the compound. [202] They are
+Bohemian, Simrock I., Simrock III., and Simrock VII.
+
+The elements of these variants, apart from those due to the main
+compound, are as follows. In Bohemian the hero is given a flute
+and a captive princess by his helper, and escapes with them from
+prison. Later he is cast into the sea by a rival, but is rescued by
+the helper and given a wishing ring. By means of this ring he turns
+first into an eagle and afterwards into an old man, and succeeds in
+winning the princess by building and painting a church. In Simrock
+I. the hero is rescued by the helper after being cast overboard by
+a rival, and is given the power of obtaining his wishes. Thereby he
+paints three rooms to the liking of the princess, and is recognized
+by her. Simrock III. differs from this only in making the helper
+do the painting and in having one room painted instead of three. In
+Simrock VII., finally, the hero releases a princess by hewing trees,
+separating grain, and choosing his mistress among three hundred women,
+all without aid. Later he is rescued from the sea and recognized by
+means of a ring and a handkerchief.
+
+The first three of these variants clearly show in the subsidiary
+elements just enumerated their relationship to The Water of Life. They
+lack the quest for some magical fountain or bird, to be sure, but they
+preserve the quest for the lady, which is an important factor in the
+märchen. Of the three, Bohemian has the most extended and probably
+the best presentation of the details of the difficult courtship;
+and it gives the hero that power of metamorphosis which was noted
+in four variants of the type The Grateful Dead + The Water of Life
+simply. It may, therefore, on the basis of general and particular
+resemblance be classed with Polish, Hungarian I., Rumanian II., and
+Treu Heinrich. [203] Along with it, of course, go the briefer Simrock
+I. and Simrock III. There is this important difference between the
+two sets of tales, that in the simpler form the princess is won by
+the hero's success in bringing something from a distance, in the more
+complicated form by building and decorating. Yet the resemblance is
+sufficient to warrant the classification proposed.
+
+With Simrock VII. the case is altogether different. There the
+subsidiary elements are connected with The Lady and the Monster rather
+than The Water of Life proper, yet not with that theme as it appears in
+combination with The Poison Maiden, [204] since in that group the hero
+disenchants the princess by guessing some secret, here by performing
+two feats of prowess or discrimination and by choosing the proper
+lady from a host of maidens. With Straparola II., however, which has
+the simpler combination The Grateful Dead + The Lady and the Monster,
+the resemblance is very close, [205] as both have the happily directed
+choice. The complicated Simrock VII. thus falls into the same category
+with reference to this matter as Straparola II., Sicilian, and Harz
+II., and the group having the form The Grateful Dead + The Poison
+Maiden + The Water of Life (The Lady and the Monster specifically).
+
+A summary of our three categories will be of service in discussing
+their relations to one another and to the themes with which The Water
+of Life or The Lady and the Monster are combined.
+
+
+
+Class I.
+
+    Polish.
+    Hungarian I.
+    Rumanian II.
+    Treu Heinrich.
+    Bohemian.       |
+    Simrock I.      + (With The Ransomed Woman.)
+    Simrock III.    |
+
+Class II.
+
+    Sicilian.
+    Harz II.
+    Straparola II.
+    All recorded variants with The Poison Maiden.
+    Simrock VII. (With The Ransomed Woman.)
+
+Class III.
+
+    Maltese.
+    Venetian.
+    All variants with The Thankful Beasts.
+
+
+
+Class I. forms a territorially homogeneous group, all the members
+of it coming from eastern and central Europe. It is not altogether
+homogeneous in content, but preserves the theme of The Water of
+Life proper in a form where the hero wins a princess by means, among
+other feats, of metamorphosis. Class II. is the most widespread of
+all territorially, as its members come from all parts of Europe. It
+has instead of The Water of Life proper what must be regarded, in the
+present state of the evidence, as the closely allied theme of The Lady
+and the Monster. Class III., the most compact of all in the region
+that it inhabits, preserves The Water of Life better than any other
+group, though not without frequent admixture and, in many instances,
+the loss of some elements.
+
+It has been stated above [206] that it would be hard to imagine such
+various traits coming from a single type of story. This becomes
+even more evident from the tabulation just made. To suppose that
+The Grateful Dead first united with The Water of Life, and that this
+compound gave rise to the varieties, as enumerated, would involve us in
+the direst confusion. If such were the case, how could Class II. with
+its introduction of The Lady and the Monster be explained? Why,
+moreover, should one variant having The Ransomed Woman fall into
+Class II., while three others fall into Class I.? Such an assumption,
+it is clear, would be self-destructive.
+
+The only alternative is to suppose that The Water of Life entered
+into combination with simple or compound types of The Grateful Dead
+at more than one time and in more than one region. That The Grateful
+Dead united with The Poison Maiden and The Ransomed Woman rather
+early and quite independently abundant evidence goes to show; that
+The Water of Life is an independent motive and that, like at least two
+of the other themes, it was of Asiatic origin has likewise been made
+clear; that the latter could not have united with The Grateful Dead
+so early as did The Poison Maiden and The Ransomed Woman is proved
+by the discrepancies noted above. If it be assumed, on the contrary,
+that after the compounds The Grateful Dead + The Poison Maiden and
+The Ransomed Woman had arisen, both they and the simple theme in one
+or another form came into connection with one or another form of The
+Water of Life our difficulties are in great measure resolved.
+
+With this in mind let us consider the three categories. Sometime
+before the fourteenth century [207] The Water of Life, perhaps in
+a rather peculiar form, came into contact with The Grateful Dead,
+both simple and combined with The Ransomed Woman, [208] in eastern or
+central Europe. With each form it seems to have united, giving rise
+in the century named to the German romance of Treu Heinrich and the
+legend of Nicholas by Gobius, as well as, sooner or later, to the
+folk-tales with which it has been found combined in those regions
+within the past hundred years. The territorial limitation of the
+resulting type is a point in the favour of the proposed theory, though
+I cannot but be aware that this may be disturbed by a variant outside
+the seemingly fixed circle. Yet even so, the relation of the variants
+of Class I. to the themes concerned appears to be pretty definitely
+established. With Class III. the matter is even simpler. According to
+my view, some form of The Grateful Dead, more or less confused with
+one of the countless versions of The Thankful Beasts met with a very
+clear type of The Water of Life in southern or south-western Europe
+by or before the thirteenth century. [209] With this it united and
+gave rise to an Old French romance (later turned into Dutch) and to
+a considerable body of folk-tales, which have not strayed far from
+the point of departure save in one instance, [210] where the means of
+transmission is not difficult to ascertain. Apparently the thankful
+beast was not absolutely in solution, since in Maltese and Venetian
+the human ghost resumes its characteristic rôle. [211] With Class
+II. the case is different and more difficult of explanation. Here
+the compound has no definite territorial limits, and it is besides
+of a very complicated character. We have to suppose that The Lady
+and the Monster, a märchen allied to The Water of Life, was afloat
+in Europe somewhat before the early sixteenth century. [212] There
+it met and united with The Grateful Dead, in its simple form on the
+one hand, giving rise to three of our variants, and on the other hand
+separately with the compounds having The Poison Maiden and The Ransomed
+Woman. The former double compound must have been made fairly early,
+[213] since it has been found in such widely separated countries as
+Rumania and Ireland, and furnished one of the most important elements
+to the making of a sixteenth century English play, Peele's Old Wives'
+Tale. The second of the double compounds is unfortunately represented
+on our list by a single folk-tale only, and may possibly be a later
+formation.
+
+Such, then, seems to be the relationship of The Water of Life and
+allied motives to the main theme of our study,--purely subsidiary
+and relatively late. The theory which has been proposed involves
+the necessity of placing the entrance of the Semitic märchen into
+Europe not much earlier than the twelfth century, though such
+matters of chronology must be left somewhat to speculation; it
+shows the points of contact between the various motives concerned;
+and it avoids contradictions of space and time. Writer and reader may
+perhaps congratulate themselves on finding so clear a road through the
+maze. Should subsequent discovery of material necessitate modification
+of the views here expressed, it should be welcomed by both with
+equal pleasure.
+
+
+
+
+
+
+
+CHAPTER VII.
+
+THE RELATIONS OF THE GRATEFUL DEAD TO THE SPENDTHRIFT KNIGHT, THE
+TWO FRIENDS, AND THE THANKFUL BEASTS.
+
+
+We have met at various points in our study with tales in which the
+motive of the hero's fateful journey was his impoverishment through
+extravagance; we have seen that many variants make the division of a
+child part of the agreement between the ghost and the hero; and we have
+noted the appearance of the ghost in the form of a beast in a large
+number of instances. The bearing of these phenomena we shall do well
+to investigate before proceeding to general conclusions. Occurring
+as they do in versions which have been assigned on other accounts to
+different categories, are they of sufficient importance to disturb
+the classification already proposed? Furthermore, what cause can be
+found for their introduction? Are they in reality sporadic, or are they
+the result of some determinable factor in the history of the cycle?
+
+Eleven variants, namely, Richars, Oliver, Lope de Vega, Dianese, Old
+Swedish, Icelandic I., Icelandic II., Rittertriuwe, Treu Heinrich,
+and Sir Amadas, have more or less clearly expressed the motive of a
+knight who has exhausted his patrimony and goes out to recruit his
+fortunes by winning a princess in a tourney. The figure of such a
+knight or adventurer is not an uncommon one in the fiction of Europe,
+and scarcely requires illustration. Of the variants just named all
+except Oliver, Lope de Vega, and Old Swedish actually state that the
+hero sets out from home on account of his poverty. In the two former
+the motive of the incestuous stepmother is introduced in place of this,
+and in Old Swedish the trait is obscured without any substitution,
+implying that the hero is led merely by ambition to undertake the
+tourney. On the other hand, the tourney occurs in all save Icelandic
+I. and II., which are the only folk-tales in the list. The second
+of these, moreover, makes the hero a merchant instead of a knight;
+but since the two come from the same island and are in other respects
+rather similar, [214] this is perhaps not very significant.
+
+Looking at the matter from another point of view, we find that Richars,
+Lion de Bourges, Dianese, Old Swedish, Rittertriuwe, and Sir Amadas
+form a group by themselves, [215] and are uncompounded with any
+one of the themes with which The Grateful Dead is most frequently
+allied. Oliver and Lope de Vega are treated under the compound with
+The Ransomed Woman, where on account of the rescue of the hero by
+the ghost they probably belong; [216] and Icelandic I. and II. are
+clearly of that type. Treu Heinrich [217] shows the combination of
+the central theme with The Water of Life, and can in the nature of
+the case have no direct connection with the other romance stories
+under consideration, even though it belongs to a class in which The
+Ransomed Woman sometimes appears. [218] In view of these discrepancies
+of position with reference to compounds which are clearly established,
+we are certainly not justified in assuming that The Spendthrift
+Knight has had anything more than a superficial relationship to The
+Grateful Dead. To make it a basis of classification or to attach
+any considerable weight to its appearance here and there would be
+contrary to the only safe method of procedure, which is to follow the
+evidence of events in sequence rather than isolated traits. The very
+fact that none of the compounds with The Poison Maiden contains any
+such motive as this of the knight and the tourney shows that it must
+be comparatively late and really an interloper in the family.
+
+As to the way by which it entered the cycle, one must conclude that
+it was afloat in Europe before the thirteenth century, [219] and
+furnished a very natural opening for a tale in which a youth goes
+into the world to seek adventure or profit. Were a lady to be won by
+the help of the ghost, it would magnify the hero's part, if he were
+given an opportunity to take some very direct share in the wooing. So
+in the group of which Richars and Sir Amadas are members the new
+theme supplied the means of winning a lady, which would otherwise be
+lacking. In Oliver and Lope de Vega it has perhaps supplanted the
+ransom of a maiden, which is the trait to be expected, if they are
+rightly placed among the variants of the type The Grateful Dead +
+The Ransomed Woman. It will be noted that in the two Icelandic tales,
+which conform closely to the type, the tourney does not appear. There
+seems to be reason, therefore, for supposing that the new material
+touched our central theme at least twice, combining with the prototype
+of the Amadas group and of the Icelandic folk-stories. The authors
+of Oliver and Treu Heinrich may have adopted it consciously, and so
+these variants should be left out of account.
+
+Before leaving the matter, however, it must be noted that in Tobit the
+hero leaves home on account of the poverty of his father to seek the
+help of a relative. The ever-recurring possibility of a recollection
+of Tobit on the part of the European story-tellers [220] should not be
+forgotten. To argue that the suggestion of adapting The Spendthrift
+Knight was due to a conscious or unconscious recollection of the
+Apocrypha would be laying too much stress upon what can at best be
+nothing more than conjecture, but there can be no harm in the surmise
+that such may have been the case.
+
+The matter of the division of his child or children by the hero to
+fulfil the bargain made with his helper must next be discussed. This
+occurs in twenty-five of the variants which we have considered, namely:
+Lithuanian II., Transylvanian, Lope de Vega, Oliver, Jean de Calais
+I.-X., Basque II., Gaelic, Irish I., Breton I., III., and VII., Simrock
+I., II., and VIII., Sir Amadas, and Factor's Garland. With reference to
+one group where the trait appears [221] I have already spoken at some
+length of The Two Friends, and I have referred to the introduction
+of the children as they have appeared in scattered variants. I now
+wish to call the reader's attention to the general aspects of the
+question. What relation has the use of this trait in versions of The
+Grateful Dead to the theme which I call The Two Friends?
+
+It must first be noted that the motive as it appears in Amis and
+Amiloun requires [222] that the hero slay his children for the healing
+of his foster-brother and sworn friend. Now of the twenty-five
+variants of The Grateful Dead just named only Oliver and Lope de
+Vega have this factor,--the others merely state that the helper
+asked the hero to fulfil his bargain by giving up his only child,
+[223] or giving up one of his two children, [224] or dividing his
+only child, [225] or dividing his three children. [226] The query
+at once suggests itself as to whether the simple division of the
+child or children as part of the hero's possessions gave rise to
+the introduction of the whole theme of The Two Friends in Oliver
+and Lope de Vega, or whether the twenty-two folk-tales have merely
+an echo of the theme as there found. To put the question is almost
+equivalent to answering it. One sees at once that the former is the
+case. Lope de Vega derives directly from Oliver, [227] and to the
+author of that romance must be due the combination of the two themes
+there presented. Reference to the earlier discussion of the variant
+[228] will show that he was a conscious adapter of his material.
+
+Yet it by no means follows that the suggestion for the combination
+was not present in the version of The Grateful Dead, which was
+used in making Oliver. Indeed, it seems probable that this source
+or prototype had the division of the child in somewhat the form in
+which it appears in so many tales. That such was the case is likely
+from the fact that of the twenty-two folk variants which refer to the
+child all but two are of the type The Grateful Dead + The Ransomed
+Woman, to which Oliver is approximated. Considering the alterations
+which the theme was likely to suffer at the hands of a writer who was
+more or less consciously combining various material in a romance,
+the wonder is that the type was not more changed than it seems to
+have been. In point of fact, the position of Oliver and its literary
+successors as examples of the compound comes out more clearly [229]
+through this examination of their relationship to The Two Friends.
+
+As to the introduction of the child, the trait by means of which,
+according to my theory, the actual combination of motives came about,
+the two folk-tales of the type The Grateful Dead + The Poison Maiden as
+well as Sir Amadas, are of great importance. Since the great majority
+of the variants which have the child belong clearly to the compound
+type with The Ransomed Woman, it is only by reference to these three
+that one can say with assurance that the modified trait indicates no
+vital connection with The Two Friends. Yet with these in mind there
+can be little doubt about the matter. The story-tellers have simply
+extended the division of the hero's possessions from property and
+wife to child, a process perhaps made easier by the existence of such
+stories as The Child Vowed to the Devil [230] and some forms of the
+Souhaits Saint Martin. [231] This might have happened to any particular
+variant with equal facility. At the same time, the fact that the
+change was made in only three cases outside the group, which has The
+Ransomed Woman in combination, gives that family additional solidarity.
+
+In Oliver, Lope de Vega, and Sir Amadas the motive of The Spendthrift
+Knight appears together with the change or combination just referred
+to. At first sight, it might appear that there was some essential
+connection between these two elements foreign to the main theme. Such
+does not seem to be the case, however, when the matter is further
+considered. At any rate, I am unable to discover any such link,
+and am inclined to ascribe the simultaneous appearance of these two
+factors to chance pure and simple. Neither one is more than a rather
+late and comparatively unimportant phenomenon as far as The Grateful
+Dead is concerned.
+
+Not infrequently in the course of this study attention has been called
+to the substitution of a beast for the helping friend of the hero,
+and in a few cases to the transference of the ghost's entire rôle to an
+animal. While considering matters of greater importance, it seemed best
+to ignore this in order to avoid unnecessary confusion. The matter is
+of considerable importance, however, and must here be considered. The
+question that concerns us is whether the appearance of the beast is
+of any real moment in the development of the theme.
+
+It is sufficiently clear that the well-known stories of grateful
+animals and ungrateful men, which were first traced by Benfey,
+[232] have general outlines different from that of The Grateful
+Dead. Benfey's contention, however, that "konnte der Gedanke von der
+Dankbarkeit der Thiere schon tief genug auch im Occident einwurzeln,
+um auch in andere Märchen einzudringen und vielleicht selbst sich
+in Bildung von verwandten zur Anschauung zu bringen" [233] should be
+kept in mind. This statement is truer than his later remark [234] that
+fairies and other superhuman creations of fancy are substituted for
+animals, instancing our theme as such a case. To argue relationship
+from the entrance of either helpful beasts, fairies, or ghosts would
+be dangerous unless the stories in question had the same motive,
+since they are so frequently found in folk-literature. Indeed, as I
+have already remarked, [235] one is scarcely called upon to explain
+the intrusion of thankful or helpful animals at any given point, in
+view of the fact that the device is almost universally known. Yet if
+it does not require justification, it may well be of service in the
+grouping of particular variants.
+
+It is certainly worthy of notice that in eighteen forms of The
+Grateful Dead a beast appears. That these are of several different
+compound types would show, if it were not clear from what has been
+said above, that the appearance of an animal furnishes of itself no
+evidence of any actual amalgamation of narrative themes. It is rather
+a case where one stock figure of imagination's realm is substituted
+for another. The better-known character is perhaps more likely to
+replace the less-known than vice versa, but the latter event may
+happen if the obscurer figure will serve to enliven the tale.
+
+Of the twenty variants in our cycle which have a thankful beast,
+Jewish has the simple theme; Servian IV. the combination with The
+Poison Maiden; Jean de Calais II., VII., and X., Simrock II., III., V.,
+and VIII., and Oldenburgian the combination with The Ransomed Woman;
+and Walewein, Lotharingian, Tuscan, Brazilian, Basque I., Breton IV.,
+V., and VI., and Simrock IX. the combination with The Water of Life.
+
+Now in Jewish [236] the hero is saved from shipwreck [237] by a
+stone, carried home by an eagle, and there met by a white-clad man,
+who explains the earlier appearances. This is mere reinforcement of
+the tale by triplication, and implies nothing more than a certain
+vigour of imagination on the part of the story-teller. In Servian IV.,
+[238] where the hero spares a fish which he has caught, there appears,
+on the contrary, to be actual combination with The Thankful Beasts
+as a motive. The fish comes on the scene in human form, and fulfils
+the part of the grateful dead till the very end, when it leaps back
+into its element. As for the variants of the compound type with
+The Ransomed Woman there is considerable diversity, yet all of them
+have merely substitution, not combination. So in Jean de Calais II.,
+VII. and X., [239] which are closely allied with other members of
+the group so named, the beast appears, but in one case as a white
+bird, in the second as a fox, and in the third as a crow. That
+this is anything more than a substitution due to the story-teller's
+individuality cannot be admitted, though knowledge of The Thankful
+Beasts as a motive is not barred out. Simrock II. and VIII. [240]
+are likewise nearly related to one another and to Jean de Calais,
+and they have the same adventitious substitution. Simrock V. and
+Oldenburgian are a similar pair, [241] while Simrock III., [242]
+which is otherwise allied to Bohemian, cannot be shown to have any
+vital connection with The Thankful Beasts as a motive. Of all these
+tales it can be said that they show some influence from such a theme
+without actual combination. Finally, all the variants of the type The
+Grateful Dead + The Water of Life, which have the animal substituted,
+[243] belong to a well-defined and centralized group [244] which
+has had independent existence for centuries. Here the entrance of
+the beast is of considerable importance to the classification and
+development of the theme.
+
+Of the part which The Thankful Beasts as a motive has played in
+connection with The Grateful Dead it must be said that, on the whole,
+it has been of very secondary importance. It illustrates, as do The
+Spendthrift Knight and The Two Friends, how one current theme may
+touch and even influence another at several different points without
+becoming embodied with it. This trait or that may be absorbed as the
+motives meet, yet the two waves may go their way without mingling.
+
+
+
+
+
+
+
+CHAPTER VIII.
+
+CONCLUSION.
+
+
+In considering the general development and relations of The Grateful
+Dead, to which we must now turn, it is proper to inquire first of
+all as to its origin. Hitherto the existence of the story-theme as
+such has been taken well nigh for granted, though the discussion
+of variants in simple form necessitated some reference [245] to the
+point of separation between the märchen and whatever beliefs or social
+customs lie beyond. Now that the tale has been followed through its
+various modifications and has been proved by a systematic study of
+its forms to be, if I may use the expression, a living organism,
+the debateable land outside can be entered with measurable security.
+
+There can be no doubt that The Grateful Dead as a theme is based upon
+beliefs about the sacred duty of burial and upon the customs incident
+to withholding burial for the sake of revenge or recompense. To study
+these phenomena in detail is not necessary to the scheme of this book,
+but belongs rather to the province of primitive religion and law. It
+is sufficient for our purpose to show the nature and extent of such
+observances and beliefs for the sake of the light which they may
+throw on the genesis of the tale itself.
+
+The belief that no obligation is more binding on man than that he pay
+proper respect to the dead is as old as civilization itself. Indeed,
+it probably antedates what we ordinarily call civilization, since
+otherwise it could not well be found so widely distributed over the
+earth in historical times. It evidently rests upon the notion that
+the soul, when separated from the body, could find no repose. [246]
+Herodotus tells [247] of the Egyptian law, which permitted a man to
+give his father's body in pledge, with the proviso that if he failed
+to repay the loan neither he nor any of his kin could be buried at
+all. The story, also related by Herodotus, [248] of Rampsinit and the
+thief which turns on the latter's successful attempt to rescue his
+brother's body, illustrates again the value that the Egyptians set upon
+burial. Their notion seems to have been that the more honour paid the
+dead, the more bearable would be their lot, though it was regarded as
+unenviable at best. [249] Among the Magi of Persia, though both burial
+and burning were prohibited because of the sanctity of earth and fire,
+the bodies of the dead were cared for according to the strictest of
+codes, being left to the sun and air on elevated structures. [250]
+In India the Rig-Veda [251] bears witness to similar carefulness in
+the performance of this sacred duty.
+
+In classical times belief in the necessity of proper burial was
+widespread. Patroclus, it will be remembered, appears to his friend
+Achilles, and admonishes him that he should not neglect the dead, at
+the same time giving a dire picture of the state of the unburied. [252]
+Pausanias speaks [253] of the conduct of Lysander as reprehensible
+in not burying the bodies of Philocles and the four thousand slain at
+Aegospotami, saying that the Athenians did as much for the Medes after
+Marathon, and even Xerxes for the Lacedaemonians after Thermopylae. The
+story told by Cicero [254] of Simonides gives definite proof of
+the concrete nature of the reverential feeling among both Greeks
+and Romans. Suetonius in his life of Caligula relates that when the
+emperor's body was left half burned and unburied, ghosts filled the
+palace and garden.
+
+An example of the mediaeval belief is found in the Middle High German
+Kudrun, written at the end of the twelfth century or the beginning
+of the thirteenth.
+
+
+    "Daz hâst wol gerâten," sprach der von Sturmlant.
+    "jâ sol man verkoufen ir ros und ir gewant,
+    die dâ ligent tôte, daz man der armen diete
+    nâch ir lîbes ende von ir guote disen frumen biete."
+        Dô sprach der degen Îrolt: "sol man ouch die begraben,
+    die uns den schaden tâten, od sol man si die raben
+    und die wilden wolve ûf dem wérde lâzen niezen?"
+    dô rieten daz die wîsen, daz sie der einen ligen niht
+    enliezen. [255]
+
+
+The Annamite tale cited in the third chapter [256] and Servian VI.,
+likewise summarized in connection with variants having the story-theme
+in simple form, [257] bear witness to the effect that the widespread
+belief has had upon folk-tales now in circulation. The connection
+of these two tales with the märchen as such is so vague that
+they serve the end of illustrating its growth from popular belief
+rather than the relationship of one form to another. So also the
+story from Brittany, printed by Sébillot, [258] which tells how a
+ghost came to workmen in a mill demanding Christian interment for
+its body then buried under the foundations, serves the same end,
+though no reward is mentioned. Sometimes the neglect of burial by a
+person brings unpleasant results to him, as is witnessed by a tale
+from Guernsey. [259] A fisherman neglected to bury a body which he
+encountered on the coast, and, when he reached his home, found the
+ghost awaiting him. An Indian tale illustrates the belief that the
+dead become vampires when funeral rites are not performed. [260]
+
+In most versions of The Grateful Dead a corpse is left unburied either
+because creditors remain unpaid or the surviving relatives cannot pay
+for Christian burial. From sixteenth century Scotland we have evidence
+that the latter trait is based on actual custom. Sir David Lyndesaye,
+in The Monarche, while describing the exactions of the clergy, says:
+
+
+            Quhen he hes all, than, vnder his cure,
+            And Father and Mother boith ar dede,
+            Beg mon the babis, without remede:
+            They hauld the Corps at the kirk style;
+            And thare it moste remane ane quhyle,
+            Tyll thay gett sufficient souerte
+            For thare kirk rycht and dewite. [261]
+
+
+This evidence for the widespread belief in the pious duty of burial
+and for the custom of withholding burial in cases where the dead man
+was poor, though it might easily be increased in bulk, makes very
+clear at least two matters. The tale of The Grateful Dead might have
+arisen almost anywhere and in almost any age since the time of the
+Egyptians. Again, when once it had been formed, it was likely to be
+reinforced or changed by the beliefs and customs prevalent in the
+lands to which it came.
+
+The first matter at once suggests the question as to whether,
+after all, the märchen has not been more than once discovered by the
+imagination of story-tellers,--whether it has not sprung up again and
+again in different parts of the world like different botanical species,
+instead of being a single plant which has propagated itself through
+many centuries. In spite of the evident possibility that such sporadic
+development might have taken place, I cannot believe that it happened
+so. If we had to do with some vaguely outlined myth in which only
+the underlying idea was the same in the several groups of variants,
+and if this vague tale were narrated among peoples of absolutely no
+kinship to one another, say by the Indians of North America and the
+Zulus, one could have no reasonable doubt that similar conditions had
+produced similar tales. Such stories exist in numbers sufficient to
+render untenable the old hypothesis of Oriental origins in anything
+like the form in which it was held by Benfey or even Cosquin.
+
+In cases like that of The Grateful Dead, however, the matter is
+entirely different. The theme is comparatively a complicated one, and
+it is found only in lands whose inhabitants are connected either by
+blood or by social and political intercourse. [262] It has preserved
+its integrity for nearly a score of centuries, though suffering
+many changes of details, and a variety of combinations with other
+themes. To my mind such an involved relationship as that worked out
+in the preceding chapters proves conclusively that the story is one,
+that the connection between variants is more than fortuitous. Inductive
+logic makes the belief inevitable. Any other theory would involve
+us in a bewildering net of contradictions, from which escape could
+be found only in the avowal that nothing whatever can be known about
+narrative development.
+
+If the seemingly inevitable conclusion be accepted that The Grateful
+Dead is an organism with a life history of its own, the question at
+once suggests itself as to when and where it came into being. As to
+its ultimate origin, however, only a very imperfect answer can be
+given. Surmise and theory are all that can aid us here. Liebrecht was
+of the opinion that the story was of European rather than Oriental
+origin, [263] even though he did not accept Simrock's theory that
+it was Germanic. Notwithstanding the fact that most variants are
+European, this hypothesis seems to me very improbable. Tobit, the
+earliest variant which we possess, [264] is distinctly Semitic in
+origin and colouring. Other versions from Asia, like Jewish, Armenian,
+and Siberian, though modern folk-tales, add weight to the evidence of
+the apocryphal story, especially since the one last named comes from
+a somewhat remote region where European narratives could not without
+difficulty have much direct influence. Of course it is possible to
+suppose that the theme came to the Semites from the West, and was by
+them disseminated in Asia; [265] but the early date of Tobit renders
+it unlikely that such was the case. Certainly it is more reasonable
+from the evidence at hand to believe in the Oriental origin of the
+märchen. As to the particular region of Asia where it was probably
+first related, nothing can be said with security. Yet since there
+is no evidence that it has ever been known in India, Western Asia,
+and perhaps the region inhabited by the Semites, may be considered,
+at least tentatively, its first home.
+
+The age of the theme cannot definitely be measured. It is possible,
+however, to say that it must have existed at least as early as the
+beginning of our era. Tobit is of assistance again here. As the
+book is believed to have been written during the reign of Hadrian
+(76-138 A.D.) and as it has the motive in a compound form, which is
+unlikely to have arisen immediately after the simple story was first
+set afloat, there is little danger of over-statement in saying that
+the latter must have been known at least as early as the first part of
+first century A.D., or more probably before the birth of Christ. Any
+statement beyond this would rest on idle speculation.
+
+After The Grateful Dead was once established as a narrative, its
+development can be traced with some degree of precision, though
+not without many gaps here and there. Its history is largely a
+matter of combinations with originally independent themes, with an
+occasional landmark in the form of a literary version. The most notable
+compounds into which it has entered are those with The Poison Maiden,
+The Ransomed Woman, and certain types connected with The Water of
+Life. That it entered into other minor compounds at various stages
+gives evidence that it retained its independence long after the first
+union took place, even though examples of the simple type are so hard
+to find and in some cases of such doubtful character.
+
+Probably the first combination of the theme was with The Poison Maiden,
+which the valuable evidence of Tobit enables us to date as taking place
+as early as the middle of the first century and in western Asia. The
+Poison Maiden probably came originally from India by way of Persia,
+[266] and was certainly widely distributed. Among the Semites it would
+naturally first meet any tale which had other than Indian origin,
+so that the existence of Tobit at so early a date is only what one
+would expect, looking at the matter in this retrospective fashion. The
+amalgamation of these two themes, when once they had come into the
+same region, was natural. They had the necessary point of contact
+in the treatment of the hero's wife by a helpful friend, who played
+an important part in each. In The Poison Maiden she received short
+shrift, being possessed of a poisonous glance or bite, or of snakes
+ready to destroy the man who married her. [267] In The Grateful Dead
+she was innocent, but had to be divided to satisfy the claims of a
+being who had helped her husband. [268] The part of the friend was
+less well motivated in The Poison Maiden than in The Grateful Dead,
+so that it was natural for the themes to unite at a common point
+and produce a compound at once more complete and more thrilling than
+were the simpler forms. This combination must have been made not by a
+conscious literary worker, for, had it been, Tobit would surely stand
+less independent of the later versions than is actually the case,
+but by the tellers of folk-tales, in a manner quite unconscious and
+altogether unstudied. The stories combined of themselves, so to say.
+
+From Semitic lands, if it was indeed there made, the compound seems to
+have travelled into Europe as well as into other parts of Asia. [269]
+It has spread during the intervening centuries throughout the length
+and breadth of Europe, always remaining a genuinely popular tale. As
+far as my knowledge goes, it did not appear in literature from the time
+when the Hebrew book of Tobit was written till Peele's Old Wives' Tale
+was presented some fifteen centuries later on the English stage. In
+the nineteenth century it again appeared to the reading public in
+the version which the Dane Andersen made from a Norse folk-tale. Yet
+the story in all versions of the compound extant is unmistakably the
+same, though it has suffered more changes in detail than would be
+worth while to enumerate here, since they have already been noted in
+the chapter dealing with the type. The most important modification
+which it sustained was due to its meeting The Lady and the Monster
+and absorbing elements of that tale. How early this took place it
+is impossible to say, since George Peele's play is the only literary
+monument that helps to fix any date. A considerable stretch of time
+must, however, be allowed for the passage of a folk-tale from the
+extreme east of Europe to England. That the secondary combination
+was indeed made in eastern Europe admits of definite proof. All
+the known variants of The Grateful Dead + The Poison Maiden from
+the west have The Lady and the Monster as well, while three Slavic
+east-European versions [270] are of this type. It follows that the
+compound must have been formed in the east and carried to the west,
+since otherwise the distribution should be precisely the opposite
+of that which obtains. Moreover, had the compound been made in Asia,
+it is improbable that it would have left such a comparatively feeble
+trace in the eastern part of the continent of Europe and later have
+conquered all the west. Other combinations, primary and secondary,
+have also arisen; but, if the collection of variants hitherto made
+is at all adequate, they are of inconsiderable importance.
+
+Meanwhile, the simple theme of The Grateful Dead passed into Europe
+by other paths. Once over the border, it met a tale with which it
+readily combined, producing a type not less influential than the one
+just mentioned. This new motive was The Ransomed Woman, the origin of
+which is at present quite unknown. Though it is seemingly Oriental in
+character, all versions yet unearthed come from Europe, so that its
+provenance must be left in uncertainty. At all events, it was known
+in eastern Europe, and it was there in all probability that it became
+amalgamated with The Grateful Dead. How early this took place cannot
+be stated, but long enough before the fourteenth century to allow the
+passage of the compound type to France by that time, when it was retold
+by Gobius with a good deal of mutilation in his Scala Celi. [271] The
+points of contact, which led to the combination, have already been
+discussed in the chapter dealing with the type. [272] Suffice it to
+say at this point that they were, in brief, the journey of the hero,
+his rescue, and the wife whom he gained at the end of the story. As
+in the case of The Poison Maiden, the compound seems to have arisen
+quite naturally by means of these correspondences, with the end of
+making a more romantic and satisfactory tale. That it took place
+quite unconsciously seems clear, but that the result was successful
+is proved by the solidarity of the type thus produced, though it has
+subsequently been carried into every part of Europe. The relationship
+of versions, between thirty and forty in number, is unmistakable.
+
+That the simple motive of The Grateful Dead was not exhausted by
+the two remarkable combinations just treated, that it retained
+its individuality and independence, is shown by the various minor
+combinations discussed in the third chapter. It is altogether probable
+that other examples of such simple compounds as those containing
+The Swan-Maiden, Puss in Boots, and a story like that told of Pope
+Gregory [273] are in existence, and may be found by later study. One
+can speak only with reference to material at command. Very likely
+other combinations than those treated here are in existence and
+may also appear, either in sporadic cases or in groups. But, the
+reader may ask, if the motive is found in so many compounds, both
+with and without The Poison Maiden and The Ransomed Woman, why does
+it not occur more frequently, at least in folk-literature, without
+combination? To this I should reply that the story is an ancient
+one, which has many points of correspondence with other themes. By
+reason of these traits it has absorbed, or has been absorbed by,
+these other tales, until now it is difficult to find examples of the
+simple form. A thousand years ago, or some such matter, they may,
+indeed, have been frequently retold by the firesides of Europe,
+though now they are practically unknown. The constant tendency of
+folk-tales to change from simplicity to complexity would in time
+cause the pure theme to be generally forgotten. Nevertheless, its
+existence could be proved, even though no example still remained,
+for the various independent compounds would be inexplicable on any
+other theory. In the case of The Grateful Dead, the tales, to which
+it has been joined, have been so interwoven with its substance that
+it is quite impossible to believe, for example, that the combination
+with The Ransomed Woman proceeded from that with The Poison Maiden.
+
+But these simple compounds with a single foreign theme do not complete
+the tale. When once they were formed, they in turn had each a history
+of its own, with infinite possibilities of absorbing traits from other
+stories or even entire themes. In the case of the latter, a reason
+could always be found in such points of contact as I have already
+mentioned, or so I believe, if the material were sufficient for proper
+comparison. In this way arose the complicated types treated in chapter
+six, where the manner of combination is readily seen. [274] Sometimes,
+it is probable, subtraction has taken place as well as addition,
+but apparently only when it has not involved the disentangling of
+various traits. For example, many variants have been noted where one
+of the two most striking features of our central theme, the burial
+of the dead debtor, has disappeared; yet in every case the rest of
+the plot has remained unimpaired. The more complicated the variant,
+the better able is the investigator to place its kinship to other
+variants, provided that he has the requisite material and the patience
+to follow up the clues that every such labyrinth affords.
+
+The most striking facts of general import to the study of
+folk-narrative that have developed in the course of this prolonged
+consideration of The Grateful Dead may be briefly summarized in
+conclusion. It has been shown once again that the story has an organic
+life of its own, whether it comes from the East or the West, whether
+it be founded upon some fact of social custom or belief, or on the
+imaginings of a moralist of antiquity. [275] Once started, it will
+go its way through divers lands and ages, yet retain unaltered the
+essential features of its plot. Call it story-skeleton, or better,
+living organism, it always keeps its structural integrity, no matter
+whether told as a pious legend or a conte à rire. Of no less importance
+than this is the fact that whatever serious changes take place in
+its form are not fortuitous, mere whimsical alterations due to the
+fancy of story-tellers, but are due to capabilities of expansion or
+combination in the plot itself. Whenever two themes with points of
+resemblance, or contact come into the same region, they are in the
+long run pretty certain to unite, each retaining its individuality,
+but merging in the other. This principle is well illustrated in the
+history of The Grateful Dead. The marriages of stories seem never to
+be merely for convenience, except in the hands of conscious writers,
+but to be the result of attraction and real compatibility. That,
+I take it, is why and how narratives develop.
+
+Were it necessary to justify such studies as the present, one might
+add that, apart from helping to the settlement of such more general
+questions as those just mentioned, they throw light on the sources
+of particular literary works, better than does the haphazard search
+for parallels, and they often enable the student to see the relations
+between the literatures of neighbouring countries more clearly than
+he would be able to do without the perspective gained by a comparative
+consideration of a single theme in many lands. In ways like these the
+author hopes that this history of The Grateful Dead may be serviceable.
+
+
+
+                                THE END.
+
+
+
+
+
+
+
+NOTES
+
+
+[1] 1856.
+
+[2] Guter Gerhard, as will be seen later, does not follow the theme
+at all.
+
+[3] P. 114.
+
+[4] 1859, i. 219-221.
+
+[5] Ghost-Thanks or The Grateful Unburied, A Mythic Tale in its Oldest
+European Form, Sir Amadace, 1860.
+
+[6] P. 9.
+
+[7] P. 7.
+
+[8] Germania, iii. 199-210, xii. 55 ff.; Or. u. Occ. ii. 322-329,
+iii. 93-103; Arch. f. slav. Phil. ii. 631-634, v. 40 ff.; Gonzenbach,
+Sicilianische Märchen, 1870, ii. 248-250.
+
+[9] Heidelberger Jahrbücher der Lit. 1868, lxi. 449-452, 1872,
+lxv. 894 f.; Germania, xxiv. 132 f.
+
+[10] P. 449.
+
+[11] Altbayerischer Sagenschatz zur Bereicherung der indogermanischen
+Mythologie, 1876, pp. 678-689.
+
+[12] Contes populaires de Lorraine, i. 214, 215.
+
+[13] Archiv f. d. Stud. d. neueren Sprachen, lxxxi. 141-183.
+
+[14] P. 167. "Ein Jüngling zeigt sich menschenfreundlich gegen die
+Leiche eines Unbekannten (indem er dieselbe vor Schimpf bewahrt,
+bestattet, etc.). Der Geist des Toten gesellt sich darauf zu ihm
+und erweist sich ihm dankbar, indem er ihm zu Reichtum und zum
+Besitze des von ihm zur Frau begehrten Mädchens verhilft, jedoch
+unter der Bedingung, dass er dereinst alles durch ihn Gewonnene mit
+ihm teile. Der Jüngling geht auf diesen Vertrag ein, und der Geist
+stellt sich nach einer gewissen Zeit wieder ein, um das Versprochene
+entgegenzunehmen, verlangt aber nicht die Hälfte des gewonnene Gutes,
+sondern die der Frau. (Schluss variabel.)"
+
+[15] See p. x. above.
+
+[16] P. 180.
+
+[17] See his scheme on p. 181.
+
+[18] Der Dank des Todten in der englischen Literatur, Jahresbericht
+der Staats-Oberrealschule in Troppau, 1894.
+
+[19] Marburg diss. 1894, pp. 43-63.
+
+[20] Folk-Lore, ix. 226-244 (1898).
+
+[21] I have to thank the kindness of Professor Leo Wiener for my
+knowledge of the content of Russian V. and VI., which he was good
+enough to translate for me from the dialect of White Russia.
+
+[22] What the two Bohemian variants contain, which are mentioned by
+Benfey, Pantschatantra, i. 221, note, by Stephens, p. 10, by Köhler,
+Germania, iii. 199-209, and Or. und Occ. ii. 328, note, and by Hippe,
+p. 146, I have been unable to ascertain.
+
+[23] On pp. 194-201 is found a curious "Écho de l'histoire de Tobie."
+
+[24] Hippe's first Lithuanian tale is a variant of The Water of Life
+and will be treated in another connection.
+
+[25] Hippe speaks of "zwei spanische Romanzen." Had he consulted the
+Spanish text or read Köhler's note more attentively, he would have seen
+that a single story runs through nos. 1291 and 1292 of the Romancero.
+
+[26] My attention was called to this variant by the kindness of
+Professor F. De Haan, and I was supplied with a first summary from
+the 1693 edition by the friendly aid of Professor G. T. Northup.
+
+[27] See Crane, Exempla of Jacques de Vitry, 1890, p. lxxxvi.
+
+[28] P. Paris, Manuscrits françois, 1840, iii. 1, and Foerster,
+Richars li Biaus, 1874, p. xxvii, date it from the fifteenth century;
+Suchier, Oeuvres poétiques de Philippe de Beaumanoir, 1884, p. lxxxiv,
+and Wilhelmi, p. 15, from the fourteenth century.
+
+[29] P. Paris, place cited, and Foerster, place cited, say the
+sixteenth century, but Wilhelmi, place cited, the fifteenth.
+
+[30] See Wilhelmi, p. 43.
+
+[31] Foulché-Delbosc, pp. 589, 590.
+
+[32] Work cited, pp. 587, 588.
+
+[33] Place cited.
+
+[34] My attention was first called to this story by the kindness of
+Professor A. C. L. Brown.
+
+[35] An edition with an almost identical title "Printed and sold by
+Larkin How, in Petticoat Lane," of which a copy is in the Harvard
+College library, does not contain our story.
+
+[36] My attention was called to this variant by the kindness of
+Professor Kittredge.
+
+[37] Miss Petersen's conclusion, Sources of the Nonne Prestes Tale,
+p. 109, note, is not altogether convincing, since the vogue of Valerius
+Maximus was so great that other authors than Holkot are likely to
+have quoted Cicero's stories from him. The book may yet be found in
+which the one follows the other "right in the nexte chapitre."
+
+[38] Given by Hippe, pp. 143 f. Wherever Hippe's summaries are adequate
+and careful, I shall refer the reader to his monograph for comparison.
+
+[39] This story has nothing in common with the mediaeval tale of the
+compact between two friends that the first to die shall appear to
+the other. See the writer's North-English Homily Collection, 1902,
+pp. 27-31.
+
+[40] Apparently beneficent spirits, whose nature is half fairy and
+half angel. See Servian V. below.
+
+[41] See chapter viii. and Sepp, pp. 678-680 for illustrations of
+the belief.
+
+[42] One can conceive of separate generation of a very simple story
+under similar conditions, but not, I think, that a series of events
+showing combination of themes or detailed correspondence would
+so arise.
+
+[43] Carnoy and Nicolaides, Traditions populaires de l'Asie Mineure,
+1889, pp. 57-74.
+
+[44] See Baring-Gould's Curious Myths, 2nd ed. 1869, pp. 561 ff. for
+a popular account. The philosophical basis of the tale is discussed
+by Liebrecht, Zur Volkskunde, 1879, pp. 54 ff. (from Germania,
+xiii. 161 ff.), and by Hartland, Science of Fairy Tales, 1891,
+pp. 255-332, 337-347.
+
+[45] See Hippe, p. 148.
+
+[46] Or. und Occ. ii. 176.
+
+[47] Kinder- und Hausmärchen, no. 28. See notes (ed. 1856), iii. 55,
+56; also Köhler, Kleinere Schriften, i. 49, 54.
+
+[48] See Hippe, p. 155. This analysis includes only the second of two
+well-defined parts. The first section is related to the English Sir
+Degarre (ed. from Auchinleck MS. for the Abbotsford Club, 1849; from
+Percy Folio, Hales and Furnivall, Percy Folio MS., 1868, iii. 16-48;
+early prints by Wynkyn de Worde, Copland, and John King; see G. Ellis,
+Specimens of Early English Metrical Romances, 1811, iii. 458 ff.,
+J. Ashton, Romances of Chivalry, 1887, pp. 103 ff., Paul's Grundriss,
+ii. i. 643). This connection was pointed out by Foerster, p. xxiii. The
+same material was used also in a Dutch chapbook, Jan wt den vergiere,
+of which a copy printed at Amsterdam is preserved at Göttingen. See
+the article "Niederländische Volksbücher," by Karl Meyer, in Sammlung
+bibliothekswissenschaftlicher Arbeiten, ed. Dziatzko, viii. 17-22,
+1895. I am indebted for this last reference to the kindness of
+Dr. G. L. Hamilton.
+
+[49] See Hippe, pp. 152 f.
+
+[50] See Hippe, pp. 158 f.
+
+[51] This trait recalls the first of Chaucer's two stories in the
+Nun's Priest's Tale, Cant. Tales, B. 4174-4252, where the comrade is
+found buried with dung on a cart.
+
+[52] For a fuller analysis see Hippe, pp. 160-164.
+
+[53] In Richars, Lion de Bourges, Dianese, and Sir Amadas he pays his
+all, even to his equipment for war, the most logical and, on the whole,
+probably the earlier form of the story.
+
+[54] In all except Old Swedish and Sir Amadas the man was a knight;
+in these he was a merchant, the husband of the woman at whose house
+the hero lodges.
+
+[55] "V le femme u l'auoir ares," v. 5316.
+
+[56] Though in Lion de Bourges he excepts the lady specifically.
+
+[57] See Über Lion de Bourges, particularly pp. 46-54.
+
+[58] See chapter vii.
+
+[59] The Trentall of St. Gregory. The Old French text has been edited
+by P. Meyer, Romania, xv. 281-283. The English versions, of which the
+first seems to be taken from this, are found in the following MSS.:
+(A) Vernon MS. fol. 230, ed. Horstmann, Engl. Stud. viii. 275-277, and
+The Minor Poems of the Vernon MS. i., E.E.T.S. 98, 1892, pp. 260-268;
+Vernon MS. fol. 303, variants given in Horstmann's ed. for E.E.T.S.;
+MS. Cotton Caligula A II., ed. Furnivall, Political, Religious, and
+Love Poems, E.E.T.S. 15, 1866, pp. 83-92, reprinted by Horstmann,
+E.E.T.S. pp. 260-268; MS. Lambeth 306, variants given by Furnivall;
+a critical text with variants of the four was made by A. Kaufmann,
+Trentalle Sancti Gregorii, Erlanger Beiträge, iii. 29-44, 1889. (B)
+MS. 19, 3, 1, Advocates' Libr., Edinburgh, ed. Turnbull, The Visions
+of Tundale, 1843, pp. 77 ff., and Bülbring, Anglia, xiii. 301-308;
+MS. Kk. I, 6, Camb. Univ. Libr., ed. Kaufmann, pp. 44-49. Kaufmann in
+his introduction discusses the relations of the versions. See further
+Varnhagen, Anglia, xiii. 105 f. Another legend of Gregory in popular
+fiction is treated by Bruce in his edition of De Ortu Waluuanii,
+Publications Mod. Lang. Ass. xiii. 372-377. The story in the Gesta
+Romanorum to which Luzel, i. 83, note, refers is this rather than
+our tale.
+
+[60] i. 83 and 90, notes.
+
+[61] Or. und Occ. iii. 99 f.
+
+[62] See Das Märchen vom gestiefelten Kater, Leipzig, 1843; Benfey,
+Pantschatantra, i. 222; Grimm, Kinder- und Hausmärchen, iii. 288;
+Liebrecht, Dunlop's Geschichte der Prosadichtungen, 1851, p. 286;
+Polívka, Arch. f. slav. Phil. xix. 248; etc.
+
+[63] Chapter vi.
+
+[64] An unnecessarily nauseating reason is given by one of them
+(Act i. sc. i.), but this seems to be of Massinger's invention.
+
+[65] P. 8.
+
+[66] It is interesting also to note that a Viennese dramatist of our
+own day has adapted Massinger's drama, retaining a vague reminiscence
+of the thankful dead. The curious may see Der Graf von Charolais by
+Richard Beer-Hofmann, 1905.
+
+[67] See pp. 1 and 2.
+
+[68] P. 181.
+
+[69] Abhandlungen der k. bayerischen Akademie der Wissenschaften,
+1893, pp. 89-166. Reprinted, with some additional notes by the editor,
+in Gesammelte Abhandlungen von Wilhelm Hertz, ed. F. von der Leyen,
+1905, pp. 156-277.
+
+[70] The existing versions go back to the pseudo-Aristotelian De
+secretis secretorum or De regimine principum, which was taken from
+the Arabic in the twelfth century (Hertz, p. 92). It is probable,
+however, that the tale existed far earlier than this and came from
+India (Hertz, pp. 151-155).
+
+[71] Pp. 115 ff.
+
+[72] Two Asiatic parallels not cited by Hertz will serve to illustrate
+the theme further. One of these is "The Story of Swet-Basanta" from
+Lal Behari Day, Folk-tales of Bengal, 1883, pp. 100 f. The hero is
+found by an elephant and made king of a land, where the successive
+sovereigns are killed every night mysteriously. He watches and sees
+something like a thread coming from the queen's nostrils. This proves
+to be a great serpent, which he kills, thus remaining as king. The
+other is from J. H. Knowles, Folk-tales of Kashmir, 1888, pp. 32 ff.,
+"A Lach of Rupees for a Bit of Advice." A prince pays a lach of rupees
+for a paper containing four rules of conduct. His father exiles him
+for this extravagance. In his wanderings the prince finds a potter
+alternately laughing and crying because his son must soon marry a
+princess, who has to be wedded anew each night. So the prince marries
+the woman instead and kills two serpents that come from her nostrils,
+thus retaining the kingdom. In these two stories there is no question
+of aid coming to the hero; he is saved by his own watchfulness.
+
+[73] Tobit, Danish III. (Andersen's tale), and Peele's Old Wives' Tale.
+
+[74] For example, it appears in Schischmánoff's Légendes religíeuses
+bulgares, 1896, pp. 194-201, side by side with our Bulgarian tale.
+
+[75] I summarize from Köhler's reprint in Germania, iii. pp. 202 ff.
+
+[76] Paspati's tale on pp. 605 ff. also has a dragon slain on a
+wedding night by a youth, who keeps watch. This single trait in a
+totally different setting must be borrowed from a Gypsy form of the
+simple or compound theme.
+
+[77] See Annamite, Greek, Oliver, and Walewein. There is something
+approaching it in Rumanian I.
+
+[78] Icelandic I.
+
+[79] Simrock IV.
+
+[80] See Hippe, p. 145.
+
+[81] References to this story have been collected by G. Polívka,
+and printed in Archiv f. slav. Phil. xix. 251, in citing our
+Russian V. He says: "Vgl. Romanov, iv. S. 124, Nr. 65; Weryho,
+Pod. bialoruskie, S. 46; Khudyakov, i. Nr. 11, 12;
+Sadovnikov, S. 44, 310; Manzhura, 61; Dragomanov Mapor. Priep,
+S. 268 f.; Dowojna Sylwestrowicz, ii. 129 f.; Karlowicz, Nr. 19;
+Kolberg, viii. S. 138 f., Nr. 55, 56; xiv. S. 72 f., Nr. 16, 17;
+Ciszewski, i. Nr. 128; Kulda, iii. Nr. 14; Strohal, Nr. 18, 19;
+Kres, iv. S. 350, Nr. 19; Th. Vernaleken, Oesterr. K.H.M. S. 44 f.;
+Ul. Jahn, i. 92, 356; Pröhle, Märchen für die Jugend, S. 42; Wolf,
+D.H.M. 258 f.; Sébillot, Contes des marins, S. 38." As far as I have
+been able to ascertain, these references are all to the tale sketched
+above, uncompounded with The Grateful Dead. I must thank Professor
+Wiener for my knowledge of the Slavic forms, which he very generously
+examined for me as far as the books were available, viz. Romanov,
+Khudyakov, Sadovnikov, Manzura, Dragomanov, Sylwestrowicz, and Kolberg.
+
+[82] See Hippe, pp. 145 f.
+
+[83] For the test of friendship with an apple, see Köhler's
+notes in Gonzenbach, Sicil. Märchen, ii. 259 f., and in
+Arch. f. slav. Phil. v. 44 ff.
+
+[84] Hippe is in error, however, when he says (p. 178) that the
+division is everywhere modified in the European variants. See Russian
+II., IV., V. and VI., Bulgarian, and Esthonian II. Moreover, I believe
+that Hippe's theory puts the cart before the horse--that the actual
+division is not so ancient a trait as it seems. See pp. 74, 75 below.
+
+[85] See Hippe, p. 146.
+
+[86] See chapter vii.
+
+[87] See p. 47, note, above.
+
+[88] P. 19.
+
+[89] See Hippe, pp. 148 f.
+
+[90] See note by Schott, p. 473, in which he gives evidence based
+on personal knowledge, and Grimm, Geschichte der deutschen Sprache,
+p. 92. I have touched on the matter in Engl. Stud. xxxvi. 195-201.
+
+[91] This trait is found not infrequently in other settings. See, for
+example, Vernaleken, Oesterreichische Kinder- und Hausmärchen, p. 141.
+
+[92] This trait recalls Puss in Boots, which is otherwise compounded
+with The Grateful Dead. See preceding chapter, p. 42, and p. 70 below.
+
+[93] See chapter vii.
+
+[94] Kennedy says, p. 38: "In some versions of 'Jack the Master,'
+etc., Jack the servant is the spirit of the dead man."
+
+[95] Chapter vi.
+
+[96] See chapter vii.
+
+[97] The three rods with which the princess is flogged are found in
+Harz I. See pp. 69, 70 below.
+
+[98] See p. 62, note 2.
+
+[99] Pp. 10 f.
+
+[100] Gayley, Representative English Comedies, 1903, pp. 333-384.
+
+[101] P. 345.
+
+[102] Pp. 176-178.
+
+[103] Russian V. and VI. are, of course, exceptions, since the woman
+is there a vampire.
+
+[104] See his scheme on page 181.
+
+[105] See above, p. 1.
+
+[106] See above, pp. 2 and 5.
+
+[107] Pp. 170-175.
+
+[108] P. 173.
+
+[109] See also the school drama cited by Köhler, Germania III. 208
+f. The elements of Der gute Gerhard, foreign to The Ransomed Woman,
+I have treated in the Publications of the Modern Lang. Ass. 1905,
+xx. 529-545.
+
+[110] The same is true of the story related of St. Catharine,
+analyzed by Simrock, pp. 110-113, and cited by Hippe, p. 166, from
+Scala Celi, by Johannes Junior (Gobius), under Castitas. Hippe,
+as shown by his scheme on p. 181, places this under "Legendarische
+Formen mit Loskauf." As a matter of fact, it is plainly a specimen
+of The Calumniated Woman.
+
+[111] Hippe's "Lithuanian II."
+
+[112] Breton III., though placed here, has peculiar traits, which
+require special consideration.
+
+[113] Köhler, followed by Hippe, p. 145, makes the hero live for
+fifteen years on the island, while Mme. Mijatovich gives the time as
+stated. As I have no knowledge of Servian, I cannot tell which is in
+the right. Hippe's analysis is otherwise faulty.
+
+[114] See Hippe, p. 151.
+
+[115] Ibid.
+
+[116] Hippe fails to note that the hero used all his money on the
+first journey in burying the dead, and that it was on a second trip
+that he bought the king's daughter.
+
+[117] Orígenes de la Novela, ii. xcv.
+
+[118] An odd inconsistency appears in the statement of the Latin
+that after the hero's second voyage "pater suus et mater" were angry
+with him.
+
+[119] So, too, with Transylvanian. See above, pp. 79f.
+
+[120] See Hippe, p. 150.
+
+[121] See Hippe, p. 158.
+
+[122] Hippe's brief analysis, p. 159, fails to give a satisfactory
+outline.
+
+[123] Hippe's analysis, p. 159, is not quite adequate.
+
+[124] Russian I. is the only other variant that I know which makes
+the dead man uneasy in his grave.
+
+[125] So also in Servian I. and Icelandic II., cited above, as well
+as Bohemian and Simrock VII., for which see below.
+
+[126] See pp. 79 f.
+
+[127] See pp. 85-87.
+
+[128] See Amis et Amiles und Jourdains de Blaivies, ed. K. Hofmann, 2nd
+ed. 1882; Amis und Amiloun zugleich mit der altfranzösischen Quelle,
+ed. E. Kölbing, 1884, with the comprehensive discussion of versions
+in the introduction; also Kölbing, "Zur Ueberlieferung der Sage von
+Amicus und Amelius," in Paul und Braune's Beiträge iv. 271-314; etc.
+
+[129] Hippe's analysis, p. 156, is different from mine, and is taken
+from a less trustworthy source. I use the summary of the Ghent text.
+
+[130] See p. 49 for other tales in which the dead man is a friend of
+the hero's.
+
+[131] Geschichte des spanischen Nationaldramas, i. 141.
+
+[132] Sir Amadas, for which see p. 37.
+
+[133] Irish I., for which see pp. 62 and 64, Breton I., p. 65, and
+Sir Amadas.
+
+[134] vii.
+
+[135] Hippe's Lithauische III.
+
+[136] See Hippe, pp. 156 f.
+
+[137] Thus III. makes the princess a daughter of the King of Portugal,
+as in I.; IV. gives no names whatever; and V. makes the heroine's
+father King of England.
+
+[138] From Gascony, like III., IV., and V.
+
+[139] The portraits are not displayed on the ship, but on Jean's
+carriage,--a curious deviation.
+
+[140] See pp. 27 and 57.
+
+[141] See chapter vii.
+
+[142] See pp. 104 f.
+
+[143] II. is the only version which has Jean make his first two voyages
+on land, a trait which contradicts the general testimony of the tales
+throughout the chapter.
+
+[144] See pp. 85 f.
+
+[145] P. 146.
+
+[146] See The Legend of Perseus, E. S. Hartland, 1896, volume iii.
+
+[147] See p. 103 above.
+
+[148] In Jean de Calais IX. they set out together, but to the hero's
+home.
+
+[149] So also in Transylvanian. Similarly the hero offers to give
+all of his wife, instead of dividing her, in Dianese, Old Swedish,
+and Old Wives' Tale.
+
+[150] See pp. 100-102.
+
+[151] See pp. 85 f.
+
+[152] See pp. 105 f.
+
+[153] See the paper by Kittredge, Journal of American Folk-Lore,
+xviii. 1-14, 1905.
+
+[154] See pp. 107 f.
+
+[155] In this connection it is cited by Kittredge in the study above
+mentioned, pp. 9 f.
+
+[156] See p. 108.
+
+[157] See p. 101.
+
+[158] See pp. 31 f.
+
+[159] The same loss is evident in Catalan, Spanish, Simrock I.,
+and Simrock VII.
+
+[160] See p. 27 for Jewish.
+
+[161] That is, the rescue of the bridegroom from the creatures which
+possess the bride.
+
+[162] See p. 4 above.
+
+[163] Of course this excludes the group connected with Oliver, which
+has no proper connection with the compound type.
+
+[164] The most adequate treatment of the motive yet published
+is by August Wünsche, Die Sagen vom Lebensbaum und Lebenswasser,
+1905, pp. 90-104. This is the same study which had previously been
+printed in the Zts. f. vergleichende Litteraturgeschichte, 1899,
+N.F. xiii. 166-180, but is furnished with a new introduction and a
+few additional illustrations. Dr. Wünsche's monograph, thoroughgoing
+and conclusive as it is with reference to the myths of the Tree of
+life and the Water of Life, leaves much to be desired as an account
+of the folk-tale based on the latter belief. He himself says in his
+preface, p. iv: "Man sieht auch daraus, dass es sich um Wanderstoffe
+handelt, an die sich immer neue Elemente ankristallisiert haben." These
+elements he has not studied with any degree of completeness. Thus,
+for example, he does not use Cosquin's valuable contributions in
+Contes populaires de Lorraine, i. 212-222, which would have given
+him valuable assistance. The theme yet awaits definitive treatment.
+
+[165] See Wünsche, p. 92.
+
+[166] P. 71.
+
+[167] "The Fountain of Youth," Journal of the American Oriental
+Society, xxvi. 1st half, 19 and 55.
+
+[168] Hopkins, pp. 19, 42, 55, etc.
+
+[169] Wünsche, p. iii: "Es sind altorientalische Mythen, die in
+alle Kulturreligionen übergangen sind. Zeit und Ort haben ihnen ein
+sehr verschiedenes Gepräge gegeben, der Grundgedanke ist derselbe
+geblieben."
+
+[170] P. 71. See also Hopkins, p. 55.
+
+[171] Contes populaires de Lorraine, i. 213.
+
+[172] Pp. 90 f.
+
+[173] See pp. 125-127 below.
+
+[174] Pp. 212-214. He regards the story in Wolf, Hausmärchen, p. 230,
+as linking the two.
+
+[175] P. 91. Cosquin, it will be noted, makes the fruit an alternative
+of the water of life.
+
+[176] For example, "The Baker's Three Daughters" in Mrs. M. Carey's
+Fairy Legends of the French Provinces, 1887, pp. 86 ff., unites the
+water of life with both the magical apples and the bird.
+
+[177] The need of such a study may be shown by stating that, while
+Wünsche has treated about thirty variants, I know at present of
+something like four times that number.
+
+[178] See p. 118 above.
+
+[179] This well-known märchen has been treated by various scholars,
+most recently by G. L. Kittredge, in Arthur and Gorlagon (Studies and
+Notes in Philology and Literature, viii.) 1903, pp. 226 f., from whom
+I take the liberty of transcribing the following references, some of
+which would otherwise be unknown to me. In note 2 to p. 226 he says:
+"See Benfey, Das Märchen von den 'Menschen mit den wunderbaren
+Eigenschaften,' Ausland, 1858, pp. 969 ff. (Kleinere Schriften
+II. iii. 94 ff.); Wesselofsky, in Giovanni da Prato, Il Paradiso
+degli Alberti, 1867, I. ii. 238 ff.; d'Ancona, Studj di Critica
+e Storia Letteraria, 1880, pp. 357-358; Köhler-Bolte, Ztsch. des
+Ver. f. Volkskunde, vi. 77; Köhler, Kleinere Schriften, i. 192 ff.,
+298 ff., 389-390, 431, 544; ii. 591; Cosquin, Contes pop. de Lorraine,
+i. 23 ff.; Crane, Italian Popular Tales, p. 67; Nutt, in MacInnes, Folk
+and Hero Tales, pp. 445 ff.; Laistner, Rätsel der Sphinx ii. 357 ff.;
+Steel, Tales of the Punjab, pp. 42 ff.; Jurkschat, Litauische Märchen,
+pp. 29 ff.; etc." A peculiarly interesting specimen is that in Bladé,
+Contes pop. de la Gascogne, 1886, iii. 12-22. See also Luzel, Contes
+pop. de Basse-Bretagne, 1887, iii. 296-311; Carnoy and Nicolaides,
+Traditions pop. de l'Asie Mineure, 1889, pp. 43-56; and Goldschmidt,
+Russische Märchen, 1883, pp. 69-78.
+
+[180] So I venture to call the story of the woman, who through
+enchantment or her own bad taste is the mistress of an ogre or some
+other monster. She is rescued by a hero, who is able to solve the
+extraordinary riddles or to accomplish the apparently impossible tasks
+which she sets him at the advice of the monster, after other suitors
+have perished in the attempt. See Kittredge, Arthur and Gorlagon,
+p. 250 (note to p. 249); Wesselofsky, Arch. f. slav. Phil. vi. 574. A
+good specimen tale is "The Magic Turban" in R. Nisbet Bain's Turkish
+Fairy Tales, 1901, pp. 102-111.
+
+[181] Kittredge thus summarizes the tale (work cited, p. 226):
+"Three or more brothers (or comrades) are suitors for the hand
+of a beautiful girl. While her father is deliberating, the girl
+disappears. The companions undertake to recover her. One of them,
+by contemplation (or by keenness of sight), finds that she has been
+stolen by a demon (or dragon) and taken to his abode on a rock in the
+sea. Another builds a ship by his magic (or possesses a magic ship)
+which instantly transports them to the rock. Another, who is a skilful
+climber, ascends the castle and finds that the monster is asleep with
+his head in the maiden's lap. Another, a master thief, steals the
+girl without waking her captor. They embark, but are pursued by the
+monster. One of the companions, an unerring shot, kills the pursuer
+with an arrow. The girl is restored to her parents." This analysis
+would not hold for all variants, even when uncompounded (e.g. Grimm,
+Kinder- und Hausmärchen, No. 71, "Sechse kommen durch die ganze Welt")
+but a better could scarcely be made without a systematic study of the
+type. As Kittredge notes, the companions are not at all constant in
+number and function.
+
+[182] Hungarian I., Rumanian II., Straparola II., Sicilian, and
+Treu Heinrich.
+
+[183] Thus Hungarian I. and Rumanian II. with Polish, Sicilian with
+Harz II.
+
+[184] Possibly a trace of some such story as The Quest of the Sword
+of Light discussed by Kittredge, Arthur and Gorlagon, pp. 214 ff.
+
+[185] Since twelve brothers set out to win twelve sisters, there
+is probably a union here with the widespread tale of The Brothers
+and Sisters.
+
+[186] The ship that will travel equally well on land and water is
+seemingly a common trait in forms of The Skilful Companions. See the
+variant cited from Bladé on p. 125, note 3. It occurs in a curious
+tale from Mauritius, given by Baissac, Le Folk-lore de l'Île-Maurice,
+1888, p. 78.
+
+[187] For examples of stories in which a king's son liberates one
+or more prisoners, and has the service returned in an emergency,
+see Child, English and Scottish Popular Ballads, v. 42-48.
+
+[188] See Jonckbloet, ii. 131 ff.
+
+[189] Paris, Hist. litt. de la France, xxx. 82.
+
+[190] The only instance known to me where such transformation occurs
+with reference to the hero.
+
+[191] Walewein and Lotharingian.
+
+[192] Like the wolf in Guillaume de Palerne, which is likewise a
+transformed prince.
+
+[193] Lotharingian comes from a region farther north than any
+other, since the Dutch romance is merely a translation from Old
+French. Simrock IX. is from Tyrol.
+
+[194] See pp. 133-135.
+
+[195] I include all the tales treated in this chapter.
+
+[196] See pp. 58-73.
+
+[197] See p. 126, note 1.
+
+[198] See p. 134.
+
+[199] See p. 133, note 2.
+
+[200] See pp. 92 ff. above, and pp. 156-158 below.
+
+[201] With the form The Grateful Dead + The Water of Life simply.
+
+[202] Pp. 107 f., 111-115.
+
+[203] See pp. 133 f.
+
+[204] See pp. 145-147.
+
+[205] See pp. 146 f.
+
+[206] P. 143.
+
+[207] The date of Treu Heinrich. This gives the date a quo.
+
+[208] The compound existed before the fourteenth century certainly. See
+pp. 117 f.
+
+[209] The date is here determined by the existence of Walewein.
+
+[210] Brazilian.
+
+[211] Venetian has, however, united with other material, which may
+account for this in the one case.
+
+[212] The date of Straparola, one of whose stories belongs to this
+class.
+
+[213] The compound The Grateful Dead + The Poison Maiden had been in
+existence since the end of the first century, as Tobit proves.
+
+[214] See pp. 89 f.
+
+[215] See pp. 33-40.
+
+[216] See pp. 92-96.
+
+[217] See pp. 131-134.
+
+[218] P. 149.
+
+[219] The date of Richars.
+
+[220] See pp. 50, 58.
+
+[221] See pp. 92-111.
+
+[222] See p. 92.
+
+[223] As in Lithuanian II., Breton VII., Simrock I., and Factor's
+Garland.
+
+[224] As in Transylvanian.
+
+[225] As in Jean de Calais I.-X., Basque II., Irish I., Breton I. and
+III., Simrock II. and VIII., and Sir Amadas.
+
+[226] As in Gaelic.
+
+[227] See p. 95.
+
+[228] See pp. 93 f.
+
+[229] See p. 94.
+
+[230] See references in Publ. Mod. Lang. Ass. xx. 545.
+
+[231] See my article in Publ. Mod. Lang. Ass. xix. 427, 430-432.
+
+[232] Pantschatantra, i. §71.
+
+[233] i. 207.
+
+[234] i. 219.
+
+[235] Pp. 126 f.
+
+[236] See p. 27.
+
+[237] So in Polish of the type The Grateful Dead + The Water of Life
+the ghost appears as a plank. See p. 128.
+
+[238] See p. 57.
+
+[239] See pp. 100-102, 104 f.
+
+[240] See pp. 108 ff.
+
+[241] See pp. 115 f.
+
+[242] See pp. 112 f.
+
+[243] See pp. 135 ff.
+
+[244] See also p. 151.
+
+[245] See pp. 28 f.
+
+[246] See the comment of von der Leyen,
+Arch. j. d. St. d. n. Spr. cxiv. 12.
+
+[247] ii. 136.
+
+[248] ii. 121. The story, however, belongs to the domain of general
+literature.
+
+[249] See A. Wiedemann, Die Toten und ihre Reiche im Glauben der
+alten Aegypter, p. 21 (Der alte Orient, ii, 1900).
+
+[250] Zend-Avesta, Vendîdâd, chaps, v. xii.
+
+[251] x. 18. 1.
+
+[252] Iliad, xxiii. 71 ff.
+
+[253] ix. 32.
+
+[254] See pp. 26 f.
+
+[255] Ed. Bartsch, xviii. st. 910 and 911.
+
+[256] P. 27.
+
+[257] P. 28.
+
+[258] Traditions et superstitions de la Haute-Bretagne, 1882, i. 238 f.
+
+[259] MacCulloch, Guernsey Folk Lore, 1903, pp. 283 f.
+
+[260] See W. Crooke in Folk-Lore, xiii. 280-283.
+
+[261] Book iii. w. 4726 ff. of the whole poem (2nd ed. J. Small,
+1883, E. E. T. S. orig. ser. 11, p. 153).
+
+[262] Annamite is an exception, but it cannot be regarded as having
+any organic connection with the cycle.
+
+[263] See Heidelberger Jahrbücher, 1868, p. 449.
+
+[264] Ruling out Simonides, of course, as not clearly belonging to
+the cycle.
+
+[265] Siberian, it will be remembered, is of the same type as Tobit.
+
+[266] See Hertz, pp. 151-155.
+
+[267] For examples, see Hertz, pp. 106-115.
+
+[268] It is not clear whether she was actually divided in the primitive
+forms, or merely threatened. In either case the union would take
+place as stated.
+
+[269] Armenian and Siberian give adequate evidence as to the truth
+of the latter statement, though more Asiatic variants of this type
+are to be desired.
+
+[270] Servian III., Esthonian II., and Rumanian I.
+
+[271] See p. 82.
+
+[272] See pp. 116 f.
+
+[273] See pp. 40 f.
+
+[274] See pp. 125-127, 151 f.
+
+[275] See the author's study, "Forerunners, Congeners, and Derivatives
+of the Eustace Legend" in Publ. Mod. Lang. Ass. xix. 335-448.
+
+
+
+
+
+
+End of Project Gutenberg's The Grateful Dead, by Gordon Hall Gerould
+
+*** END OF THIS PROJECT GUTENBERG EBOOK THE GRATEFUL DEAD ***
+
+***** This file should be named 39408-8.txt or 39408-8.zip *****
+This and all associated files of various formats will be found in:
+        http://www.gutenberg.org/3/9/4/0/39408/
+
+Produced by Jeroen Hellingman and the Online Distributed
+Proofreading Team at http://www.pgdp.net/ for Project
+Gutenberg (This file was produced from images generously
+made available by The Internet Archive/American Libraries.)
+
+
+Updated editions will replace the previous one--the old editions
+will be renamed.
+
+Creating the works from public domain print editions means that no
+one owns a United States copyright in these works, so the Foundation
+(and you!) can copy and distribute it in the United States without
+permission and without paying copyright royalties.  Special rules,
+set forth in the General Terms of Use part of this license, apply to
+copying and distributing Project Gutenberg-tm electronic works to
+protect the PROJECT GUTENBERG-tm concept and trademark.  Project
+Gutenberg is a registered trademark, and may not be used if you
+charge for the eBooks, unless you receive specific permission.  If you
+do not charge anything for copies of this eBook, complying with the
+rules is very easy.  You may use this eBook for nearly any purpose
+such as creation of derivative works, reports, performances and
+research.  They may be modified and printed and given away--you may do
+practically ANYTHING with public domain eBooks.  Redistribution is
+subject to the trademark license, especially commercial
+redistribution.
+
+
+
+*** START: FULL LICENSE ***
+
+THE FULL PROJECT GUTENBERG LICENSE
+PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
+
+To protect the Project Gutenberg-tm mission of promoting the free
+distribution of electronic works, by using or distributing this work
+(or any other work associated in any way with the phrase "Project
+Gutenberg"), you agree to comply with all the terms of the Full Project
+Gutenberg-tm License (available with this file or online at
+http://gutenberg.org/license).
+
+
+Section 1.  General Terms of Use and Redistributing Project Gutenberg-tm
+electronic works
+
+1.A.  By reading or using any part of this Project Gutenberg-tm
+electronic work, you indicate that you have read, understand, agree to
+and accept all the terms of this license and intellectual property
+(trademark/copyright) agreement.  If you do not agree to abide by all
+the terms of this agreement, you must cease using and return or destroy
+all copies of Project Gutenberg-tm electronic works in your possession.
+If you paid a fee for obtaining a copy of or access to a Project
+Gutenberg-tm electronic work and you do not agree to be bound by the
+terms of this agreement, you may obtain a refund from the person or
+entity to whom you paid the fee as set forth in paragraph 1.E.8.
+
+1.B.  "Project Gutenberg" is a registered trademark.  It may only be
+used on or associated in any way with an electronic work by people who
+agree to be bound by the terms of this agreement.  There are a few
+things that you can do with most Project Gutenberg-tm electronic works
+even without complying with the full terms of this agreement.  See
+paragraph 1.C below.  There are a lot of things you can do with Project
+Gutenberg-tm electronic works if you follow the terms of this agreement
+and help preserve free future access to Project Gutenberg-tm electronic
+works.  See paragraph 1.E below.
+
+1.C.  The Project Gutenberg Literary Archive Foundation ("the Foundation"
+or PGLAF), owns a compilation copyright in the collection of Project
+Gutenberg-tm electronic works.  Nearly all the individual works in the
+collection are in the public domain in the United States.  If an
+individual work is in the public domain in the United States and you are
+located in the United States, we do not claim a right to prevent you from
+copying, distributing, performing, displaying or creating derivative
+works based on the work as long as all references to Project Gutenberg
+are removed.  Of course, we hope that you will support the Project
+Gutenberg-tm mission of promoting free access to electronic works by
+freely sharing Project Gutenberg-tm works in compliance with the terms of
+this agreement for keeping the Project Gutenberg-tm name associated with
+the work.  You can easily comply with the terms of this agreement by
+keeping this work in the same format with its attached full Project
+Gutenberg-tm License when you share it without charge with others.
+
+1.D.  The copyright laws of the place where you are located also govern
+what you can do with this work.  Copyright laws in most countries are in
+a constant state of change.  If you are outside the United States, check
+the laws of your country in addition to the terms of this agreement
+before downloading, copying, displaying, performing, distributing or
+creating derivative works based on this work or any other Project
+Gutenberg-tm work.  The Foundation makes no representations concerning
+the copyright status of any work in any country outside the United
+States.
+
+1.E.  Unless you have removed all references to Project Gutenberg:
+
+1.E.1.  The following sentence, with active links to, or other immediate
+access to, the full Project Gutenberg-tm License must appear prominently
+whenever any copy of a Project Gutenberg-tm work (any work on which the
+phrase "Project Gutenberg" appears, or with which the phrase "Project
+Gutenberg" is associated) is accessed, displayed, performed, viewed,
+copied or distributed:
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org/license
+
+1.E.2.  If an individual Project Gutenberg-tm electronic work is derived
+from the public domain (does not contain a notice indicating that it is
+posted with permission of the copyright holder), the work can be copied
+and distributed to anyone in the United States without paying any fees
+or charges.  If you are redistributing or providing access to a work
+with the phrase "Project Gutenberg" associated with or appearing on the
+work, you must comply either with the requirements of paragraphs 1.E.1
+through 1.E.7 or obtain permission for the use of the work and the
+Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
+1.E.9.
+
+1.E.3.  If an individual Project Gutenberg-tm electronic work is posted
+with the permission of the copyright holder, your use and distribution
+must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
+terms imposed by the copyright holder.  Additional terms will be linked
+to the Project Gutenberg-tm License for all works posted with the
+permission of the copyright holder found at the beginning of this work.
+
+1.E.4.  Do not unlink or detach or remove the full Project Gutenberg-tm
+License terms from this work, or any files containing a part of this
+work or any other work associated with Project Gutenberg-tm.
+
+1.E.5.  Do not copy, display, perform, distribute or redistribute this
+electronic work, or any part of this electronic work, without
+prominently displaying the sentence set forth in paragraph 1.E.1 with
+active links or immediate access to the full terms of the Project
+Gutenberg-tm License.
+
+1.E.6.  You may convert to and distribute this work in any binary,
+compressed, marked up, nonproprietary or proprietary form, including any
+word processing or hypertext form.  However, if you provide access to or
+distribute copies of a Project Gutenberg-tm work in a format other than
+"Plain Vanilla ASCII" or other format used in the official version
+posted on the official Project Gutenberg-tm web site (www.gutenberg.org),
+you must, at no additional cost, fee or expense to the user, provide a
+copy, a means of exporting a copy, or a means of obtaining a copy upon
+request, of the work in its original "Plain Vanilla ASCII" or other
+form.  Any alternate format must include the full Project Gutenberg-tm
+License as specified in paragraph 1.E.1.
+
+1.E.7.  Do not charge a fee for access to, viewing, displaying,
+performing, copying or distributing any Project Gutenberg-tm works
+unless you comply with paragraph 1.E.8 or 1.E.9.
+
+1.E.8.  You may charge a reasonable fee for copies of or providing
+access to or distributing Project Gutenberg-tm electronic works provided
+that
+
+- You pay a royalty fee of 20% of the gross profits you derive from
+     the use of Project Gutenberg-tm works calculated using the method
+     you already use to calculate your applicable taxes.  The fee is
+     owed to the owner of the Project Gutenberg-tm trademark, but he
+     has agreed to donate royalties under this paragraph to the
+     Project Gutenberg Literary Archive Foundation.  Royalty payments
+     must be paid within 60 days following each date on which you
+     prepare (or are legally required to prepare) your periodic tax
+     returns.  Royalty payments should be clearly marked as such and
+     sent to the Project Gutenberg Literary Archive Foundation at the
+     address specified in Section 4, "Information about donations to
+     the Project Gutenberg Literary Archive Foundation."
+
+- You provide a full refund of any money paid by a user who notifies
+     you in writing (or by e-mail) within 30 days of receipt that s/he
+     does not agree to the terms of the full Project Gutenberg-tm
+     License.  You must require such a user to return or
+     destroy all copies of the works possessed in a physical medium
+     and discontinue all use of and all access to other copies of
+     Project Gutenberg-tm works.
+
+- You provide, in accordance with paragraph 1.F.3, a full refund of any
+     money paid for a work or a replacement copy, if a defect in the
+     electronic work is discovered and reported to you within 90 days
+     of receipt of the work.
+
+- You comply with all other terms of this agreement for free
+     distribution of Project Gutenberg-tm works.
+
+1.E.9.  If you wish to charge a fee or distribute a Project Gutenberg-tm
+electronic work or group of works on different terms than are set
+forth in this agreement, you must obtain permission in writing from
+both the Project Gutenberg Literary Archive Foundation and Michael
+Hart, the owner of the Project Gutenberg-tm trademark.  Contact the
+Foundation as set forth in Section 3 below.
+
+1.F.
+
+1.F.1.  Project Gutenberg volunteers and employees expend considerable
+effort to identify, do copyright research on, transcribe and proofread
+public domain works in creating the Project Gutenberg-tm
+collection.  Despite these efforts, Project Gutenberg-tm electronic
+works, and the medium on which they may be stored, may contain
+"Defects," such as, but not limited to, incomplete, inaccurate or
+corrupt data, transcription errors, a copyright or other intellectual
+property infringement, a defective or damaged disk or other medium, a
+computer virus, or computer codes that damage or cannot be read by
+your equipment.
+
+1.F.2.  LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
+of Replacement or Refund" described in paragraph 1.F.3, the Project
+Gutenberg Literary Archive Foundation, the owner of the Project
+Gutenberg-tm trademark, and any other party distributing a Project
+Gutenberg-tm electronic work under this agreement, disclaim all
+liability to you for damages, costs and expenses, including legal
+fees.  YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
+LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
+PROVIDED IN PARAGRAPH 1.F.3.  YOU AGREE THAT THE FOUNDATION, THE
+TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
+LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
+INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
+DAMAGE.
+
+1.F.3.  LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
+defect in this electronic work within 90 days of receiving it, you can
+receive a refund of the money (if any) you paid for it by sending a
+written explanation to the person you received the work from.  If you
+received the work on a physical medium, you must return the medium with
+your written explanation.  The person or entity that provided you with
+the defective work may elect to provide a replacement copy in lieu of a
+refund.  If you received the work electronically, the person or entity
+providing it to you may choose to give you a second opportunity to
+receive the work electronically in lieu of a refund.  If the second copy
+is also defective, you may demand a refund in writing without further
+opportunities to fix the problem.
+
+1.F.4.  Except for the limited right of replacement or refund set forth
+in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER
+WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
+WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.
+
+1.F.5.  Some states do not allow disclaimers of certain implied
+warranties or the exclusion or limitation of certain types of damages.
+If any disclaimer or limitation set forth in this agreement violates the
+law of the state applicable to this agreement, the agreement shall be
+interpreted to make the maximum disclaimer or limitation permitted by
+the applicable state law.  The invalidity or unenforceability of any
+provision of this agreement shall not void the remaining provisions.
+
+1.F.6.  INDEMNITY - You agree to indemnify and hold the Foundation, the
+trademark owner, any agent or employee of the Foundation, anyone
+providing copies of Project Gutenberg-tm electronic works in accordance
+with this agreement, and any volunteers associated with the production,
+promotion and distribution of Project Gutenberg-tm electronic works,
+harmless from all liability, costs and expenses, including legal fees,
+that arise directly or indirectly from any of the following which you do
+or cause to occur: (a) distribution of this or any Project Gutenberg-tm
+work, (b) alteration, modification, or additions or deletions to any
+Project Gutenberg-tm work, and (c) any Defect you cause.
+
+
+Section  2.  Information about the Mission of Project Gutenberg-tm
+
+Project Gutenberg-tm is synonymous with the free distribution of
+electronic works in formats readable by the widest variety of computers
+including obsolete, old, middle-aged and new computers.  It exists
+because of the efforts of hundreds of volunteers and donations from
+people in all walks of life.
+
+Volunteers and financial support to provide volunteers with the
+assistance they need, are critical to reaching Project Gutenberg-tm's
+goals and ensuring that the Project Gutenberg-tm collection will
+remain freely available for generations to come.  In 2001, the Project
+Gutenberg Literary Archive Foundation was created to provide a secure
+and permanent future for Project Gutenberg-tm and future generations.
+To learn more about the Project Gutenberg Literary Archive Foundation
+and how your efforts and donations can help, see Sections 3 and 4
+and the Foundation web page at http://www.pglaf.org.
+
+
+Section 3.  Information about the Project Gutenberg Literary Archive
+Foundation
+
+The Project Gutenberg Literary Archive Foundation is a non profit
+501(c)(3) educational corporation organized under the laws of the
+state of Mississippi and granted tax exempt status by the Internal
+Revenue Service.  The Foundation's EIN or federal tax identification
+number is 64-6221541.  Its 501(c)(3) letter is posted at
+http://pglaf.org/fundraising.  Contributions to the Project Gutenberg
+Literary Archive Foundation are tax deductible to the full extent
+permitted by U.S. federal laws and your state's laws.
+
+The Foundation's principal office is located at 4557 Melan Dr. S.
+Fairbanks, AK, 99712., but its volunteers and employees are scattered
+throughout numerous locations.  Its business office is located at
+809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
+business@pglaf.org.  Email contact links and up to date contact
+information can be found at the Foundation's web site and official
+page at http://pglaf.org
+
+For additional contact information:
+     Dr. Gregory B. Newby
+     Chief Executive and Director
+     gbnewby@pglaf.org
+
+
+Section 4.  Information about Donations to the Project Gutenberg
+Literary Archive Foundation
+
+Project Gutenberg-tm depends upon and cannot survive without wide
+spread public support and donations to carry out its mission of
+increasing the number of public domain and licensed works that can be
+freely distributed in machine readable form accessible by the widest
+array of equipment including outdated equipment.  Many small donations
+($1 to $5,000) are particularly important to maintaining tax exempt
+status with the IRS.
+
+The Foundation is committed to complying with the laws regulating
+charities and charitable donations in all 50 states of the United
+States.  Compliance requirements are not uniform and it takes a
+considerable effort, much paperwork and many fees to meet and keep up
+with these requirements.  We do not solicit donations in locations
+where we have not received written confirmation of compliance.  To
+SEND DONATIONS or determine the status of compliance for any
+particular state visit http://pglaf.org
+
+While we cannot and do not solicit contributions from states where we
+have not met the solicitation requirements, we know of no prohibition
+against accepting unsolicited donations from donors in such states who
+approach us with offers to donate.
+
+International donations are gratefully accepted, but we cannot make
+any statements concerning tax treatment of donations received from
+outside the United States.  U.S. laws alone swamp our small staff.
+
+Please check the Project Gutenberg Web pages for current donation
+methods and addresses.  Donations are accepted in a number of other
+ways including checks, online payments and credit card donations.
+To donate, please visit: http://pglaf.org/donate
+
+
+Section 5.  General Information About Project Gutenberg-tm electronic
+works.
+
+Professor Michael S. Hart is the originator of the Project Gutenberg-tm
+concept of a library of electronic works that could be freely shared
+with anyone.  For thirty years, he produced and distributed Project
+Gutenberg-tm eBooks with only a loose network of volunteer support.
+
+
+Project Gutenberg-tm eBooks are often created from several printed
+editions, all of which are confirmed as Public Domain in the U.S.
+unless a copyright notice is included.  Thus, we do not necessarily
+keep eBooks in compliance with any particular paper edition.
+
+
+Most people start at our Web site which has the main PG search facility:
+
+     http://www.gutenberg.org
+
+This Web site includes information about Project Gutenberg-tm,
+including how to make donations to the Project Gutenberg Literary
+Archive Foundation, how to help produce our new eBooks, and how to
+subscribe to our email newsletter to hear about new eBooks.
diff --git a/39408-8.zip b/39408-8.zip
new file mode 100644
index 0000000..7de3365
--- /dev/null
+++ b/39408-8.zip
diff --git a/39408-h.zip b/39408-h.zip
new file mode 100644
index 0000000..a029348
--- /dev/null
+++ b/39408-h.zip
diff --git a/39408-h/39408-h.htm b/39408-h/39408-h.htm
new file mode 100644
index 0000000..8a40c97
--- /dev/null
+++ b/39408-h/39408-h.htm
@@ -0,0 +1,9259 @@
+<!DOCTYPE html PUBLIC "-//W3C//DTD HTML 4.01 Transitional//EN"
+"http://www.w3.org/TR/html4/loose.dtd">
+<!-- This HTML file has been automatically generated from an XML source on 2012-04-09T12:07:39Z. -->
+<html lang="en">
+<head>
+<meta name="generator" content=
+"HTML Tidy for Windows (vers 25 March 2009), see www.w3.org">
+<title>The Grateful Dead: The History of a Folk Story</title>
+<meta http-equiv="content-type" content="text/html; charset=us-ascii">
+<meta name="generator" content=
+"tei2html.xsl, see http://code.google.com/p/tei2html/">
+<meta name="author" content="Gordon Hall Gerould (1877&ndash;1953)">
+<link rel="schema.DC" href=
+"http://dublincore.org/documents/1998/09/dces/">
+<meta name="DC.Creator" content=
+"Gordon Hall Gerould (1877&ndash;1953)">
+<meta name="DC.Title" content=
+"The Grateful Dead: The History of a Folk Story">
+<meta name="DC.Language" content="en">
+<meta name="DC.Format" content="text/html">
+<meta name="DC.Publisher" content="Project Gutenberg">
+<meta name="DC:Subject" content="Grateful dead (Tale)">
+<meta name="DC:Subject" content="Dead">
+<meta name="DC:Subject" content="Folk-lore">
+<meta name="DC:Subject" content="Folk literature">
+<style type="text/css">
+body
+{
+font: 100%/1.2em "Times New Roman", Times, serif;
+margin: 1.58em 16%;
+text-align: left;
+}
+/* Titlepage */
+.titlePage
+{
+border: #DDDDDD 2px solid;
+margin: 3em 0% 7em 0%;
+padding: 5em 10% 6em 10%;
+text-align: center;
+}
+.titlePage .docTitle
+{
+line-height: 3.5em;
+margin: 2em 0% 2em 0%;
+font-weight: bold;
+}
+.titlePage .docTitle .mainTitle
+{
+font-size: 1.8em;
+}
+.titlePage .docTitle .subTitle, .titlePage .docTitle .seriesTitle, .titlePage .docTitle .volumeTitle
+{
+font-size: 1.44em;
+}
+.titlePage .byline
+{
+margin: 2em 0% 2em 0%;
+font-size:1.2em;
+line-height:1.72em;
+}
+.titlePage .byline .docAuthor
+{
+font-size: 1.2em;
+font-weight: bold;
+}
+.titlePage .figure
+{
+margin: 2em 0% 2em 0%;
+margin-left: auto;
+margin-right: auto;
+}
+.titlePage .docImprint
+{
+margin: 4em 0% 0em 0%;
+font-size: 1.2em;
+line-height: 1.72em;
+}
+.titlePage .docImprint .docDate
+{
+font-size: 1.2em;
+font-weight: bold;
+}
+/* End Titlepage */
+.transcribernote
+{
+background-color:#DDE;
+border:black 1px dotted;
+color:#000;
+font-family:sans-serif;
+font-size:80%;
+margin:2em 5%;
+padding:1em;
+}
+.advertisment
+{
+background-color:#FFFEE0;
+border:black 1px dotted;
+color:#000;
+margin:2em 5%;
+padding:1em;
+}
+.correctiontable
+{
+width: 75%;
+}
+.width20
+{
+width: 20%;
+}
+.width40
+{
+width: 40%;
+}
+.indextoc
+{
+text-align: center;
+}
+.div0
+{
+padding-top: 5.6em;
+}
+.div1
+{
+padding-top: 4.8em;
+}
+.index
+{
+font-size: 80%;
+}
+.div2
+{
+padding-top: 3.6em;
+}
+.div3, .div4, .div5
+{
+padding-top: 2.4em;
+}
+.footnotes .body,
+.footnotes .div1
+{
+padding: 0;
+}
+.apparatusnote
+{
+text-decoration: none;
+}
+table.alignedtext
+{
+border-collapse: collapse;
+}
+table.alignedtext td
+{
+vertical-align: top;
+width: 50%;
+}
+table.alignedtext td.first
+{
+border-width: 0 0.2px 0 0;
+border-color: gray;
+border-style: solid;
+padding-right: 10px;
+}
+table.alignedtext td.second
+{
+padding-left: 10px;
+}
+h1, h2, h3, h4, h5, h6, .h1, .h2, .h3, .h4
+{
+clear: both;
+font-style: normal;
+text-transform: none;
+}
+h3, .h3
+{
+font-size:1.2em;
+line-height:1.2em;
+}
+h3.label
+{
+font-size:1em;
+line-height:1.2em;
+margin-bottom:0;
+}
+h4, .h4
+{
+font-size:1em;
+line-height:1.2em;
+}
+.alignleft
+{
+text-align:left;
+}
+.alignright
+{
+text-align:right;
+}
+.alignblock
+{
+text-align:justify;
+}
+p.tb, hr.tb
+{
+margin-top: 1.6em;
+margin-bottom: 1.6em;
+margin-left: auto;
+margin-right: auto;
+text-align: center;
+}
+p.argument, p.note, p.tocArgument
+{
+font-size:0.9em;
+line-height:1.2em;
+text-indent:0;
+}
+p.argument, p.tocArgument
+{
+margin:1.58em 10%;
+}
+p.tocPart
+{
+margin:1.58em 0%;
+font-variant: small-caps;
+}
+p.tocChapter
+{
+margin:1.58em 0%;
+}
+p.tocSection
+{
+margin:0.7em 5%;
+}
+.opener, .address
+{
+margin-top: 1.6em;
+margin-bottom: 1.6em;
+}
+.addrline
+{
+margin-top: 0;
+margin-bottom: 0;
+}
+.dateline
+{
+margin-top: 1.6em;
+margin-bottom: 1.6em;
+text-align: right;
+}
+.salute
+{
+margin-top: 1.6em;
+margin-left: 3.58em;
+text-indent: -2em;
+}
+.signed
+{
+margin-top: 1.6em;
+margin-left: 3.58em;
+text-indent: -2em;
+}
+.epigraph
+{
+font-size:0.9em;
+line-height:1.2em;
+width: 60%;
+margin-left: auto;
+}
+.epigraph span.bibl
+{
+display: block;
+text-align: right;
+}
+.trailer
+{
+clear: both;
+padding-top: 2.4em;
+padding-bottom: 1.6em;
+}
+.figure
+{
+margin-left: auto;
+margin-right: auto;
+}
+.floatLeft
+{
+float:left;
+margin:10px 10px 10px 0;
+}
+.floatRight
+{
+float:right;
+margin:10px 0 10px 10px;
+}
+p.figureHead
+{
+font-size:100%;
+text-align:center;
+}
+.figAnnotation
+{
+font-size:80%;
+position:relative;
+margin: 0 auto; /* center this */
+}
+.figTopLeft, .figBottomLeft
+{
+float: left;
+}
+.figTop, .figBottom
+{
+}
+.figTopRight, .figBottomRight
+{
+float: right;
+}
+.hangq
+{
+text-indent: -0.35em;
+}
+.hangqq
+{
+text-indent: -0.44em;
+}
+.hangqqq
+{
+text-indent: -0.78em;
+}
+.figure p
+{
+font-size:80%;
+margin-top:0;
+text-align:center;
+}
+img
+{
+border-width:0;
+}
+p.smallprint,li.smallprint
+{
+color:#666666;
+font-size:80%;
+}
+span.parnum
+{
+font-weight: bold;
+}
+.marginnote
+{
+font-size:0.8em;
+height:0;
+left:1%;
+line-height:1.2em;
+position:absolute;
+text-indent:0;
+width:14%;
+}
+.pagenum
+{
+display:inline;
+font-size:70%;
+font-style:normal;
+margin:0;
+padding:0;
+position:absolute;
+right:1%;
+text-align:right;
+}
+a.noteref, a.pseudonoteref
+{
+font-size: 80%;
+text-decoration: none;
+vertical-align: 0.25em;
+}
+.displayfootnote
+{
+display: none;
+}
+div.footnotes
+{
+font-size: 80%;
+margin-top: 1em;
+padding: 0;
+}
+hr.fnsep
+{
+margin-left: 0;
+margin-right: 0;
+text-align: left;
+width: 25%;
+}
+p.footnote
+{
+margin-bottom: 0.5em;
+margin-top: 0.5em;
+}
+p.footnote .label
+{
+float:left;
+width:2em;
+height:12pt;
+display:block;
+}
+/* Tables */
+tr, td, th
+{
+vertical-align: top;
+}
+td.bottom
+{
+vertical-align: bottom;
+}
+td.label, tr.label td
+{
+font-weight: bold;
+}
+td.unit, tr.unit td
+{
+font-style: italic;
+}
+td.sum
+{
+padding-top: 2px; border-top: solid black 1px;
+}
+/* Poetry */
+.lgouter
+{
+margin-left: auto;
+margin-right: auto;
+display:table; /* used to make the block shrink to the actual size */
+}
+.lg
+{
+text-align: left;
+}
+.lg h4, .lgouter h4
+{
+font-weight: normal;
+}
+.lg .linenum, .sp .linenum, .lgouter .linenum
+{
+color:#777;
+font-size:90%;
+left: 16%;
+margin:0;
+position:absolute;
+text-align:center;
+text-indent:0;
+top:auto;
+width:1.75em;
+}
+p.line
+{
+margin: 0 0% 0 0%;
+}
+span.hemistich /* invisible text to achieve visual effect of hemistich indentation. */
+{
+color: white;
+}
+.versenum
+{
+font-weight:bold;
+}
+/* Drama */
+.speaker
+{
+font-weight: bold;
+margin-bottom: 0.4em;
+}
+.sp .line
+{
+margin: 0 10%;
+text-align: left;
+}
+/* End Drama */
+/* right aligned page number in table of contents */
+.tocPagenum, .flushright
+{
+position: absolute;
+right: 16%;
+top: auto;
+}
+table.tocList
+{
+width: 100%;
+margin-left: auto;
+margin-right: auto;
+border-width: 0;
+border-collapse: collapse;
+}
+td.tocPageNum, td.tocDivNum
+{
+text-align: right;
+width: 10%;
+border-width: 0;
+}
+td.tocDivNum
+{
+padding-left: 0;
+padding-right: 0.5em;
+}
+td.tocPageNum
+{
+padding-left: 0.5em;
+padding-right: 0;
+}
+td.tocDivTitle
+{
+width: auto;
+}
+span.corr, span.gap
+{
+border-bottom:1px dotted red;
+}
+span.abbr
+{
+border-bottom:1px dotted gray;
+}
+span.measure
+{
+border-bottom:1px dotted green;
+}
+/* Font Styles and Colors */
+.ex
+{
+letter-spacing: 0.2em;
+}
+.sc
+{
+font-variant: small-caps;
+}
+.uc
+{
+text-transform: uppercase;
+}
+.tt
+{
+font-family: monospace;
+}
+.underline
+{
+text-decoration: underline;
+}
+/* overline is actually a bit too high; overtilde is approximated with overline */
+.overline, .overtilde
+{
+text-decoration: overline;
+}
+.rm
+{
+font-style: normal;
+}
+.red
+{
+color: red;
+}
+/* End Font Styles and Colors */
+hr
+{
+clear:both;
+height:1px;
+margin-left:auto;
+margin-right:auto;
+margin-top:1em;
+text-align:center;
+width:45%;
+}
+.aligncenter, div.figure
+{
+text-align:center;
+}
+h1, h2
+{
+font-size:1.44em;
+line-height:1.5em;
+}
+h1.label, h2.label
+{
+font-size:1.2em;
+line-height:1.2em;
+margin-bottom:0;
+}
+h5, h6
+{
+font-size:1em;
+font-style:italic;
+line-height:1em;
+}
+p
+{
+text-indent:0;
+}
+p.firstlinecaps:first-line
+{
+text-transform: uppercase;
+}
+p.dropcap:first-letter
+{
+float: left;
+clear: left;
+margin: 0em 0.05em 0 0;
+padding: 0px;
+line-height: 0.8em;
+font-size: 420%;
+vertical-align:super;
+}
+.lg
+{
+padding: .5em 0% .5em 0%;
+}
+p.quote,div.blockquote, div.argument
+{
+font-size:0.9em;
+line-height:1.2em;
+margin:1.58em 5%;
+}
+.pagenum a, a.noteref:hover, a.hidden:hover, a.hidden
+{
+text-decoration:none;
+}
+ul { list-style-type: none; }
+.castlist, .castitem { list-style-type: none; }
+/* External Links */
+.pglink, .catlink, .exlink, .wplink, .biblink
+{
+background-repeat: no-repeat;
+background-position: right center;
+}
+.pglink
+{
+background-image: url(images/book.png);
+padding-right: 18px;
+}
+.catlink
+{
+background-image: url(images/card.png);
+padding-right: 17px;
+}
+.exlink, .wplink, .biblink
+{
+background-image: url(images/external.png);
+padding-right: 13px;
+}
+.pglink:hover
+{
+background-color: #DCFFDC;
+}
+.catlink:hover
+{
+background-color: #FFFFDC;
+}
+.exlink:hover, .wplink:hover, .biblink:hover
+{
+background-color: #FFDCDC;
+}
+body
+{
+background: #FFFFFF;
+font-family: "Times New Roman", Times, serif;
+}
+body, a.hidden
+{
+color: black;
+}
+.titlePage
+{
+color: #001FA4;
+font-family: Verdana, Arial, Helvetica, sans-serif;
+}
+h1, h2, h3, h4, h5, h6, .h1, .h2, .h3, .h4
+{
+color: #001FA4;
+font-family: Verdana, Arial, Helvetica, sans-serif;
+}
+p.byline
+{
+font-style: italic;
+margin-bottom: 2em;
+}
+.figureHead, .noteref, .pseudonoteref, .marginnote, p.legend, .versenum, .stage
+{
+color: #001FA4;
+}
+.rightnote, .pagenum, .linenum, .pagenum a
+{
+color: #AAAAAA;
+}
+a.hidden:hover, a.noteref:hover
+{
+color: red;
+}
+p.dropcap:first-letter
+{
+color: #001FA4;
+font-weight: bold;
+}
+sub, sup
+{
+line-height: 0;
+}
+.pagenum, .linenum
+{
+speak: none;
+}
+</style>
+
+<style type="text/css">
+.xd20e143width
+{
+width:439px;
+}
+.xd20e159width
+{
+width:242px;
+}
+.xd20e177width
+{
+width:441px;
+}
+.xd20e217
+{
+text-align:center;font-size:smaller;
+}
+.xd20e225
+{
+text-align:center;font-size:larger;
+}
+.xd20e227
+{
+text-align:center;
+}
+.xd20e6377
+{
+width:2em;
+}
+.xd20e6406
+{
+vertical-align:middle;
+}
+.xd20e6407
+{
+vertical-align:middle;
+}
+.xd20e7310
+{
+text-indent:2em;
+}
+</style>
+</head>
+<body>
+
+
+<pre>
+
+The Project Gutenberg EBook of The Grateful Dead, by Gordon Hall Gerould
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org/license
+
+
+Title: The Grateful Dead
+       The History of a Folk Story
+
+Author: Gordon Hall Gerould
+
+Release Date: April 9, 2012 [EBook #39408]
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK THE GRATEFUL DEAD ***
+
+
+
+
+Produced by Jeroen Hellingman and the Online Distributed
+Proofreading Team at http://www.pgdp.net/ for Project
+Gutenberg (This file was produced from images generously
+made available by The Internet Archive/American Libraries.)
+
+
+
+
+
+
+</pre>
+
+<div class="front">
+<div class="div1 titlepage"><span class="pagenum">[<a href=
+"#toc">Contents</a>]</span>
+<div class="divBody">
+<p class="first"></p>
+<div class="figure xd20e143width"><img src=
+"images/titlepage-series.gif" alt="Original Series Title Page." width=
+"439" height="720"></div>
+</div>
+</div>
+<div class="titlePage">
+<div class="docImprint"><br>
+The Folk-Lore Society<br>
+For Collecting and Printing<br>
+Relics of Popular Antiquities, &amp;c.<br>
+Established in<br>
+The Year MDCCCLXXVIII.</div>
+<div class="figure xd20e159width"><img src="images/logo.jpg" alt=
+"Alter et Idem." width="242" height="302">
+<p class="figureHead">Alter et Idem.</p>
+</div>
+<div class="docTitle">
+<div class="mainTitle">Publications<br>
+Of<br>
+The Folk-lore Society</div>
+<div class="subTitle">LX.</div>
+</div>
+<div class="docImprint"><span class="docDate">[1907]</span></div>
+</div>
+<p><span class="pagenum">[<a id="xd20e174" href="#xd20e174" name=
+"xd20e174">iii</a>]</span></p>
+<div class="div1 titlepage"><span class="pagenum">[<a href=
+"#toc">Contents</a>]</span>
+<div class="divBody">
+<p class="first"></p>
+<div class="figure xd20e177width"><img src="images/titlepage.gif" alt=
+"Original Title Page." width="441" height="720"></div>
+</div>
+</div>
+<div class="titlePage">
+<div class="docTitle">
+<div class="mainTitle">The Grateful Dead</div>
+<div class="subTitle">The History of a Folk Story</div>
+</div>
+<div class="byline">By<br>
+<span class="docAuthor">Gordon Hall Gerould</span><br>
+<i>B. Litt.</i> (<i>Oxon.</i>)<br>
+Preceptor in English in Princeton University</div>
+<div class="docImprint">Published for the Folk-Lore Society by<br>
+David Nutt, 57&mdash;59 Long Acre<br>
+London<br>
+<span class="docDate">1908</span></div>
+</div>
+<p><span class="pagenum">[<a id="xd20e215" href="#xd20e215" name=
+"xd20e215">iv</a>]</span></p>
+<div class="div1 imprint"><span class="pagenum">[<a href=
+"#toc">Contents</a>]</span>
+<div class="divBody">
+<p class="first xd20e217">Glasgow: Printed at the University Press</p>
+<p class="xd20e217">By Robert Maclehose and Co. Ltd. <span class=
+"pagenum">[<a id="xd20e221" href="#xd20e221" name=
+"xd20e221">v</a>]</span></p>
+</div>
+</div>
+<div class="div1 dedication"><span class="pagenum">[<a href=
+"#toc">Contents</a>]</span>
+<div class="divBody">
+<p class="first xd20e217">To</p>
+<p class="xd20e225">Professor A. S. Napier</p>
+<p class="xd20e227">In gratitude and friendship <span class=
+"pagenum">[<a id="xd20e229" href="#xd20e229" name=
+"xd20e229">vii</a>]</span></p>
+</div>
+</div>
+<div id="toc" class="div1 contents"><span class="pagenum">[<a href=
+"#toc">Contents</a>]</span>
+<div class="divHead">
+<h2 class="main">Table of Contents</h2>
+<table class="tocList">
+<tr>
+<td class="tocDivNum">Chap.</td>
+<td class="tocDivTitle" colspan="5"></td>
+<td class="tocPageNum">Page</td>
+</tr>
+<tr>
+<td class="tocDivNum"></td>
+<td class="tocDivTitle" colspan="5"><span class="sc"><a href=
+"#intro">Introduction</a></span></td>
+<td class="tocPageNum">ix</td>
+</tr>
+<tr>
+<td class="tocDivNum">I.</td>
+<td class="tocDivTitle" colspan="5"><span class="sc"><a href="#ch1">A
+Review</a></span></td>
+<td class="tocPageNum">1</td>
+</tr>
+<tr>
+<td class="tocDivNum">II.</td>
+<td class="tocDivTitle" colspan="5"><span class="sc"><a href=
+"#ch2">Bibliography</a></span></td>
+<td class="tocPageNum">7</td>
+</tr>
+<tr>
+<td class="tocDivNum">III.</td>
+<td class="tocDivTitle" colspan="5"><span class="sc"><a href=
+"#ch3">Tales with the Simple Theme and Miscellaneous
+Combinations</a></span></td>
+<td class="tocPageNum">26</td>
+</tr>
+<tr>
+<td class="tocDivNum">IV.</td>
+<td class="tocDivTitle" colspan="5"><span class="sc"><a href="#ch4">The
+Grateful Dead and The Poison Maiden</a></span></td>
+<td class="tocPageNum">44</td>
+</tr>
+<tr>
+<td class="tocDivNum">V.</td>
+<td class="tocDivTitle" colspan="5"><span class="sc"><a href="#ch5">The
+Grateful Dead and The Ransomed Woman</a></span></td>
+<td class="tocPageNum">76</td>
+</tr>
+<tr>
+<td class="tocDivNum">VI.</td>
+<td class="tocDivTitle" colspan="5"><span class="sc"><a href="#ch6">The
+Grateful Dead and The Water of Life or Kindred Themes</a></span></td>
+<td class="tocPageNum">119</td>
+</tr>
+<tr>
+<td class="tocDivNum">VII.</td>
+<td class="tocDivTitle" colspan="5"><span class="sc"><a href="#ch7">The
+Relations of The Grateful Dead to The Spendthrift Knight, The Two
+Friends, and The Thankful Beasts</a></span></td>
+<td class="tocPageNum">153</td>
+</tr>
+<tr>
+<td class="tocDivNum">VIII.</td>
+<td class="tocDivTitle" colspan="5"><span class="sc"><a href=
+"#ch8">Conclusion</a></span></td>
+<td class="tocPageNum">162</td>
+</tr>
+<tr>
+<td class="tocDivNum"></td>
+<td class="tocDivTitle" colspan="5"><span class="sc"><a href=
+"#index">Index</a></span></td>
+<td class="tocPageNum">175</td>
+</tr>
+</table>
+<p><span class="pagenum">[<a id="xd20e336" href="#xd20e336" name=
+"xd20e336">ix</a>]</span></p>
+</div>
+</div>
+<div id="intro" class="div1 introduction"><span class=
+"pagenum">[<a href="#toc">Contents</a>]</span>
+<div class="divHead">
+<h2 class="main">Introduction.</h2>
+</div>
+<div class="divBody">
+<p class="first">The combination of narrative themes is so frequent a
+phenomenon in folk and formal literature that one almost forgets to
+wonder at it. Yet in point of fact the reason for it and the means by
+which it is accomplished are mysteries past our present comprehension.
+If we could learn how and where popular tales unite, if we could
+formulate any general principle of union or severance, we should be
+well on the way to an understanding of the riddle which has hitherto
+baffled all students of narrative, namely, the diffusion of stories. We
+have theories enough; our immediate need is for more studies of
+individual themes, careful and, if it must be, elaborate discussions of
+many well-known cycles. Happily, these are accumulating and give
+promise of much useful knowledge at no distant day.</p>
+<p>One principle has become clear. Since motives are so frequently
+found in combination, it is essential that the complex types be
+analyzed and arranged, with an eye kept single nevertheless to the
+master-theme under discussion. Collectors, both primary and subsidiary,
+have done such valiant service that the treasures at our command are
+amply sufficient for such studies, so extensive, indeed, that the task
+of going through them thoroughly has become too great for the
+unassisted student. It cannot be too strongly urged that a single theme
+in its various types and compounds must be made predominant in any
+useful comparative study. This is true when the sources and analogues
+of any literary work are treated; it is even truer when the bare motive
+is discussed.</p>
+<p><i>The Grateful Dead</i> furnishes an apt illustration of the
+necessity of such handling. It appears in a variety of different
+<span class="pagenum">[<a id="xd20e348" href="#xd20e348" name=
+"xd20e348">x</a>]</span>combinations, almost never alone. Indeed, it is
+so widespread a tale, and its combinations are so various, that there
+is the utmost difficulty in determining just what may properly be
+regarded the original kernel of it, the simple theme to which other
+motives were joined. Various opinions, as we shall see, have been held
+with reference to this matter, most of them justified perhaps by the
+materials in the hands of the scholars holding them, but none quite
+adequate in view of later evidence. The true way to solve the riddle
+appears to be this: we must ask the question,&mdash;what is the
+residuum when the tale is stripped of elements not common to a very
+great majority of the versions belonging to the cycle? What is left
+amounts to the following,&mdash;the story reduced to its lowest terms,
+I take it.</p>
+<p>A man finds a corpse lying unburied, and out of pure philanthropy
+procures interment for it at great personal inconvenience. Later he is
+met by the ghost of the dead man, who in many cases promises him help
+on condition of receiving, in return, half of whatever he gets. The
+hero obtains a wife (or some other reward), and, when called upon, is
+ready to fulfil his bargain as to sharing his possessions.</p>
+<p>Nowhere does a version appear in quite this form; but from what
+follows it will be seen that the simple story must have proceeded along
+some such lines. The compounds in which it occurs show much variety. It
+will be necessary to study these in detail, not merely one or two of
+them but as many as can be found. Despite the bewildering complexities
+that may arise, I hope that this method of approach may throw some new
+light on the wanderings of the tale.</p>
+<p>Of my debt to various friends and to many books, though indicated in
+the body of the work, I wish to make general and grateful
+acknowledgment here. My thanks, furthermore, are due to the librarians
+of Harvard University for their courteous hospitality; to Professor G.
+L. Kittredge for his generous encouragement to proceed with this study,
+though he himself, as I found after most of my material was collected,
+had undertaken it several years before I began; and to Professor R. K.
+Root for his help in reading the proofs. <span class="pagenum">[<a id=
+"pb1" href="#pb1" name="pb1">1</a>]</span></p>
+</div>
+</div>
+</div>
+<div class="body">
+<div id="ch1" class="div1 chapter"><span class="pagenum">[<a href=
+"#toc">Contents</a>]</span>
+<div class="divHead">
+<h2 class="label">Chapter I.</h2>
+<h2 class="main">A Review.</h2>
+</div>
+<div class="divBody">
+<p class="first">To Karl Simrock is due the honour of discovering the
+importance of <i>The Grateful Dead</i> for the student of literature
+and legend. In his little book, <i lang="de">Der gute Gerhard und die
+dankbaren Todten</i>,<a class="noteref" id="xd20e371src" href=
+"#xd20e371" name="xd20e371src">1</a> he called attention to the theme
+as a theme, and treated it with a breadth of knowledge and a clearness
+of insight remarkable in an attempt to unravel for the first time the
+mixed strands of so wide-spread a tale. Using the Middle High German
+exemplary romance, <i lang="de">Der gute Gerhard</i>, as his point of
+departure, he examined seventeen other stories, all but two of which
+have the motive well preserved.<a class="noteref" id="xd20e377src"
+href="#xd20e377" name="xd20e377src">2</a> Unhappily, the versions which
+he found came from a limited section of Europe, most of them from
+Germanic sources. Thus he was led to an interpretation of the tale on
+the basis of Germanic mythology. This, though ingenious enough and very
+erudite, need not detain us. It was done according to a fashion of the
+time, which has long since been discarded. Simrock took the essential
+traits of the theme to be the burial of the dead and the ransom from
+captivity.<a class="noteref" id="xd20e383src" href="#xd20e383" name=
+"xd20e383src">3</a> &ldquo;<span lang="de">Wo nur noch eine von beiden
+das Thema zu bilden scheint</span>,&rdquo; he said, &ldquo;<span lang=
+"de">da hat die Ueberliefertung gelitten.</span>&rdquo; Here again he
+was misled by the narrow <span class="pagenum">[<a id="pb2" href="#pb2"
+name="pb2">2</a>]</span>range of his material, as later studies have
+shown. Nearly all the versions he cited have the motive of a ransomed
+princess, though the majority of the stories now known to be members of
+the cycle do not contain it.</p>
+<p>Three years after the publication of Simrock&rsquo;s monograph
+Benfey treated some features of the theme in a note appended to his
+discussion of <i>The Thankful Beasts</i> in the monumental
+<i>Pantschatantra</i>.<a class="noteref" id="xd20e402src" href=
+"#xd20e402" name="xd20e402src">4</a> Though he named but a few
+variants, he found an Armenian tale which he compared with the European
+versions, coming to the conclusion not only that the motive proceeded
+from the Orient but also that the Armenian version had the original
+form of it. That is, he took the ransom and burial of the dead, the
+parting of a woman possessed by a serpent, and the saving of the hero
+on the bridal night as the essential features. This was a step in
+advance.</p>
+<p>George Stephens in his edition of <i>Sir Amadas</i><a class=
+"noteref" id="xd20e409src" href="#xd20e409" name="xd20e409src">5</a>
+held much the same view. He added several important versions, and
+scored Simrock for admitting <i lang="de">Der gute Gerhard</i>, saying
+that he could not see that it had &ldquo;any direct connection&rdquo;
+with <i>The Grateful Dead</i>.<a class="noteref" id="xd20e420src" href=
+"#xd20e420" name="xd20e420src">6</a> He was at least partly in the
+right, even though his statement was misleading. According to his
+Opinion,<a class="noteref" id="xd20e423src" href="#xd20e423" name=
+"xd20e423src">7</a> &ldquo;the peculiar feature of the Princess
+(Maiden) being freed from <i>demonic</i> influence by <i>celestial</i>
+aid, is undoubtedly the original form of the tale.&rdquo;</p>
+<p>In a series of notes beginning in the year 1858 K&ouml;hler<a class=
+"noteref" id="xd20e435src" href="#xd20e435" name="xd20e435src">8</a>
+supplied a large number of variants, which have been invaluable for
+succeeding study of the theme. Nowhere, <span class="pagenum">[<a id=
+"pb3" href="#pb3" name="pb3">3</a>]</span>however, did he give an
+ordered account of the versions at his command or discuss the relation
+of the elements&mdash;a regrettable omission. The contributions of
+Liebrecht,<a class="noteref" id="xd20e454src" href="#xd20e454" name=
+"xd20e454src">9</a> though less extensive, were of the same sort. In
+his article published in 1868 he said that he thought <i>The Grateful
+Dead</i> to be of European origin,<a class="noteref" id="xd20e465src"
+href="#xd20e465" name="xd20e465src">10</a> but he added nothing to our
+knowledge of the essential form of the story. The following decade saw
+the publication by Sepp of a rather brief account of the
+motive,<a class="noteref" id="xd20e469src" href="#xd20e469" name=
+"xd20e469src">11</a> which was chiefly remarkable for its summary of
+classical and pre-classical references concerning the duty of burial.
+Like Stephens he assumed that the release of a maiden from the
+possession of demons was an essential part of the tale. In 1886 Cosquin
+brought the discussion one step further by showing<a class="noteref"
+id="xd20e474src" href="#xd20e474" name="xd20e474src">12</a> that the
+theme is sometimes found in combination with <i>The Golden Bird</i> and
+<i>The Water of Life</i>. He did not, however, attempt to define the
+original form of the story nor to trace its development.</p>
+<p>By all odds the most adequate treatment that <i>The Grateful
+Dead</i> has yet received is found in Hippe&rsquo;s monograph, <i lang=
+"de">Untersuchungen zu der mittelenglischen Romanze von Sir Amadas</i>,
+which appeared in 1888.<a class="noteref" id="xd20e493src" href=
+"#xd20e493" name="xd20e493src">13</a> Not only did he gather together
+practically all the variants mentioned previous to that time and add
+some few new ones, but he studied the theme with such interpretative
+insight that anyone going over the same field would be tempted to offer
+an apology for what may seem superfluous labour. Such a follower, and
+all followers, must gratefully acknowledge their indebtedness to his
+labours. <span class="pagenum">[<a id="pb4" href="#pb4" name=
+"pb4">4</a>]</span></p>
+<p>Yet one who follows imperfectly the counsels of perfection may
+discover certain defects in Hippe&rsquo;s work. He neglects altogether
+Cosquin&rsquo;s hint as to the combination of the theme with <i>The
+Water of Life</i> and allied tales, thus leaving out of account an
+important element, which is intimately connected with the chief motive
+in a large number of tales. Indeed, his effort to simplify, commendable
+and even necessary as it is, brings him to conclusions that in some
+respects, I believe, are not sound. Though he states the essential
+points of the primitive story in a form<a class="noteref" id=
+"xd20e504src" href="#xd20e504" name="xd20e504src">14</a> which can
+hardly be bettered and which corresponds almost exactly to the one that
+I have been led to accept from independent consideration of the
+material,<a class="noteref" id="xd20e513src" href="#xd20e513" name=
+"xd20e513src">15</a> he fails to see that he is dealing in almost every
+case, not with a simple theme with modified details but with compound
+themes. Thus he starts out with the &ldquo;<span lang="de">Sage vom
+dankbaren Toten und der Frau mit den Drachen im
+Leibe</span>&rdquo;<a class="noteref" id="xd20e519src" href="#xd20e519"
+name="xd20e519src">16</a> and explains all variations from this type
+either by the weakening of this feature and that or by the introduction
+of a single new motive, the story of <i>The Ransomed Woman</i>. He
+would thus make it appear<a class="noteref" id="xd20e526src" href=
+"#xd20e526" name="xd20e526src">17</a> that we have a well-ordered
+progression from one combined type to various other combined and
+simplified types. Such a series is possible without doubt, but it can
+hardly be admitted till the interplay of all accessible themes, which
+have entered into combination with the chief theme, is investigated.
+Hippe passes these things <span class="pagenum">[<a id="pb5" href=
+"#pb5" name="pb5">5</a>]</span>over silently and so gives the subject a
+specious air of simplicity to which it has no right.</p>
+<p>I should be the last to deny the necessity of treating narrative
+themes each for itself, and I have nothing but admiration for the
+general conduct of Hippe&rsquo;s investigation; but I wish to show that
+his methods, and therefore his results, are at fault in so far as he
+does not recognize the nature of the combinations into which <i>The
+Grateful Dead</i> enters. Traces of other stories, unless their
+presence is obviously artificial, must be carefully considered, since
+in dealing with cycles of such fluid stuff as folk-tales it is
+certainly wise to give each element due consideration. Certain minor
+errors in Hippe&rsquo;s article will be mentioned in due course, though
+my constant obligations to it must be emphasized here.</p>
+<p>Since the appearance of Hippe&rsquo;s study no one has treated
+<i>The Grateful Dead</i> with such scope as to modify his conclusions.
+Perhaps the most interesting work in the field has been that of Dr.
+Dutz<a class="noteref" id="xd20e541src" href="#xd20e541" name=
+"xd20e541src">18</a> on the relation of George Peele&rsquo;s <i>Old
+Wives&rsquo; Tale</i> to our theme. He follows Hippe&rsquo;s scheme,
+but gives some interesting new variants. Of less importance, but useful
+within its limits, is the section devoted to the saga by Dr. Heinrich
+Wilhelmi in his <i lang="de">Studien &uuml;ber die Chanson de Lion de
+Bourges</i>.<a class="noteref" id="xd20e552src" href="#xd20e552" name=
+"xd20e552src">19</a> Though he added no new versions, the author
+studied in detail the relationship of some of the mediaeval forms to
+one another, basing his results for the most part on careful textual
+comparison. His gravest fault was the thoroughly artificial way in
+which he mapped out the field as a whole, a method which could lead
+only to erroneous conclusions, since he classified according to a
+couple of superficial traits. An English study by Mr. F. H. Groome on
+<i>Tobit and Jack the <span class="pagenum">[<a id="pb6" href="#pb6"
+name="pb6">6</a>]</span>Giant-Killer</i><a class="noteref" id=
+"xd20e560src" href="#xd20e560" name="xd20e560src">20</a> unhappily was
+written without regard to the previous literature of the subject, and
+simply rehearses a number of well-known variants.</p>
+<p>In this brief review I have touched only on such studies of <i>The
+Grateful Dead</i> as have materially enlarged the knowledge of the
+subject or have attempted a discussion of the theme in a broad way. In
+the following chapter reference will be made to other works, in which
+particular versions have been printed or summarized. <span class=
+"pagenum">[<a id="pb7" href="#pb7" name="pb7">7</a>]</span></p>
+</div>
+<div class="footnotes">
+<hr class="fnsep">
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e371" href="#xd20e371src" name="xd20e371">1</a></span> 1856.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e377" href="#xd20e377src" name="xd20e377">2</a></span> <i lang=
+"de">Guter Gerhard</i>, as will be seen later, does not follow the
+theme at all.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e383" href="#xd20e383src" name="xd20e383">3</a></span> P. 114.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e402" href="#xd20e402src" name="xd20e402">4</a></span> 1859, i.
+219&ndash;221.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e409" href="#xd20e409src" name="xd20e409">5</a></span>
+<i>Ghost-Thanks or The Grateful Unburied, A Mythic Tale in its Oldest
+European Form, Sir Amadace</i>, 1860.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e420" href="#xd20e420src" name="xd20e420">6</a></span> P. 9.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e423" href="#xd20e423src" name="xd20e423">7</a></span> P. 7.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e435" href="#xd20e435src" name="xd20e435">8</a></span>
+<i>Germania</i>, iii. 199&ndash;210, xii. 55 ff.; <i lang="de">Or. u.
+Occ</i>. ii. 322&ndash;329, iii. 93&ndash;103; <i lang="de">Arch. f.
+slav. Phil</i>. ii. 631&ndash;634, v. 40 ff.; <i>Gonzenbach</i>,
+<span lang="de">Sicilianische M&auml;rchen</span>, 1870, ii.
+248&ndash;250.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e454" href="#xd20e454src" name="xd20e454">9</a></span> <i lang=
+"de">Heidelberger Jahrb&uuml;cher der Lit</i>. 1868, lxi.
+449&ndash;452, 1872, lxv. 894 f.; <i>Germania</i>, xxiv. 132 f.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e465" href="#xd20e465src" name="xd20e465">10</a></span> P.
+449.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e469" href="#xd20e469src" name="xd20e469">11</a></span> <i lang=
+"de">Altbayerischer Sagenschatz zur Bereicherung der indogermanischen
+Mythologie</i>, 1876, pp. 678&ndash;689.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e474" href="#xd20e474src" name="xd20e474">12</a></span> <i lang=
+"fr">Contes populaires de Lorraine</i>, i. 214, 215.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e493" href="#xd20e493src" name="xd20e493">13</a></span> <i lang=
+"de">Archiv f. d. Stud. d. neueren Sprachen</i>, lxxxi.
+141&ndash;183.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e504" href="#xd20e504src" name="xd20e504">14</a></span> P. 167.
+&ldquo;<span lang="de">Ein J&uuml;ngling zeigt sich menschenfreundlich
+gegen die Leiche eines Unbekannten (indem er dieselbe vor <span class=
+"corr" id="xd20e508" title="Source: Schimf">Schimpf</span> bewahrt,
+bestattet, etc.). Der Geist des Toten gesellt sich darauf zu ihm und
+erweist sich ihm dankbar, indem er ihm zu Reichtum und zum Besitze des
+von ihm zur Frau begehrten M&auml;dchens verhilft, jedoch unter der
+Bedingung, dass er dereinst alles durch ihn Gewonnene mit ihm teile.
+Der J&uuml;ngling geht auf diesen Vertrag ein, und der Geist stellt
+sich nach einer gewissen Zeit wieder ein, um das Versprochene
+entgegenzunehmen, verlangt aber nicht die H&auml;lfte des gewonnene
+Gutes, sondern die der Frau. (Schluss variabel.)</span>&rdquo;</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e513" href="#xd20e513src" name="xd20e513">15</a></span> See p. x.
+above.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e519" href="#xd20e519src" name="xd20e519">16</a></span> P.
+180.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e526" href="#xd20e526src" name="xd20e526">17</a></span> See his
+scheme on p. 181.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e541" href="#xd20e541src" name="xd20e541">18</a></span> <i lang=
+"de">Der Dank des Todten in der englischen Literatur, Jahresbericht der
+Staats-Oberrealschule in Troppau</i>, 1894.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e552" href="#xd20e552src" name="xd20e552">19</a></span> Marburg
+diss. 1894, pp. 43&ndash;63.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e560" href="#xd20e560src" name="xd20e560">20</a></span>
+<i>Folk-Lore</i>, ix. 226&ndash;244 (1898).</p>
+</div>
+</div>
+<div id="ch2" class="div1 chapter"><span class="pagenum">[<a href=
+"#toc">Contents</a>]</span>
+<div class="divHead">
+<h2 class="label">Chapter II.</h2>
+<h2 class="main">Bibliography.</h2>
+</div>
+<div class="divBody">
+<p class="first">The following list of variants of <i>The Grateful
+Dead</i> includes only such tales as have the fundamental traits, as
+sketched above, either expressed or clearly implied<span class="corr"
+id="xd20e581" title="Source: ,">.</span> Thus <i lang="de">Der gute
+Gerhard</i>, for example, is not mentioned because it has only the
+motive of <i>The Ransomed Woman</i>, while one of the folk-tales from
+Hungary is admitted because it follows in general outline one of the
+combined types to be discussed later, even though the burial of the
+dead is obscured. I cite by the short titles which will be used to
+indicate the stories in the subsequent discussion. The arrangement is
+roughly geographical.</p>
+<p><span class="sc">Tobit.</span></p>
+<p>In the apocryphal book of <i>Tobit</i>. According to Neubauer,
+<i>The Book of Tobit, a Chaldee Text from a unique MS. in the Bodleian
+Library</i>, 1878, p. xv, <i>Tobit</i> was originally written in
+Hebrew, although the Hebrew text preserved was taken from Chaldee.
+Neubauer (p. xvii) quotes Graetz, <i lang="de">Geschichte der
+Juden</i>, (2nd ed.) iv. 466, as saying that the book was written in
+the time of Hadrian, and he concludes that it cannot be earlier because
+it was unknown to Josephus. The correspondence with <i>Sir Amadas</i>,
+and thus with <i>The Grateful Dead</i> generally, seems to have been
+first noted by Simrock, p. 131 f., again by K&ouml;hler,
+<i>Germania</i>, iii. 203, by Stephens, p. 7, by Hippe, p. 142, etc.
+<span class="pagenum">[<a id="pb8" href="#pb8" name=
+"pb8">8</a>]</span></p>
+<p><span class="sc">Armenian.</span></p>
+<p>A. von Haxthausen, <i>Transkaukasia</i>, 1856, i. 333 f. A modern
+folk-tale. Reprinted entire by Benfey, <i>Pantschatantra</i>, i. 219,
+note, and by K&ouml;hler, <i>Germania</i>, iii. 202 f. A somewhat
+inadequate summary is given by Hippe, p. 143; a better one is found in
+<i lang="de">Arch. f. slav. Phil.</i> v. 43, by K&ouml;hler, who
+mentioned the tale again in <i lang="de">Or. und Occ.</i> ii. 328, and
+iii. 96. Summarized also by Sepp, p. 681, Groome, <i>Folk-Lore</i>, ix.
+228 f., and mentioned by Wilhelmi, p.45.</p>
+<p><span class="sc">Jewish</span>.</p>
+<p>Reischer, <i lang="yi">Schaare Jeruschalajim</i>, 1880, pp.
+86&ndash;99. Summarized by Gaster, <i>Germania</i>, xxvi.
+200&ndash;202, and from him by Hippe, pp. 143, 144. A modern folk-tale
+from Palestine.</p>
+<p><span class="sc">Annamite.</span></p>
+<p>Landes, <i lang="fr">Contes et l&eacute;gendes annamites</i>, 1886,
+pp. 162, 163, &ldquo;<span lang="fr">La reconnaissance de
+l&rsquo;&eacute;tudiant mort.</span>&rdquo; A modern folk-tale.</p>
+<p><span class="sc">Siberian.</span></p>
+<p>Radloff, <i lang="de">Proben der Volkslitteratur der t&uuml;rkischen
+St&auml;mme S&uuml;d-Siberiens</i>, 1866, i. 329&ndash;331. See
+K&ouml;hler, <i lang="de">Arch. f. slav. Phil.</i> v. 43, note.</p>
+<p><span class="sc">Simonides.</span></p>
+<p>Cicero, <i lang="la">De Divinatione</i>, i. 27, referred to again in
+ii. 65 and 66. Retold by Valerius Maximus, <i>Facta et Dicta</i>, i. 7;
+after him by Robert Holkot, <i lang="la">Super Libros <span class=
+"corr" id="xd20e695" title="Source: Sapientie">Sapientiae</span></i>,
+Lectio 103; and again by Chaucer in the <i>Nun&rsquo;s Priest&rsquo;s
+Tale, Cant. Tales</i>, B, 4257&ndash;4294. For the relationship of
+Chaucer&rsquo;s anecdote to those in Latin see Skeat, note in his
+edition, Lounsbury, <i>Studies in Chaucer</i>, 1892, ii. 274, and
+Petersen, <i>On the Sources of the Nonne Prestes Tale</i>, 1898, pp.
+106&ndash;117. Connected with <i>The Grateful Dead</i> by Freudenberg
+in a review of Simrock in <i lang="de">Jahrb&uuml;cher des Vereins von
+Alterthumsfreunden im Rheinlande</i>, xxv. 172. See also K&ouml;hler,
+<i>Germania</i> iii. 209, Liebrecht in <i lang="de">Heidelberger
+Jahrb&uuml;cher der Lit.</i> lxi. 449, 450, and Sepp. p. 680. Not
+treated by Hippe.</p>
+<p><span class="sc">Gypsy.</span></p>
+<p>A. G. Paspati, <i lang="fr">&Eacute;tudes sur les
+Tchinghian&eacute;s ou Boh&eacute;miens de l&rsquo;Empire Ottoman</i>,
+1870, pp. 601&ndash;605, Translated from Paspati <span class=
+"pagenum">[<a id="pb9" href="#pb9" name="pb9">9</a>]</span>by F. H.
+Groome, <i>Gypsy Folk-Tales</i>, 1899, pp. 1&ndash;3. Summarized by
+K&ouml;hler, <i lang="de">Arch. f. slav. Phil.</i> v. 43 and carelessly
+by Hippe, p. 143. This tale was heard near Adrianople. Cited by
+Foerster, <i>Richars li Biaus</i>, p. xxviii, and by Wilhelmi, p.
+45.</p>
+<p><span class="sc">Greek.</span></p>
+<p>J. G. von Hahn, <i lang="de">Griechische und albanesische
+M&auml;rchen</i>, 1864, no. 53, pp. 288&ndash;295, &ldquo;<span lang=
+"de">Belohnte Treue</span>.&rdquo; Summarized in part by Hippe, p. 149.
+See also Liebrecht, <i lang="de">Heid. Jahrb&uuml;cher</i>, lxi. 451,
+and by Groome, <i>Folk-Lore</i>, ix. 243. This tale was found in
+northern Euboea.</p>
+<p><span class="sc">Maltese.</span></p>
+<p>Hans Stumme, <i lang="de">Maltesische M&auml;rchen, Gedichte und
+R&auml;tsel</i>, 1904, no. 12, pp. 39&ndash;45.</p>
+<p><span class="sc">Russian I.</span></p>
+<p>Afansjew, <i lang="de">Russische Volksm&auml;rchen</i>, Heft 6, p.
+323 f. Analyzed by Schiefner, <i lang="de">Or. und Occ.</i> ii. 174,
+175, and after him by Hippe, p. 144, with some omissions. See
+K&ouml;hler, <i lang="de">Or. und Occ.</i> iii. 93&ndash;103, and Sepp,
+p. 684.</p>
+<p><span class="sc">Russian II.</span></p>
+<p>Chudjakow, <i lang="de">Grossrussische M&auml;rchen</i>, Heft 3, pp.
+165&ndash;168. Translation by Schiefner, <i lang="de">Or. und Occ.</i>
+iii. 93&ndash;96 in article by K&ouml;hler. In English by Groome,
+<i>Folk-Lore</i>, ix. 229 ff. Summarized by K&ouml;hler, <i>Arch. f.
+slav. Phil.</i> v. 43, and (with an important omission) by Hippe, pp.
+144, 145. See K&ouml;hler&rsquo;s notes in Gonzenbach, <i lang=
+"de">Sicilianische M&auml;rchen</i>, ii. 250.</p>
+<p><span class="sc">Russian III.</span></p>
+<p>Reproduced from an illustrated folk-book in the <i>Publications of
+the Society of Friends of Old Literature in St. Petersburg</i>, 1880,
+no. 49. Summarized by V. Jagi&#263;, <i lang="de">Arch. f. slav.
+Phil.</i> v. 480, and by Hippe, p. 145. Jagi&#263; remarks that the
+tale must have been widely known in Russia in the eighteenth century,
+though clearly of foreign origin.</p>
+<p><span class="sc">Russian IV.</span></p>
+<p>Dietrich, <i lang="de">Russische Volksm&auml;rchen in den Urschrift
+gesammelt</i>, 1831, no. 16, pp. 199&ndash;207. English translation,
+<i>Russian Popular Tales.</i> <i>Translated from the German Version of
+Anton Dietrich</i>, <span class="pagenum">[<a id="pb10" href="#pb10"
+name="pb10">10</a>]</span>1857, pp. 179&ndash;186. &ldquo;<span lang=
+"de">Sila Zarewitsch und Iwaschka mit dem weissen Hemde.</span>&rdquo;
+Like other tales in the collection this was taken from a popular print
+bought at Moscow. Mentioned by Benfey, <i>Pantschatantra</i>, i. 220,
+and by K&ouml;hler, <i>Or. u. Occ.</i> ii. 328.</p>
+<p><span class="sc">Russian V.</span><a class="noteref" id=
+"xd20e846src" href="#xd20e846" name="xd20e846src">1</a></p>
+<p>P. V. &Scaron;ejn, <i lang="de">Materialien zur Kenntniss der
+russischen Bev&ouml;lkerung von Nordwest-Russland</i>, 1893, ii.
+66&ndash;68, no. 33. Cited by Pol&iacute;vka in <i lang="de">Arch. f.
+slav. Phil.</i> xix. 251.</p>
+<p><span class="sc">Russian VI.</span></p>
+<p>P. V. &Scaron;ejn, <i>work cited</i>, ii. 401&ndash;407,
+no<span class="corr" id="xd20e872" title="Not in source">.</span> 227.
+Cited by Pol&iacute;vka, <i lang="de">Arch. f. slav. Phil.</i> xix.
+262.</p>
+<p><span class="sc">Servian I.</span></p>
+<p>Vuk Stefanovi&#263; Karad&#382;i&#263;, 2nd ed. of his Servian
+folk-tales, 1870. Translated by Madam Mijatovies (Mijatovich),
+<i>Serbian Folk-Lore</i>, 1874, p. 96. Summarized from Servian by
+K&ouml;hler, <i lang="de">Arch. f. slav. Phil.</i> ii. 631, 632, and
+from him by Hippe, p. 145.</p>
+<p><span class="sc">Servian II.</span></p>
+<p>Summarized from Gj. K. Stefanovi&#263;&rsquo;s collection, 1871, no.
+15, by Jagi&#263; in <i lang="de">Arch. f. slav. Phil.</i> v. 40 f.
+with the title &ldquo;<span lang="de">Vlatko und der dankbare
+Todte.</span>&rdquo; Thence by Hippe, p. 145.</p>
+<p><span class="sc">Servian III.</span></p>
+<p>Jagi&#263; in <i lang="de">Arch. f. slav. Phil.</i> v. 41 f, from
+Stojanovi&#263;&rsquo;s collection, no. 31. Hippe&rsquo;s summary, p.
+146, is exceedingly brief and faulty.</p>
+<p><span class="sc">Servian IV.</span></p>
+<p>Jagi&#263;, <i lang="de">Arch. f. slav. Phil.</i> v. 42, from
+<i>Matica</i>, B. 105 (<span class="sc">A.D.</span> 1863, St.
+Novakovi&#263;). Summary of this by Hippe, p. 146. Jagi&#263; calls the
+tale &ldquo;<span lang="de">Ein Goldfisch</span>.&rdquo;</p>
+<p><span class="sc">Servian V.</span></p>
+<p>Krauss, <i lang="de">Sagen und M&auml;rchen der S&uuml;dslaven</i>,
+1883, i. 385&ndash;388, &ldquo;<span lang="de">Der
+Vilaberg</span>.&rdquo; Summarized by Dutz, p. 11. <span class=
+"pagenum">[<a id="pb11" href="#pb11" name="pb11">11</a>]</span></p>
+<p><span class="sc">Servian VI.</span></p>
+<p>Krauss, <i>work cited</i>, i. 114&ndash;119. &ldquo;<span lang=
+"de">Fuhrmann Tueguts Himmelswagen.</span>&rdquo; From the manuscript
+collection of Valjavec. Summarized by Dutz, p. 18, note 2.</p>
+<p><span class="sc">Bohemian.</span><a class="noteref" id="xd20e959src"
+href="#xd20e959" name="xd20e959src">2</a></p>
+<p>Waldau, <i lang="de">B&ouml;hmisches M&auml;rchenbuch</i>, 1860, pp.
+213&ndash;241. Mentioned by K&ouml;hler, <i lang="de">Or. und Occ.</i>
+ii. 329, and by Hippe, p. 146. Summarized by the former, <i lang=
+"de"><span class="corr" id="xd20e980" title="Source: Oc.">Or.</span>
+und Occ.</i> iii. 97 f.</p>
+<p><span class="sc">Polish.</span></p>
+<p>K. W. W&oacute;jcicki, <i lang="pl">Klechdy, Staroz&#775;ytne
+podania i powie&#347;ci ludowe</i>, 2nd ed., Warsaw, 1851. Translated
+into German by F. H. Lewestam, <i lang="de">Polnische Volkssagen und
+M&auml;rchen</i>, 1839, pp. 130 ff; into English by A. H. Wratislaw,
+<i>Sixty Folk-Tales from exclusively Slavonic Sources</i>, 1889, pp.
+121 ff.; and into French by Louis Leger, <i lang="fr">Recueil de contes
+populaires slaves</i>, 1882, pp. 119 ff. Summarized by K&ouml;hler,
+<i>Germania</i>, iii. 200 f., and by Hippe, pp. 146 f. See also Sepp,
+p. 684, Dutz, p. 11, Groome, <i>Gypsy Folk-Tales</i>, p. 3, note, and
+Arivau, <i>Folk-Lore de Proaza</i>, 1886, p. 205.</p>
+<p><span class="sc">Bulgarian.</span></p>
+<p>Lydia Schischm&aacute;noff, <i lang="fr">L&eacute;gendes religieuses
+bulgares</i>, 1896, no. 77, pp. 202&ndash;209,<a class="noteref" id=
+"xd20e1021src" href="#xd20e1021" name="xd20e1021src">3</a>
+&ldquo;<span lang="fr">Le berger, son fils, et
+l&rsquo;archange</span>.&rdquo;</p>
+<p><span class="sc">Lithuanian I.</span></p>
+<p>L. Geitler, <i lang="de">Litauische Studien</i>, 1875, pp.
+21&ndash;23. Analyzed by K&ouml;hler, <i lang="de">Arch. f. slav.
+Phil.</i> ii. 633, and after him briefly by Hippe,<a class="noteref"
+id="xd20e1042src" href="#xd20e1042" name="xd20e1042src">4</a> p. 147,
+as his &ldquo;Lithuanian II.&rdquo;</p>
+<p><span class="sc">Lithuanian II.</span></p>
+<p>K&ouml;hler, <i lang="de">Arch. f. slav. Phil.</i> ii. 633 f. From
+Prussian Lithuania. Summarized by Hippe, p. 147, as his
+&ldquo;Lithuanian III.&rdquo; <span class="pagenum">[<a id="pb12" href=
+"#pb12" name="pb12">12</a>]</span></p>
+<p><span class="sc">Hungarian I.</span></p>
+<p>G. Stier, <i lang="de">Ungarische Sagen und M&auml;rchen</i>, 1850,
+pp. 110&ndash;122. Mentioned by K&ouml;hler, <i>Germania</i>, iii. 202,
+and by Hippe, p. 147.</p>
+<p><span class="sc">Hungarian II.</span></p>
+<p>G. Stier, <i lang="de">Ungarische Volksm&auml;rchen</i>, 1857, pp.
+153&ndash;167. Summarized by K&ouml;hler, <i>Germania</i>, iii. 199 f.,
+and too briefly by Hippe, p. 148.</p>
+<p><span class="sc">Rumanian I.</span></p>
+<p>Arthur Schott, <i lang="de">Neue walachische M&auml;rchen</i>, in
+Hackl&auml;nder and Hoefer&rsquo;s <i lang="de">Hausbl&auml;tter</i>,
+1857, iv. 470&ndash;473. Mentioned by Stephens, p. 10, Hippe, p. 147,
+and Benfey, <i>Pantschatantra</i>, ii. 532.</p>
+<p><span class="sc">Rumanian II.</span></p>
+<p>F. Obert<span class="corr" id="xd20e1104" title="Source: .">,</span>
+<i lang="de">Rom&auml;nische M&auml;rchen und Sagen aus
+Siebenb&uuml;rgen</i>, in <i lang="de">Das Ausland</i>, 1858, p. 117.
+Mentioned by K&ouml;hler, <i>Germania</i>, iii. 202, and by Hippe, p.
+147.</p>
+<p><span class="sc">Transylvanian.</span></p>
+<p>Haltrich, <i lang="de">Deutsche Volksm&auml;rchen aus dem
+Sachsenlande in Siebenb&uuml;rgen</i>, 1856, pp. 42&ndash;45. Analyzed
+by K&ouml;hler, <i lang="de">Or. und Occ.</i> ii. 326, and incompletely
+by Hippe, p. 148. Mentioned by Stephens, p. 10, and Sepp, p. 684.</p>
+<p><span class="sc">Esthonian I.</span></p>
+<p>Schiefner, <i lang="de">Or. und Occ.</i> ii. 175 f., whence the
+analysis by Hippe, p. 148.</p>
+<p><span class="sc">Esthonian II.</span></p>
+<p><i lang="de">Reisen in mehrere russische Gouvernements in den Jahren
+1801, 1807 und 1815</i>, 1830, v. 186&ndash;192, from <i lang="de">Ein
+Ausflug nach Esthland im Junius 1807</i>. Reprinted by Kletke, <i lang=
+"de">M&auml;rchensaal</i>, 1845, ii. 60&ndash;62. Summarized by Dutz,
+p. 18, note 3.</p>
+<p><span class="sc">Finnish.</span></p>
+<p>Liebrecht, <i>Germania</i>, xxiv. 131, 132. Communicated by
+Schiefner from <i lang="fi">Suomen, Kansan Satuja</i>, Helsingfors,
+1866. Summarized by Hippe, pp. 148 f.</p>
+<p><span class="sc">Catalan.</span></p>
+<p>F. Maspons y Labr&oacute;s, <i lang="ca">Lo Rondollayre: Quentos
+populars catalans</i>, <span lang="ca">Segona S&eacute;rie</span>,
+1872, no. 5, pp. 34&ndash;37. Analyzed by <span class="pagenum">[<a id=
+"pb13" href="#pb13" name="pb13">13</a>]</span>Liebrecht, <i lang=
+"de">Heid. Jahrb&uuml;cher der Lit</i>. lxv. 894 (1872), and after him
+by Hippe, p. 151. Mentioned by d&rsquo;Ancona, <i>Romania</i>, iii.
+192, and by Foerster, <i>Richars li Biaus</i>, p. xxviii.</p>
+<p><span class="sc">Spanish</span>.</p>
+<p>Duran, <i lang="es">Romancero general</i>, 1849&ndash;51, ii.
+299&ndash;302, nos. 1291, 1292. Summarized by K&ouml;hler, <i lang=
+"de">Or. und Occ</i>. ii. 323 f. and after him by Cosquin, <i lang=
+"fr">Contes populaires</i>, i. 215, and by Hippe, p. 151.<a class=
+"noteref" id="xd20e1203src" href="#xd20e1203" name="xd20e1203src">5</a>
+Mentioned by Sepp, p. 686.</p>
+<p><span class="sc">Lope de Vega</span>.</p>
+<p>Comedy in two parts, <i lang="es">Don Juan de Castro</i>. According
+to J. R. Chorley, <i lang="es">Cat&aacute;logo de comedias y autos de
+Frey F&eacute;lix de Vega Carpio</i>, p. 5, this play is to be found in
+Part xix. of the <i lang="es">Comedias</i> published in 1623 (later
+issues 1624, 1625, and 1627). A. Schaeffer, <i lang="de">Geschichte des
+spanischen Nationaldramas</i>, 1890, i. 141, says that the second part,
+called <i lang="es">Las aventuras de don Juan de Alarcos</i>, is in
+Part xxv. of Lope&rsquo;s comedies. The entire play is edited by
+Hartzenbusch, <i lang="es">Comedias Escogidas de Lope de Vega</i>, iv.
+373 ff. and 395 ff. in the <i lang="es">Biblioteca de autores
+espa&ntilde;oles</i>, lii. Schaeffer, pp. 141, 142, gives a careful
+summary of the play, and K&ouml;hler, <i lang="de">Or. und Occ</i>.
+iii. 100 f., gives another. The latter is followed by Hippe, p. 151.
+Mentioned by Duran, <i lang="es">Romancero general</i>, ii. 299, by
+Sepp, p. 686, and by Wilhelmi, pp. 45 ff. and 60.</p>
+<p><span class="sc">Calderon</span>.</p>
+<p><i lang="es">El Mejor Amigo el Muerto</i>, by Luis de Belmonte,
+Francisco de Rojas, and Pedro Calderon de la Barca, in <i lang=
+"es">Biblioteca de autores espa&ntilde;oles</i>, xiv. 471&ndash;488,
+and in <i lang="es">Comedias escogidas de los mejores ingenios de
+Espa&ntilde;a</i>, 1657, ix. 53&ndash;84. Analyzed by K&ouml;hler,
+<i lang="de">Or. und Occ</i>, iii. 100 f., and briefly after him by
+Hippe, p. 151. Mentioned by Sepp, p. 686, and by Wilhelmi, pp. 60 f.
+Schaeffer, <i>work cited</i>, ii. 283 f., says that a play of this name
+was written by Belmonte alone in 1610, which was revised about 1627
+with the aid of Rojas and Calderon. <span class="pagenum">[<a id="pb14"
+href="#pb14" name="pb14">14</a>]</span></p>
+<p><span class="sc">Trancoso</span>.<a class="noteref" id=
+"xd20e1272src" href="#xd20e1272" name="xd20e1272src">6</a></p>
+<p><i lang="pt">Contos e historias de proveito e exemplo</i>, by
+Gon&ccedil;alo Fernandez Trancoso, Parte 2, Cont ii., first published
+in 1575 and frequently re-issued during the sixteenth and seventeenth
+centuries. In the edition published at Lisbon in 1693, our tale is
+found on pp. 45r.&ndash;60r.; and in that published at the same place
+in 1710, on pp. 110&ndash;177. Men&eacute;ndez y Pelayo, <i lang=
+"es">Or&iacute;genes de la Novela (Nueva Biblioteca de autores
+espa&ntilde;oles</i> vii.), 1907, ii. lxxxvii ff., gives a
+bibliography, the table of contents, and a description of the work on
+the basis of seventeenth century editions; on p. xcv. he connects the
+tale above-mentioned with <i>The Grateful Dead</i>. See T. Braga,
+<i lang="pt">Contos tradiconaes do povo portuguez</i>, 1883, ii.
+63&ndash;128, who prints nineteen of the tales in abbreviated form, but
+not ours.</p>
+<p><span class="sc">Nicholas</span>.</p>
+<p>Johannes Junior (Gobius), <i>Scala Celi</i>, 1480, under
+<i>Elemosina</i>. Gobius was born in the south of France and lived
+about the middle of the fourteenth century.<a class="noteref" id=
+"xd20e1300src" href="#xd20e1300" name="xd20e1300src">7</a> Summary by
+Simrock, pp. 106&ndash;109. Mentioned by Hippe, p. 169.</p>
+<p><span class="sc">Richars</span>.</p>
+<p><i>Richars li Biaus</i>, ed. W. Foerster, 1874. A romance written in
+Picardy or eastwards in the thirteenth century (Foerster, p. xxi).
+Analyzed by K&ouml;hler, <i lang="fr">Revue critique</i>, 1868, pp. 412
+ff., and Hippe, p. 155. Compared in detail with <i>Lion de Bourges</i>
+by Wilhelmi, pp. 46 ff.</p>
+<p><span class="sc">Lion de Bourges</span>.</p>
+<p>An Old French romance known to exist in two manuscripts, the earlier
+dating from the fourteenth century,<a class="noteref" id="xd20e1326src"
+href="#xd20e1326" name="xd20e1326src">8</a> the later from <span class=
+"pagenum">[<a id="pb15" href="#pb15" name="pb15">15</a>]</span>about
+the end of the fifteenth.<a class="noteref" id="xd20e1340src" href=
+"#xd20e1340" name="xd20e1340src">9</a> It has never been edited, but
+the portion which concerns us was analyzed in detail by Wilhelmi, pp.
+18&ndash;38. This summary I have made the basis of my discussion. The
+romance was mentioned by P. Paris, Foerster, and Suchier (as cited in
+note below), Gautier, <i lang="fr">Les &eacute;pop&eacute;es
+fran&ccedil;aises</i>, 1st ed. 1865, i. 471&ndash;473, Ebert, <i lang=
+"de">Jahrbuch f. rom. und engl. Lit</i>. iv. 53, 54, and Benfey,
+<i>Pantschatantra</i>, i. 220. A prose translation into German is found
+in manuscripts of the fifteenth century, which does not differ
+materially from the original.<a class="noteref" id="xd20e1362src" href=
+"#xd20e1362" name="xd20e1362src">10</a> This was printed in 1514, and
+summarized by F. H. von der Hagen, <i lang="de">Gesammtabenteuer</i>,
+1850, i. xcvii&ndash;xcix, Simrock, pp. 104&ndash;106, and Hippe, p.
+154. See E. M&uuml;ller, <i lang="de">&Uuml;berlieferung des Herpin von
+Burges</i>, 1905, who analyzes the work and treats its relations to
+<i>Lion</i>.</p>
+<p><span class="sc">Oliver</span>.</p>
+<p><i lang="fr">Olivier de Castille et Artus d&rsquo;Algarbe</i>, a
+French prose romance composed before 1472, according to
+Foulch&eacute;-Delbosc (<i lang="fr">Revue hispanique</i>, ix. 592).
+The first and second editions were printed at Geneva, the first in
+1482, the second before 1492.<a class="noteref" id="xd20e1386src" href=
+"#xd20e1386" name="xd20e1386src">11</a> There exist at least three
+manuscripts of the work from the fifteenth century: MS. Bibl. nat.
+fran. 12574 (which attributes the romance to a David Aubert, according
+to Gr&ouml;ber, <i lang="de">Grundriss der rom. Phil</i>. ii. 1, 1145);
+MS. Brussels 3861; and Univ. of Ghent, MS. 470. The designs of the last
+have been reproduced, together with a summary of the text, by Heins and
+Bergmans, <i>Olivier de Castille</i>, 1896. An English translation was
+printed by Wynkyn de Worde in 1518. A translation from the second
+French edition into Castilian was made by Philippe Camus, which was
+printed thirteen times between 1499 and 1845.<a class="noteref" id=
+"xd20e1395src" href="#xd20e1395" name="xd20e1395src">12</a> The edition
+of 1499 has lately been reproduced in facsimile by A. M. Huntington,
+<i lang="es">La historia de los nobles caualleros Oliueros de castilla
+y artus dalgarbe</i>, 1902. A German translation from the French was
+made by Wilhelm Ziely in 1521, and this was translated into English by
+Leighton and Barrett, <i>The History of Oliver and Arthur</i>, 1903.
+From the <span class="pagenum">[<a id="pb16" href="#pb16" name=
+"pb16">16</a>]</span>German prose Hans Sachs took the material for his
+comedy on the theme (publ. 1556). A summary of Ziely&rsquo;s work is
+given by Fr&ouml;licher, <i lang="de">Th&uuml;ring von
+Ringoltingen&rsquo;s &ldquo;Melusine,&rdquo; Wilhelm Ziely&rsquo;s
+&ldquo;Olivier und Artus&rdquo; und &ldquo;Valentin und
+Orsus,&rdquo;</i> 1889, pp. 65 f., which is used by Wilhelmi, pp. 55,
+56, in his comparison of the romance with <i>Richars</i> and <i>Lion de
+Bourges</i>. An Italian translation, presumably from the French, was
+printed three or four times from 1552 to 1622.<a class="noteref" id=
+"xd20e1419src" href="#xd20e1419" name="xd20e1419src">13</a> A summary
+of the story is given in <i lang="fr">M&eacute;langes tir&eacute;s
+d&rsquo;une grande biblioth&egrave;que</i>, by E. V. 1780, pp. 78 ff.,
+with an incorrect note about the romance, reproduced by Hippe, pp. 155
+f., with an analysis from the same source of the part of the tale
+belonging to our cycle. Robert Laneham in his list of ballads and
+romances, made in 1575, mentions <i>Olyuer of the Castl</i>. See
+Furnivall, <i>Captain Cox, his Ballads and Books</i>, Ballad Soc. 1871,
+vii. xxxvii and 30.</p>
+<p><span class="sc">Jean de Calais</span>.</p>
+<p>I. Mme. Ang&eacute;lique de Gomez, <i lang="fr">Histoire de Jean de
+Calais</i>, 1723. Sketched in the <i lang="fr">Biblioth&egrave;que
+universelle des romans</i>, Dec. 1776, pp. 134 ff. K&ouml;hler,
+<i>Germania</i>, iii. 204 ff., gives a summary of the work, which
+Mme<span class="corr" id="xd20e1448" title="Not in source">.</span> de
+Gomez stated was &ldquo;<span lang="fr">tir&eacute; d&rsquo;un livre
+qui a pour titre: <i>Histoire fabuleuse de la Maison des Rois de
+Portugal.</i>&rdquo;</span> A later anonymous redaction of this
+<i lang="fr">Jean de Calais</i> exists in prints of 1770, 1776, and
+1787, and it continued to be issued in the nineteenth century.
+Summarized by Hippe, pp. 156 f., and by Sepp, pp. 685 f. Mentioned by
+K&ouml;hler in Gonzenbach, <i lang="de">Sicil. M&auml;rchen</i>, ii.
+250.</p>
+<p>II. Blad&eacute;, <i lang="fr">Contes populaires de la Gascogne</i>,
+1886, ii. 67&ndash;90. This and the following folk-versions of
+<i>Jean</i> deserve careful consideration because of the interesting
+character of their variations.</p>
+<p>III. J. B. Andrews, <i>Folk-Lore Record</i>, iii. 48 ff., from
+Mentone. See Liebrecht, <i lang="de">Engl. Stud</i>. v. 158, and Hippe,
+p. 157.</p>
+<p>IV. and V. J. B. Andrews, <i lang="fr">Contes ligures, traditions de
+la Rivi&egrave;re</i>, 1892, pp. 111&ndash;116, no. 26, and pp.
+187&ndash;192, no. 41. These two versions differ slightly from one
+another, but more from the preceding. <span class="pagenum">[<a id=
+"pb17" href="#pb17" name="pb17">17</a>]</span></p>
+<p>VI. P. S&eacute;billot, <i lang="fr">Contes populaires de la
+Haute-Bretagne</i>, <span lang="fr">3me. s&eacute;rie</span>, 1882, pp.
+164&ndash;171.</p>
+<p>VII. Wentworth Webster, <i>Basque Legends</i>, 1877, pp.
+151&ndash;154. See Luzel, <i lang="fr">L&eacute;gendes
+chr&eacute;tiennes</i>, p. 90, note.</p>
+<p>VIII. A. Le Braz, <i lang="fr">La l&eacute;gende de la mort chez les
+Bretons armoricains</i>, <span lang="fr">nouv. &eacute;d.</span>, 1902,
+ii. 211&ndash;231.</p>
+<p>IX. L. Giner Arivau, <i lang="es">Folk-Lore de Proaza</i> (Asturia),
+in <i lang="es">Biblioteca de las tradiciones populares
+espa&ntilde;olas</i>, viii. 194&ndash;201 (1886).</p>
+<p>X. Gitt&eacute;e and Lemoine, <i lang="fr">Contes populaires du pays
+Wallon</i>, 1891, pp. 57&ndash;61.</p>
+<p><span class="sc">Walewein</span>.</p>
+<p><i lang="nl">Roman van Walewein</i>, ed. Jonckbloet, 1846. Analyzed
+by G. Paris, <i lang="fr">Hist. litt. de la France</i>, xxx.
+82&ndash;84, and by W. P. Ker, <i>The Roman van Walewein (Gawain)</i>
+in <i>Folk-Lore</i>, v. 121&ndash;127 (1894). My analysis is a
+combination made from these two summaries.</p>
+<p><span class="sc">Lotharingian</span>.</p>
+<p>Cosquin, <i lang="fr">Contes populaires de Lorraine</i>, 1886, i.
+208&ndash;212 (no. xix). Noted by Hippe, p. 157.</p>
+<p><span class="sc">Gasconian</span>.</p>
+<p>C&eacute;nac Moncaut, <i lang="fr">Contes populaires de la
+Gascogne</i>, 1861, pp. 5&ndash;14, &ldquo;<span lang="fr">Rira bien
+qui rira le dernier.</span>&rdquo; Summarized by K&ouml;hler, <i lang=
+"de">Or. und Occ.</i> ii. 329. Mentioned by Hippe, p. 157, and by
+Groome, <i>Folk-Lore</i>, ix. 239.</p>
+<p><span class="sc">Dianese</span>.</p>
+<p><i lang="it">Novella di Messer Dianese e di Messer Gigliotto</i>,
+ed. d&rsquo;Ancona and Sforza, 1868. Analyzed by Liebrecht, <i lang=
+"de">Heid. Jahrb&uuml;cher der Lit</i>. lxi. 450 (1868), by
+d&rsquo;Ancona, <i>Romania</i>, iii. 191, (reprinted in his <i lang=
+"it">Studj di critica e storia</i>, 1880, p. 353), and by Hippe, p.
+152. D&rsquo;Ancona&rsquo;s summary is from Papanti, nov. xxi. The
+variant is of the fourteenth century, according to the writer of the
+introduction of the edition of 1868, p. 5. See also Foerster,
+<i>Richars li Biaus</i>, p. xxiv, and Wilhelmi, pp. 44 and 57.</p>
+<p><span class="sc">Stellante Costantina</span>.</p>
+<p>D&rsquo;Ancona, <i>Romania</i>, iii. 192, mentions the popular poem
+<i lang="it">Istoria bellissima di Stellante Costantina figliuola del
+gran turco, la quale fu rubata da certi cristiani che teneva in corte
+suo padre e fu venduta <span class="pagenum">[<a id="pb18" href="#pb18"
+name="pb18">18</a>]</span>a un mercante di Vicenza presso Salerno, con
+molti intervalli e successi, composta da Giovanni Orazio Brunetto</i>.
+I have not been able to find this poem and do not know how closely it
+accords with <i>Dianese</i>.</p>
+<p><span class="sc">Straparola</span> I.</p>
+<p><span lang="it"><i>Notti piacevoli</i>, notte xi, favola 2</span>.
+Analyzed by Grimm, <i lang="de">Kinder- und Hausm&auml;rchen</i>, 1856,
+iii, 289; and rather too briefly by Simrock, pp. 98&ndash;100, and
+Hippe, p. 153. See Benfey, <i>Pant</i>. i. 221, K&ouml;hler in
+Gonzenbach, <i lang="de">Sicil. M&auml;rchen</i>, ii. 249, and Groome,
+<i>Tobit and Jack, Folk-Lore</i>, ix. 226 f., and <i>Gypsy
+Folk-Tales</i>, p. 3, note.</p>
+<p><span class="sc">Straparola</span> II.</p>
+<p><span lang="it"><i>Notti piacevoli</i>, notte v, favola 1.</span>
+See Benfey, <i>Pant</i>. ii. 532.</p>
+<p><span class="sc">Tuscan</span>.</p>
+<p>G. Nerucci, <i lang="it">Sessanta novelle popolari</i>, 1880, pp.
+430&ndash;437, no. lii. A folk-tale from the neighbourhood of Pistoia.
+See Webster, <i>Basque Legends</i>, pp. 182&ndash;187, Crane,
+<i>Italian Popular Tales</i>, p. 350, and Cosquin, <i lang="fr">Contes
+populaires</i>, i. 215.</p>
+<p><span class="sc">Istrian</span>.</p>
+<p>Ive, <i lang="it">Novelline popolari rovignesi</i>, 1877, p. 19. See
+d&rsquo;Ancona, <i lang="it">Studj di critica</i>, 1880, p. 354, and
+the summary by Crane, <i>Italian Popular Tales</i>, 1885, no. xxxv. pp.
+131&ndash;136, from whom, as Ive&rsquo;s collection has been
+inaccessible to me, I derive my knowledge of the story. Crane gives the
+title of Ive as <i>Fiabe</i>, etc., d&rsquo;Ancona as above.</p>
+<p><span class="sc">Venetian</span>.</p>
+<p>G. Bernoni, <i lang="it">Tradizioni populari veneziane</i>, 1875,
+pp. 89&ndash;96. Referred to by Crane, <i>Italian Popular Tales</i>, p.
+350.</p>
+<p><span class="sc">Sicilian</span>.</p>
+<p>Laura Gonzenbach, <i lang="de">Sicilianische M&auml;rchen</i>, 1870,
+ii. 96&ndash;103. Summarized briefly by Hippe, pp. 153 f., and by
+Groome, <i>Folk-Lore</i>, ix. 239 f.</p>
+<p><span class="sc">Brazilian</span>.</p>
+<p>Rom&eacute;ro and Braga, <i lang="pt">Contos populares do
+Brazil</i>, 1885, no. x. pp. 215. See Cosquin, <i lang="fr">Contes
+populaires</i>, i. 215. <span class="pagenum">[<a id="pb19" href=
+"#pb19" name="pb19">19</a>]</span></p>
+<p><span class="sc">Basque</span> I.</p>
+<p>Wentworth Webster, <i>Basque Legends</i>, 1877, pp. 182&ndash;187.
+See Cosquin, <i lang="fr">Contes populaires</i>, i. 215, and Luzel,
+<i lang="fr">L&eacute;gendes chr&eacute;tiennes</i>, p. 90, note.</p>
+<p><span class="sc">Basque</span> II.</p>
+<p>Webster, <i>work cited</i>, pp. 146&ndash;150. See Crane, <i>Italian
+Popular Tales</i>, p. 351.</p>
+<p><span class="sc">Gaelic</span>.</p>
+<p>Campbell, <i>Popular Tales of the West Highlands</i>, new ed. 1890,
+ii. 121&ndash;140, no. 32, &ldquo;The Barra Widow&rsquo;s Son.&rdquo;
+Summarized by K&ouml;hler, <i lang="de">Or. und Occ</i>. ii. 322 f., by
+Sepp, p. 685, by Hippe, p. 150, and by Groome, <i>Folk-Lore</i>, ix.
+235. See K&ouml;hler in Gonzenbach, <i lang="de">Sicil.
+M&auml;rchen</i>, ii. 249, and Groome, <i>Gypsy Folk-Tales</i>, p. 3,
+note.</p>
+<p><span class="sc">Irish</span> I.</p>
+<p>W. Larminie, <i>West Irish Folk-Tales and Romances</i>, 1893, pp.
+155&ndash;167, &ldquo;Beauty of the World.&rdquo; Mentioned by
+Kittredge, <i>Harvard Notes and Studies</i>, viii. 250, note.</p>
+<p><span class="sc">Irish</span> II.</p>
+<p>Douglas Hyde, <i>Beside the Fire. A Collection of Irish Gaelic
+Folk-Stories</i>, 1890, pp. 18&ndash;47, &ldquo;The King of
+Ireland&rsquo;s Son.&rdquo;<a class="noteref" id="xd20e1788src" href=
+"#xd20e1788" name="xd20e1788src">14</a> Mentioned by Kittredge,
+<i>place cited</i>.</p>
+<p><span class="sc">Irish</span> III.</p>
+<p>P. Kennedy, <i>Legendary Fictions of the Irish Celts</i>, 1866, pp.
+32&ndash;38, &ldquo;Jack the Master and Jack the Servant.&rdquo;</p>
+<p><span class="sc">Breton</span> I.</p>
+<p>Souvestre, <i lang="fr">Le foyer breton, contes et r&eacute;cits
+populaires</i>, <span lang="fr">nouv. <span class="corr" id="xd20e1814"
+title="Source: ed.">&eacute;d.</span></span> 1874, ii. 1&ndash;21.
+Analyzed by Simrock, pp. 94&ndash;98, by Sepp, p. 685, and in part by
+Hippe, p. 149. See Luzel, <i lang="fr">L&eacute;gendes
+chr&eacute;tiennes</i>, i. 90, note.</p>
+<p><span class="sc">Breton</span> II.</p>
+<p>F. M. Luzel, <i lang="fr">L&eacute;gendes chr&eacute;tiennes de la
+Basse-Bretagne</i>, 1881, i. 68&ndash;90, &ldquo;<span lang="fr">Le
+fils de Saint Pierre.</span>&rdquo; Cited by von Weilen, <i lang=
+"de">Zts. f. <span class="pagenum">[<a id="pb20" href="#pb20" name=
+"pb20">20</a>]</span>vergl. Litteraturgeschichte</i>, N.F. i. 105.
+Analyzed in part by Hippe, pp. 149 f.</p>
+<p><span class="sc">Breton</span> III.</p>
+<p>Luzel, <i>work cited</i>, ii. 40&ndash;58. Mentioned by von Weilen,
+<i>place cited</i>, and analyzed by Hippe, p. 150. The title, slightly
+misquoted by Hippe, is &ldquo;<span lang="fr">Cantique spirituel sur la
+charit&eacute; que montra Saint-Corentin envers un jeune homme qui fut
+chass&eacute; de chez son p&egrave;re et sa m&egrave;re, sans motif ni
+raison.</span>&rdquo;</p>
+<p><span class="sc">Breton</span> IV.</p>
+<p>P. S&eacute;billot, <i lang="fr">Contes populaires de la
+Haute-Bretagne</i>, 1880, pp. 1&ndash;8. Noted by Luzel, <i>work
+cited</i>, p. 90, note, and by Cosquin, <i lang="fr">Contes
+populaires</i>, i. 215.</p>
+<p><span class="sc">Breton</span> V.</p>
+<p>F. M. Luzel, <i lang="fr">Contes populaires de Basse-Bretagne</i>,
+1887, ii. 176&ndash;194, &ldquo;La princesse Marcassa.&rdquo;</p>
+<p><span class="sc">Breton</span> VI.</p>
+<p>F. M. Luzel, <i>work cited</i>, ii. 209&ndash;230, &ldquo;La
+princesse de Hongrie.&rdquo;</p>
+<p><span class="sc">Breton</span> VII.</p>
+<p>F. M. Luzel, <i>work cited</i>, i. 403&ndash;424, &ldquo;<span lang=
+"de">Iouenn Kerm&eacute;nou, l&rsquo;homme de parole.</span>&rdquo;</p>
+<p><span class="sc">Old Swedish</span>.</p>
+<p>Stephens, pp. 73 f., reprinted with translation from his <i lang=
+"se">Ett Forn-Svenskt Legendarium</i>, 1858, ii. 731 f. This variant
+from 1265&ndash;1270 is analyzed by Hippe, pp. 158 f.</p>
+<p><span class="sc">Swedish</span>.</p>
+<p>P. O. B&auml;ckstr&ouml;m, <i lang="se">Svenska Folkb&ouml;cker</i>,
+1845&ndash;48, ii. 144&ndash;156, from H&mdash;d (Hammarsk&ouml;ld) and
+I&mdash;s (Imnelius), <i lang="se">Svenska Folksagor</i>, 1819, i.
+157&ndash;189. B&auml;ckstr&ouml;m also cites several editions of the
+folk-book, which he says is of native origin. Mentioned by Stephens, p.
+8. Summarized by Liebrecht, <i>Germania</i>, xxiv. 130 f., and by
+Hippe, p. 158.</p>
+<p><span class="sc">Danish</span> I.</p>
+<p>S. Grundtvig, <i lang="da">Gamle Danske Minder i Folkemunde</i>,
+1854, pp. 77&ndash;80, &ldquo;<span lang="da">Det fattige
+Lig.</span>&rdquo; Mentioned by Stephens, p. 8, by <span class=
+"pagenum">[<a id="pb21" href="#pb21" name="pb21">21</a>]</span>Hippe,
+p. 160, and by Wilhelmi, p. 45. Summarized by K&ouml;hler, <i lang=
+"de">Or. und Occ</i>. iii. 99.</p>
+<p><span class="sc">Danish</span> II.</p>
+<p>Grundtvig, <i>work cited</i>, pp. 105&ndash;108, &ldquo;<span lang=
+"da">De tre Mark.</span>&rdquo; Summarized by K&ouml;hler, <i lang=
+"de">Or. und Occ</i>. iii. 100. Cited by Hippe, p. 160, and Wilhelmi,
+p. 45.</p>
+<p><span class="sc">Danish</span> III.</p>
+<p>Andersen, &ldquo;<span lang="da">Reisekammeraten</span>,&rdquo; in
+<i lang="da">Samlede Skrifter</i>, xx. 54 ff. (1855). Found in most
+English editions of Andersen&rsquo;s tales as &ldquo;The Travelling
+Companion.&rdquo; Based on <i>Norwegian II</i>. Analyzed by Sepp, p.
+678. Cited by K&ouml;hler, <i lang="de">Or. und Occ.</i> ii. 327, by
+Hippe, p. 159, and by Groome, <i>Gypsy Folk-Tales</i>, p. 3, note.</p>
+<p><span class="sc">Norwegian</span> I.</p>
+<p>Asbj&ouml;rnsen, <i lang="no">Iuletraeet</i>, 1866, no. 8, and
+<i lang="no">Norske Folke-Eventyr</i>, 1871, no. 99, pp. 198&ndash;201.
+Summarized by Liebrecht, <i lang="de">Heid. Jahrb&uuml;cher der
+Lit</i>. lxi. 451 (1868), and by Hippe, p. 159. See Liebrecht,
+<i>Germania</i>, xxiv. 131.</p>
+<p><span class="sc">Norwegian</span> II.</p>
+<p>Asbj&ouml;rnsen, <i lang="no">Illustreret Kalender</i>, 1855, pp.
+32&ndash;39, <i lang="no">Iuletraeet</i>, no. 9, and <i lang=
+"no">Norske Folke-Eventyr</i>, no. 100, pp. 201&ndash;214. Translated
+by Dasent, <i>Tales from the Fjeld</i>, 1874, pp. 71&ndash;88. Cited by
+Stephens, p. 8, Liebrecht, <i>Germania</i>, xxiv. 131, and Groome,
+<i>Gypsy Folk-Tales</i>, p. 3, note. Somewhat inadequate summaries by
+Liebrecht, <i lang="de">Heid. Jahrb&uuml;cher der Lit</i>. lxi. 452,
+Hippe, p. 159, and Groome, <i>Folk-Lore</i>, ix. 230.</p>
+<p><span class="sc">Icelandic</span> I.</p>
+<p>&Aacute;rnason, <i lang="is">&Iacute;slenzkar
+&thorn;j&oacute;s&ouml;gur og <span class="corr" id="xd20e2033" title=
+"Source: &AElig;fint&yacute;ri">&aelig;fint&yacute;ri</span></i>, 1864,
+ii. 473&ndash;479. English translation in Powell and Magn&uacute;sson,
+<i>Legends Collected by J&oacute;n. Arnason</i>, 1866, pp.
+527&ndash;540. German translation in Poestion, <i lang=
+"de">Isl&auml;ndische M&auml;rchen</i>, 1884, p. 274. Cited by
+Liebrecht<span class="corr" id="xd20e2042" title="Source: .">,</span>
+<i lang="de">Heid. Jahrb&uuml;cher</i>, lxi. 451, and <i>Germania</i>,
+xxiv. 131, and by Wilhelmi, p. 45. Summary by K&ouml;hler, <i lang=
+"de">Or. und Occ</i>. iii. 101 f., and by Hippe, p. 159.</p>
+<p><span class="sc">Icelandic</span> II.</p>
+<p>A. Ritterhaus, <i lang="de">Die neuisl&auml;ndischen
+Volksm&auml;rchen</i>, 1902, no. 57, pp. 232&ndash;235. From MS. 537,
+Landesbibliothek, Reykjav&iacute;k. <span class="pagenum">[<a id="pb22"
+href="#pb22" name="pb22">22</a>]</span></p>
+<p><span class="sc">Rittertriuwe</span>.</p>
+<p>F. H. von der Hagen, <i lang="de">Gesammtabenteuer</i>, 1850, i.
+105&ndash;128, no. 6. A poem of 866 lines from the fourteenth century.
+Summaries in Benfey, <i>Pant</i>. i. 221, in Simrock, pp.
+100&ndash;103, and, with a rather bad error, in Hippe, p. 164. See
+Foerster, <i>Richars li Biaus</i>, p. xxiv. Compared with <i>Richars,
+Oliver</i>, and <i lang="fr">Lion de Bourges</i> by Wilhelmi, pp. 56
+f.</p>
+<p><span class="sc">Treu Heinrich</span>.</p>
+<p><i lang="de">Der Junker und der treue Heinrich</i>, ed. K. Kinzel,
+1880. Previously edited and analyzed by von der Hagen, <i lang=
+"de">Gesammtabenteuer</i>, iii. 197&ndash;255, no. 64. Summary by
+Simrock, pp. 103 f. Cited by Hippe, p. 165.</p>
+<p><span class="sc">Simrock</span> I.</p>
+<p>J. W. Wolf, <i lang="de">Deutsche Hausm&auml;rchen</i>, 1858, pp.
+243&ndash;250, contributed by W. von Pl&ouml;nnies. Summary by Simrock,
+pp. 46&ndash;51, by K&ouml;hler, <i lang="de">Or. und Occ</i>. iii. 98,
+and by Sepp, p. 683. Cited by Hippe, p. 165.</p>
+<p><span class="sc">Simrock</span> II.</p>
+<p>W. von Pl&ouml;nnies in <i lang="de">Zts. f. deutsche Myth</i>. ii.
+373&ndash;377. From the Odenwald. Summary by Simrock, pp. 51&ndash;54.
+See Hippe, p. 165. This is the story analyzed by Sepp, p. 688 f.,
+though he also refers to Wolf&rsquo;s and Zingerle&rsquo;s tales.</p>
+<p><span class="sc">Simrock</span> III.</p>
+<p>E. Meier, <i lang="de">Deutsche Volksm&auml;rchen aus Schwaben</i>,
+1852, no. 42. pp. 143&ndash;153. Summarized by Simrock, pp.
+54&ndash;58, K&ouml;hler, <i>Or<span class="corr" id="xd20e2131" title=
+"Source: ,">.</span> und Occ</i>. iii. 99, and Sepp, pp. 686 f. See
+Hippe, p. 165.</p>
+<p><span class="sc">Simrock</span> IV.</p>
+<p>H. Pr&ouml;hle, <i lang="de">Kinder- und Volksm&auml;rchen</i>,
+1853, pp. 239&ndash;246. Summary by Simrock, pp. 58&ndash;62. See
+Hippe, p. 165.</p>
+<p><span class="sc">Simrock</span> V.</p>
+<p>Simrock, pp. 62&ndash;65, contributed by Zingerle, who afterwards
+printed it in the <i lang="de">Zts. f. deutsche Myth</i>. ii. 367 ff.,
+in <i lang="de">Sagen, M&auml;rchen und Gebr&auml;uche aus Tirol</i>,
+1859, pp. 444 f., and in <i lang="de">Kinder- und Hausm&auml;rchen aus
+Tirol</i>, 2nd ed., 1870, pp. 261&ndash;267. Analyzed without mention
+of source by Sepp, pp. 687 f. See Hippe, p. 165. <span class=
+"pagenum">[<a id="pb23" href="#pb23" name="pb23">23</a>]</span></p>
+<p><span class="sc">Simrock</span> VI.</p>
+<p>Simrock, pp. 65&ndash;68, from Xanten. See Hippe, p. 165.</p>
+<p><span class="sc">Simrock</span> VII.</p>
+<p>Simrock, pp. 68&ndash;75, from Xanten. See Hippe, p. 165.</p>
+<p><span class="sc">Simrock</span> VIII.</p>
+<p>F. Woeste, <i lang="de">Zts. f. deutsche Myth</i>. iii. 46&ndash;50,
+from Grafschaft Mark. Given by Simrock, pp. 75&ndash;80. Analyzed by
+Sepp, p. 685, who inadvertently speaks of it as &ldquo;<span lang=
+"de">nach irischer Sage</span>.&rdquo; See Hippe, p. 165.</p>
+<p><span class="sc">Simrock</span> IX.</p>
+<p>Simrock, pp. 80&ndash;89, contributed by Zingerle, who afterwards
+printed it in <i lang="de">Sagen, M&auml;rchen und Gebr&auml;uche aus
+Tirol</i>, 1859, pp. 446&ndash;450, and in <i lang="de">Kinder- und
+Hausm&auml;rchen aus Tirol</i>, 2nd ed., 1870, pp. 254&ndash;260. See
+Stephens, p. 9, Hippe, pp. 165 f., and Wilhelmi, p. 45.</p>
+<p><span class="sc">Simrock</span> X.</p>
+<p>Simrock, pp. 89&ndash;94, from the foot of the Tomberg. Summarized
+by K&ouml;hler, <i lang="de">Or. und Occ</i>. ii. 326. See Hippe, p.
+166, and Wilhelmi, p. 45.</p>
+<p><span class="sc">Oldenburgian</span>.</p>
+<p>L. Strackerjan, <i lang="de">Aberglaube und Sagen aus dem Herzogtum
+Oldenburg</i>, 1867, ii. 308 ff. Cited by Hippe, p. 166, and by
+Foerster, <i>Richars li Biaus</i>, p. xxviii.</p>
+<p><span class="sc">Harz</span> I.</p>
+<p>A. Ey, <i lang="de">Harzm&auml;rchenbuch</i>, 1862, pp. 64&ndash;74.
+Summary by K&ouml;hler, <i lang="de">Or. und Occ</i>. iii. 96. Cited by
+Hippe, p. 166.</p>
+<p><span class="sc">Harz</span> II.</p>
+<p>A. Ey, <i>work cited</i>, pp. 113&ndash;118. Summary by K&ouml;hler,
+<i>Or. und Occ</i>. iii. 97. Cited by Hippe, p. 166.</p>
+<p><span class="sc">Sir Amadas</span>.</p>
+<p>Ed. Weber, <i>Metrical Romances</i>, 1810, iii. 241&ndash;275,
+Robson, <i>Three Early English Metrical Romances</i>, 1842, pp.
+27&ndash;56, Stephens, <i>Ghost-Thanks</i>, 1860. Stephens seems to
+have been the first to note the connection of <i>Sir Amadas</i> with
+<i>The Grateful Dead</i>. The romance, as it is preserved in two
+manuscripts of the fifteenth <span class="pagenum">[<a id="pb24" href=
+"#pb24" name="pb24">24</a>]</span>century, must accordingly have been
+composed as early as the second half of the preceding century. It
+contains 778 verses in the tail-rhyme stanza. Summarized by
+K&ouml;hler, <i lang="de">Or. und Occ.</i> ii. 325, by Foerster,
+<i>Richars li Biaus</i>, pp. xxiv&ndash;xxvi, by Groome,
+<i>Folk-Lore</i>, ix. 236, and by Hippe (with great care), pp.
+160&ndash;164. Compared with <i>Oliver</i> by Wilhelmi, pp. 58 f.</p>
+<p><span class="sc">Jack the Giant Killer.</span></p>
+<p>Found without essential difference in several chapbooks, the
+earliest owned by the British Museum being entitled: <i>The Second Part
+of</i> | <i>Jack and the Giants.</i> | <i>Giving a full Account of his
+victorious Conquests over</i> | <i>the North Country Giants; destroying
+the inchanted</i> | <i>Castle kept by Galligantus; dispersed the fiery
+Grif-</i> | <i>fins; put the Conjuror to Flight; and released not</i> |
+<i>only many Knights and Ladies, but likewise a Duke&rsquo;s</i> |
+<i>Daughter, to whom he was honourably married.</i> Newcastle-on-Tyne,
+1711.<a class="noteref" id="xd20e2310src" href="#xd20e2310" name=
+"xd20e2310src">15</a> Other editions with the story are: <i>The History
+of Jack and the Giants</i>, Aldermary Churchyard, London; same title,
+Bow Church Yard, London; same title, Cowgate, Edinburgh; <i>The
+Pleasant and delightful History of Jack and the Giants</i>, Nottingham,
+Printed for the Running Stationers, and <i>The Wonderful History of
+Jack the Giant-Killer</i>, Manchester, Printed by A. Swindells; all
+without date. The Newcastle edition was reprinted by
+Halliwell-Phillipps in <i>Popular Rhymes and Nursery Tales</i>, 1849,
+in which our tale appears at pp. 67&ndash;77. Apparently the British
+Museum copy dated 1711 is that owned by Halliwell-Phillipps. From his
+edition it has been reprinted by <i>Groome, Folk-Lore</i>, ix. 237 f.,
+and summarized by K&ouml;hler, <i lang="de">Or. und Occ.</i> ii. 327
+f., and Sepp, p. 685. See also Stephens, p. 8<span class="corr" id=
+"xd20e2332" title="Source: .">,</span> Hippe, p. 164, and Wilhelmi, p.
+45.</p>
+<p><span class="sc"><span class="corr" id="xd20e2337" title=
+"Source: Factors&rsquo;">Factor&rsquo;s</span> Garland.</span><a class=
+"noteref" id="xd20e2340src" href="#xd20e2340" name=
+"xd20e2340src">16</a></p>
+<p><i>The Factor&rsquo;s Garland</i> or <i>The Turkey Factor</i>, a
+tale in English verse, which may be regarded as a popular ballad,
+though by no <span class="pagenum">[<a id="pb25" href="#pb25" name=
+"pb25">25</a>]</span>means as a primitive one. It has often been
+reprinted as a chapbook or broadside. The library of Harvard University
+possesses copies of no less than eight different editions (see W. C.
+Lane, <i>Catalogue of English and American Chap-Books and Broadside
+Ballads in Harvard College Library</i>, 1905, nos. 809&ndash;815,
+2420). An examination of these shows that they differ from each other
+in no essential point, though they vary considerably in statements of
+time. The British Museum <i>Catalogue of Printed Books</i> lists seven
+editions, all different from those at Harvard, with one possible
+exception. The popularity of the story, at one time at least, is thus
+strikingly illustrated. Another variant, reported from oral tradition,
+has been found in North Carolina. See the paper read by J. B. Henneman
+before the Modern Language Association of America on Dec 29, 1906.</p>
+<p><span class="sc">Old Wives&rsquo; Tale.</span></p>
+<p>George Peele, <i>The Old Wives&rsquo; Tale</i> (1590), published in
+1595, Ed. by Dyce, 1828 and 1861, by Bullen, 1888, and by Gummere in
+Gayley&rsquo;s <i>Representative English Comedies</i>, 1903, pp.
+349&ndash;382. See H. Dutz for an elaborate discussion of the
+connection of the play with our theme.</p>
+<p><span class="sc">Fatal Dowry.</span></p>
+<p>Philip Massinger (and Nathaniel Field), <i>The Fatal Dowry</i>.
+First printed in 1632. Ed. A. Symons, Mermaid Series, 1889, ii.
+87&ndash;182.</p>
+<p><span class="sc">Fair Penitent.</span></p>
+<p>Nicholas Rowe, <i>The Fair Penitent, The Dramatick Works of Nicholas
+Rowe Esq.</i>, 1720, vol. i. <span class="pagenum">[<a id="pb26" href=
+"#pb26" name="pb26">26</a>]</span></p>
+</div>
+<div class="footnotes">
+<hr class="fnsep">
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e846" href="#xd20e846src" name="xd20e846">1</a></span> I have to
+thank the kindness of Professor Leo Wiener for my knowledge of the
+content of <i>Russian V.</i> and <i>VI.</i>, which he was good enough
+to translate for me from the dialect of White Russia.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e959" href="#xd20e959src" name="xd20e959">2</a></span> What the
+two Bohemian variants contain, which are mentioned by Benfey,
+<i>Pantschatantra</i>, i. 221, note, by Stephens, p. 10, by
+K&ouml;hler, <i>Germania</i>, iii. 199&ndash;209, and <i lang="de">Or.
+und Occ.</i> ii. 328, note, and by Hippe, p. 146, I have been unable to
+ascertain.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e1021" href="#xd20e1021src" name="xd20e1021">3</a></span> On pp.
+194&ndash;201 is found a curious &ldquo;<span lang="fr">&Eacute;cho de
+l&rsquo;histoire de Tobie</span>.&rdquo;</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e1042" href="#xd20e1042src" name="xd20e1042">4</a></span>
+Hippe&rsquo;s first Lithuanian tale is a variant of <i>The Water of
+Life</i> and will be treated in another connection.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e1203" href="#xd20e1203src" name="xd20e1203">5</a></span> Hippe
+speaks of &ldquo;<span lang="de">zwei spanische Romanzen</span>.&rdquo;
+Had he consulted the Spanish text or read K&ouml;hler&rsquo;s note more
+attentively, he would have seen that a single story runs through nos.
+1291 and 1292 of the <i lang="es">Romancero</i>.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e1272" href="#xd20e1272src" name="xd20e1272">6</a></span> My
+attention was called to this variant by the kindness of Professor F. De
+Haan, and I was supplied with a first summary from the 1693 edition by
+the friendly aid of Professor G. T. Northup.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e1300" href="#xd20e1300src" name="xd20e1300">7</a></span> See
+Crane, <i>Exempla of Jacques de Vitry</i>, 1890, p. lxxxvi.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e1326" href="#xd20e1326src" name="xd20e1326">8</a></span> P.
+Paris, <i lang="fr">Manuscrits fran&ccedil;ois</i>, 1840, iii. 1, and
+Foerster, <i>Richars li Biaus</i>, 1874, p. xxvii, date it from the
+fifteenth century; Suchier, <i lang="fr">Oeuvres po&eacute;tiques de
+Philippe de Beaumanoir</i>, 1884, p. lxxxiv, and Wilhelmi, p. 15, from
+the fourteenth century.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e1340" href="#xd20e1340src" name="xd20e1340">9</a></span> P.
+Paris, <i>place cited</i>, and Foerster, <i>place cited</i>, say the
+sixteenth century, but Wilhelmi, <i>place cited</i>, the fifteenth.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e1362" href="#xd20e1362src" name="xd20e1362">10</a></span> See
+Wilhelmi, p. 43.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e1386" href="#xd20e1386src" name="xd20e1386">11</a></span>
+Foulch&eacute;-Delbosc, pp. 589, 590.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e1395" href="#xd20e1395src" name="xd20e1395">12</a></span> <i>Work
+cited</i>, pp. 587, 588.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e1419" href="#xd20e1419src" name="xd20e1419">13</a></span>
+<i>Place cited</i>.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e1788" href="#xd20e1788src" name="xd20e1788">14</a></span> My
+attention was first called to this story by the kindness of Professor
+A. C. L. Brown.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e2310" href="#xd20e2310src" name="xd20e2310">15</a></span> An
+edition with an almost identical title &ldquo;Printed and sold by
+Larkin How, in Petticoat Lane,&rdquo; of which a copy is in the Harvard
+College library, does not contain our story.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e2340" href="#xd20e2340src" name="xd20e2340">16</a></span> My
+attention was called to this variant by the kindness of Professor
+Kittredge.</p>
+</div>
+</div>
+<div id="ch3" class="div1 chapter"><span class="pagenum">[<a href=
+"#toc">Contents</a>]</span>
+<div class="divHead">
+<h2 class="label">Chapter III.</h2>
+<h2 class="main">Tales with the Simple Theme and Miscellaneous
+Combinations.</h2>
+</div>
+<div class="divBody">
+<p class="first">Of the tales enumerated in the previous chapter, over
+one hundred in number, all but seventeen fall into well-defined
+categories as having <i>The Grateful Dead</i> combined with one or more
+of three given themes: <i>The Possessed Woman</i>, <i>The Ransomed
+Woman</i>, and <i>The Water of Life</i>. Of these seventeen variants,
+moreover, only four can be regarded as having the simple motive of
+<i>The Grateful Dead</i>; and they are in part doubtful members of the
+family.</p>
+<p>The first of them is <i>Simonides</i>, thus related by Cicero:
+&ldquo;<span lang="la">Unum de Simonide: qui cum ignotum quendam
+proiectum mortuum vidisisset eumque humavisset haberetque in animo
+navem conscendere, moneri visus est ne id faceret ab eo, quem sepultura
+adfecerat; si navigavisset, eum naufragio esse periturum; itaque
+Simonidem redisse, perisse ceteros, qui tum
+navigavissent.</span>&rdquo; The source of Cicero&rsquo;s story we do
+not know, but in all probability it was Greek. Whether it really
+belongs to our cycle, being so simple in form and nearly two centuries
+earlier in date than any other version yet unearthed, is a matter for
+very great doubt. It may have arisen quite independently of other
+similar tales in various parts of the world, and have no essential
+connection with our tale; but it deserves special consideration, not
+only from its antiquity, but also from its subsequent history in lineal
+descent through Valerius <span class="pagenum">[<a id="pb27" href=
+"#pb27" name="pb27">27</a>]</span>Maximus, and possibly Robert
+Holkot<a class="noteref" id="xd20e2421src" href="#xd20e2421" name=
+"xd20e2421src">1</a> to Chaucer. We are at least justified in looking
+for some influence of so well-known an anecdote upon
+better-authenticated members of the cycle.</p>
+<p>The three other variants with the simple theme are all folk-tales of
+recent gathering. The first of them is <i>Jewish</i>,<a class="noteref"
+id="xd20e2432src" href="#xd20e2432" name="xd20e2432src">2</a> which
+runs as follows: The son of a rich merchant of Jerusalem sets off after
+his father&rsquo;s death to see the world. At Stamboul he finds hanging
+in chains the body of a Jew, which the Sultan has commanded to be left
+there until his co-religionists shall have repaid the sum that the man
+is suspected of having stolen from his royal master. The hero pays this
+sum, and has the corpse buried. Later during a storm at sea he is saved
+by a stone on which he is brought to land, whence he is carried by an
+eagle back to Jerusalem. There a white-clad man appears to him,
+explaining that he is the ghost of the dead, and that he has already
+appeared as stone and eagle. The spirit further promises the hero a
+reward for his good deed in the present and in the future life.</p>
+<p>The second variant is the <i>Annamite</i> tale. Two poor students
+were friends. One died and was buried by the other, whose fidelity was
+such that he remained three years by the tomb. He dreamed that his
+friend came to him and said that he should gain the title of <i lang=
+"vi">tra&#803;ng <span class="corr" id="xd20e2442" title=
+"Source: nguyen">nguy&ecirc;n</span></i>. So he built a chapel by the
+tomb, where the dead friend often appeared to him. When the king heard
+of his loyalty, he was praised and rewarded with a title. After his
+<span class="pagenum">[<a id="pb28" href="#pb28" name=
+"pb28">28</a>]</span>death the two friends appeared to their son and
+daughter, bidding them marry.<a class="noteref" id="xd20e2447src" href=
+"#xd20e2447" name="xd20e2447src">3</a></p>
+<p>The third story is <i>Servian VI.</i> An uncle of Adam, who honoured
+God and the &ldquo;Vile,&rdquo;<a class="noteref" id="xd20e2458src"
+href="#xd20e2458" name="xd20e2458src">4</a> was so good a man that God
+came to him in human form one day. After a battle between the good and
+evil in the world, the latter would not bury the slain. The Vile told
+Tuegut that this would not do, so he hitched up his wagon and carried
+the slain to their graves. Then God came to earth, told him to put all
+he possessed in his wagon, and carried him on a cloud to heaven, where
+he was made the constellation now called Driver Tuegut&rsquo;s Heavenly
+Wagon.</p>
+<p>Of these three tales the <i>Annamite</i> does not fulfil the usual
+condition that the dead man shall be a stranger to the one who does the
+good action. Together with <i>Simonides</i>, all of them vary widely in
+the reward given the hero. In <i>Simonides</i> he is warned against
+embarkation, and thus saved from shipwreck; in the <i>Jewish</i> he is
+actually rescued from a storm-tossed vessel by the ghost, which
+masquerades as a rock and an eagle, and afterward promises him further
+rewards here and hereafter; in the <i>Annamite</i> he is provided with
+earthly glory; and in <i>Servian VI.</i> he becomes a part of the
+galaxy of heaven. Only the underlying idea is the same,&mdash;that the
+burial of the dead is a pious act and a sacred duty, which will meet a
+fitting reward.<a class="noteref" id="xd20e2485src" href="#xd20e2485"
+name="xd20e2485src">5</a> This belief is so widespread and ancient that
+it is not difficult to surmise how stories inculcating the duty might
+have grown up independently in many lands. At the same time, the very
+diversity of reward in these simple tales allies them to one or another
+of the compound types, which, though <span class="pagenum">[<a id=
+"pb29" href="#pb29" name="pb29">29</a>]</span>multiform and widespread,
+are yet unmistakably the offspring of a single parent form, or better,
+of a chance union between two motives.<a class="noteref" id=
+"xd20e2490src" href="#xd20e2490" name="xd20e2490src">6</a> Thus
+<i>Simonides</i> and <i>Jewish</i> recall the combination of <i>The
+Grateful Dead</i> with <i>The Ransomed Woman</i>, since they have the
+hero rescued from drowning by the ghost, and they suggest one point of
+union between the two themes. It therefore seems best to include them
+in our list, not only for the sake of completeness, but because they
+point to the reason which sometime and somewhere gave rise to a more
+developed form of the motive,&mdash;to the <i>m&auml;rchen</i> as we
+shall study it. A consideration of these basal principles can be
+undertaken, however, only after the story theme in its various
+ramifications and modifications has been thoroughly discussed.</p>
+<p>The probability that <i>The Grateful Dead</i> once existed in a
+simple, uncompounded form, which became the parent on one side of the
+more important combined types, is strengthened by the minor compounds
+in which it is found. How can the correspondences of detail seen in a
+considerable number of different compounds, as far as they run
+parallel, be otherwise explained? Surely it is more reasonable to
+believe in the existence of such a parent form than to suppose that an
+originally complicated form was hacked and hewn asunder to produce new
+compounds. This will become clearer, I hope, as we proceed.</p>
+<p>In <i>Greek</i>, a boy was sold to a pasha, who betrothed him to his
+daughter. Because of the mother&rsquo;s objections, however, he was
+sent away as a shepherd, while the girl was promised to another
+pasha&rsquo;s son. The hero fed his flock under the shelter of the
+castle, and was summoned by the maiden, who gave him her betrothal ring
+in a <span class="pagenum">[<a id="pb30" href="#pb30" name=
+"pb30">30</a>]</span>beaker, though pretending not to know him. The
+next day she asked her parents to let the two suitors go into the world
+with a thousand piasters apiece, and see which came back with the most
+money. So they were sent forth. The pasha&rsquo;s son remained in a
+city enjoying his money, while the shepherd went on till he met an old
+man, to whom he told his story. The man gave him a thousand piasters
+more, and told him to buy an ape in a town hard by. He succeeded in
+doing this, and brought the ape back to the old man, who cut it in
+pieces, much to the youth&rsquo;s disgust, and made eye-salve of the
+brain. With this he sent the hero away after exacting a promise of half
+of what was obtained. The youth won a thousand piasters by curing the
+blind, and later a great sum, besides thirty ships, by healing a very
+rich man. With this wealth he returned to the old man, and with him to
+the city where the pasha&rsquo;s son had sojourned. The latter agreed
+to let the shepherd&rsquo;s seal be burned on his arm in return for the
+payment of his debts; but, while the hero and the old man sailed home,
+he rode fast by land with the story that his rival was dead. The
+shepherd arrived at home just in time for his rival&rsquo;s wedding,
+and at the end of it showed the bride her ring. She <span class="corr"
+id="xd20e2521" title="Source: recognised">recognized</span> her lover,
+called her parents, and, after the hero had told his story and proved
+it by the seal on his rival&rsquo;s arm, married him. That night the
+old man knocked on the door of their chamber, and demanded that the
+bride be divided. According to his promise, the hero prepared to cut
+her in twain, when the intruder said that he wished only to test his
+fidelity, explaining that he was God, Who had taken him under His
+protection because his father had sold him in order to keep the lamp
+burning in honour of his saint.</p>
+<p>In this variant the elements of <i>The Grateful Dead</i> have been
+merged with a story about how a young man of low birth won a princess
+by overcoming another suitor in spite of the treachery of the latter.
+As I have met with but one <span class="pagenum">[<a id="pb31" href=
+"#pb31" name="pb31">31</a>]</span>example of this, from
+Lesbos,<a class="noteref" id="xd20e2531src" href="#xd20e2531" name=
+"xd20e2531src">7</a> I will <span class="corr" id="xd20e2537" title=
+"Source: summarise">summarize</span> it briefly. A princess becomes
+enamoured of the son of her father&rsquo;s gardener, and refuses to
+marry the son of the first minister. So the two suitors are sent out to
+a far country with the understanding that the one who returns first
+shall have the princess. On the way the gardener&rsquo;s son helps an
+old beggar-woman, whom his rival has spurned, and is told by her how to
+cure a sick king (by boiling him and sprinkling him with a certain
+powder). For this service the youth obtains a ring of bronze, which has
+the virtue of giving whatever its possessor desires. By means of this
+he gets a wonderful ship, and sails to the city where the
+minister&rsquo;s son, through extravagance, has fallen into poverty. He
+provides him with a wretched ship, in which to return home, on
+condition that he may mark him with his ring. The minister&rsquo;s son
+reaches home in his crazy vessel, and is about to marry the princess,
+when the hero appears on his beautiful ship of gold, exposes his rival,
+and weds the lady. The remainder of the story, which tells how the
+magical ring was lost and afterward recovered, does not concern us. It
+will be seen that <i>Greek</i> has preserved only the later part of
+<i>The Grateful Dead</i> at all clearly, though that combination with a
+tale of the type of the Lesbian narrative has actually taken place is
+evident from the part which the helper plays. He not only obtains a
+promise of division, but calls for its fulfilment. His first appearance
+is, however, quite unmotivated, while the old woman of the Lesbian
+story serves the purpose, according to a common formula, of showing the
+hero&rsquo;s kindness in contrast to his rival&rsquo;s hard heart. The
+point common to the two tales, which led to their combination, is
+without doubt this helping friend.</p>
+<p>In <i>Servian V.</i> a youth on a journey pays his all to rescue a
+debtor from hanging. By his new-found friend <span class=
+"pagenum">[<a id="pb32" href="#pb32" name="pb32">32</a>]</span>the
+youth is led to the wondrous Vilaberg, where he is left with the
+admonition that he must not speak. He disobeys, and is made dumb and
+blind by an enchantress; but he is cured by the man whom he rescued,
+who plays on a pipe and gives him a healing draught. So he dwells for
+some years in the mountain with one of the ladies as his wife, but
+afterward goes home, though every summer he returns to his friends in
+the Vilaberg.</p>
+<p>Here we have our theme combined with a form of <i>The
+Swan-Maiden</i>,<a class="noteref" id="xd20e2560src" href="#xd20e2560"
+name="xd20e2560src">8</a> which occurs in only one other case, as far
+as I am able to discover. The reason for the combination is not far to
+seek. The latter part of the tale represents the reward of the rescuer
+by the rescued. That the benefit does not take the form of actual
+burial need not disturb us. The man was at least far gone towards
+death, and he was a debtor&mdash;a trait found in about two-thirds of
+the variants known to me. Moreover, the supernatural character of the
+comrade is indicated by the adventure into which he leads the youth.
+The tale has been partly rationalised, that is all.</p>
+<p><i>Esthonian I.</i><a class="noteref" id="xd20e2578src" href=
+"#xd20e2578" name="xd20e2578src">9</a> shows a different combination,
+which is unique as far as I know. In a gorge not far from the village
+of Aruk&auml;la (near Wesenberg) a howling was heard every night for
+years. Finally a bold man went by night to the place and found the
+skeleton of a murdered king, which told him that it had howled thus for
+a hundred years because it had not been buried with holy rites. The
+next day the man took the bones to a priest, and, while burying them,
+discovered an enormous treasure.</p>
+<p>As Schiefner said,<a class="noteref" id="xd20e2583src" href=
+"#xd20e2583" name="xd20e2583src">10</a> when he first printed the
+story, it recalls the Grimms&rsquo; <i lang="de">Der singende
+Knochen</i>,<a class="noteref" id="xd20e2591src" href="#xd20e2591"
+name="xd20e2591src">11</a> which in turn is <span class=
+"pagenum">[<a id="pb33" href="#pb33" name="pb33">33</a>]</span>a
+compound of <i>The Water of Life</i>, with the idea of murder
+discovered by means of a dead man&rsquo;s bones. The Esthonian tale
+has, however, only the latter circumstance, combined with a simple form
+of <i>The Grateful Dead</i>. The hero&rsquo;s reward is
+immediate&mdash;he finds gold in the earth while digging the grave; and
+the ghost does not appear. The variant is thus of no great
+significance.</p>
+<p>The group of tales that must next be considered furnishes rather
+more important evidence as to the development of the theme. It is a
+compound of <i>The Grateful Dead</i> with the motive which we may call
+<i>The Spendthrift Knight</i>. As far as I know, the type is purely
+mediaeval. The group includes <i>Richars, Lion de Bourges, Dianese, Old
+Swedish, Rittertriuwe</i>, and <i>Sir Amadas</i>.</p>
+<p>The plot of <i>Richars</i>, as far as it concerns us, runs thus:
+Richars, in the pursuit of knightly exercises, wastes all his
+father&rsquo;s property as lord of Mangorie. When he hears that the
+King of Montorgueil has promised the hand of his daughter to the victor
+in a tourney, he is sad at the thought of his inability to engage.
+Through the generosity of a provost, however, he is enabled to set out
+with a horse, three attendants, and a supply of gold. At the city of
+Osteriche he spends part of his money in giving a great feast. In the
+roof of the house where he stays he is astonished to see a corpse lying
+on two beams, and he learns that it is the body of a knight, who died
+owing the householder three thousand pounds. Richars gives everything
+he has, even to his armour, to secure the release and burial of the
+dead man. He then proceeds to the tourney on a poor horse that his host
+gives him, and quite alone, since his attendants have deserted him. On
+the way he is joined by a White Knight, who offers him help in the
+tourney and places at his disposal his noble steed. Richars wins the
+tourney <span class="pagenum">[<a id="pb34" href="#pb34" name=
+"pb34">34</a>]</span>and obtains the hand of the Princess Rose. He now
+offers the White Knight his choice of the lady or the property. The
+stranger, however, refuses any division, explains that he is the ghost
+of the indebted knight, and disappears.<a class="noteref" id=
+"xd20e2629src" href="#xd20e2629" name="xd20e2629src">12</a></p>
+<p><i>Lion de Bourges</i> runs thus: Lion, son of Duke Harpin de
+Bourges, was found by a knight in a lion&rsquo;s den and reared as his
+son. When he grew up, he wasted his foster-father&rsquo;s property in
+chivalry. Finally, he heard that King Henry of Sicily had promised the
+hand of his daughter to the knight who should win a tourney that he had
+established. So Lion started for the court, and on the way ransomed the
+body of a knight, which he found hanging in the smoke, on account of
+unpaid debts. At Montluisant the hero won the favour of the Princess
+Florentine, and, before the tourney, obtained from a White Knight the
+charger which he still lacked, on condition of sharing his winnings,
+the princess excepted. With the help of this knight Lion was victorious
+and obtained the princess. He was then asked by his helper to give up
+either the lady or the whole kingdom, and did not hesitate to do the
+latter. At this, the stranger explained that he was the ghost of the
+ransomed knight and disappeared, though he afterwards returned to
+assist the hero at need. <span class="pagenum">[<a id="pb35" href=
+"#pb35" name="pb35">35</a>]</span></p>
+<p>According to <i>Dianese</i>,<a class="noteref" id="xd20e2667src"
+href="#xd20e2667" name="xd20e2667src">13</a> the knight of that name
+has wasted his substance. When he hears that the King of Chornualglia
+(Cornwall) has promised his daughter and half of his kingdom to the
+knight who wins the tourney that he has called, Dianese gets his
+friends to fit him out and sets forth. On the way he passes through a
+town where the traffic is diverted from the main street because of a
+corpse which has long been lying on a bier before a church. He learns
+that it is the body of a knight, who cannot be buried till his
+creditors have been paid. At the cost of everything he possesses, save
+his horse, the hero satisfies the creditors and has the knight buried.
+When he has gone on two miles, he is joined by a merchant, who promises
+him money, horses, and weapons if he will give in return half of what
+he wins in the tourney. Dianese agrees, is fitted out anew, and
+succeeds in overcoming all comers in the contest. Thus he obtains the
+hand of the princess and half the kingdom. With his bride, the
+merchant, and his followers he starts for home; but, when they are only
+a day&rsquo;s journey from their destination, he is required by the
+merchant to fulfil his promise&mdash;to choose between his bride as one
+half, his possessions as the other. Dianese takes the lady and rides
+on. Soon, however, he is joined by the merchant, who praises his
+faithfulness, gives up the treasures, explains that he is the ghost of
+the debtor knight, and disappears.</p>
+<p>In <i>Old Swedish</i><a class="noteref" id="xd20e2674src" href=
+"#xd20e2674" name="xd20e2674src">14</a> the daughter and heiress of the
+King of France promises to marry whatever knight is victor in a tourney
+which she announces. Pippin, the Duke of Lorraine, hears of this and
+sets out for France. At the end of his first day&rsquo;s journey he
+finds lodging at the house of a widow, who is lamenting because her
+husband, once in good circumstances, has died so poor that she cannot
+bury him properly. Pippin takes pity <span class="pagenum">[<a id=
+"pb36" href="#pb36" name="pb36">36</a>]</span>on her, and pays for the
+man&rsquo;s funeral. On his further journey he falls in with a man on a
+noble steed, who gives him the horse on condition of receiving half of
+whatever he shall win. Unthinkingly Pippin agrees and wins the tourney
+with the help of the horse. After he has married the princess, he is
+asked by the helper to fulfil his promise. He offers at first half,
+then the whole of his kingdom, in order to keep his bride, and is
+finally told by the man that he is the ghost of the dead, while the
+horse was an angel of God.</p>
+<p><i>Rittertriuwe</i> is of the same romantic character. When Graf
+Willekin von Montabour had spent his substance in chivalrous exercises,
+he learned that a beautiful and rich maiden had promised her hand to
+the knight, who should win a tourney, which she had established.
+Thereupon he set forth and came to the place announced for the combats.
+There he found lodging in the house of a man, who would only receive
+him if he would promise to pay the debts of a dead man, whose body lay
+unburied in the dung of a horse-stall.<a class="noteref" id=
+"xd20e2683src" href="#xd20e2683" name="xd20e2683src">15</a> Willekin
+was moved by this story and paid seventy marks, almost all his money,
+to ransom the corpse and give it suitable burial. He then had to borrow
+from his host in order to indulge in his customary generosity. On the
+morning of the jousting he obtained from a stranger knight a fine horse
+on condition of dividing everything that he won. He succeeded in the
+tourney above all the other contestants, and so wedded the maiden. On
+the second night after the marriage the stranger entered his room and
+demanded a share in his marital rights. After he had offered instead to
+give all his possessions, the hero started from the room in tears, when
+the stranger called him back and explained that he was the ghost of the
+dead, then disappeared. <span class="pagenum">[<a id="pb37" href=
+"#pb37" name="pb37">37</a>]</span></p>
+<p>A brief summary of <i>Sir Amadas</i>,<a class="noteref" id=
+"xd20e2695src" href="#xd20e2695" name="xd20e2695src">16</a> the last of
+the six variants, must now be given. Amadas finds himself financially
+embarrassed, and sets forth for seven years of errantry with only forty
+pounds in hand. This he pays to release and bury the body of a merchant
+who has died in debt. When thus reduced to absolute penury, Amadas
+meets a White Knight, who tells him that he will aid him on condition
+of receiving half the gains. The hero finds a rich wreck on the
+seacoast, and so with new apparel goes to the court, where he wins
+wealth in a tourney and the princess&rsquo;s heart at a feast. After he
+marries her and has a son born to him, the White Knight reappears and
+demands that the accepted conditions be complied with. Hesitatingly
+Amadas prepares to divide first his wife and afterwards his son, but he
+is stayed by the stranger, who explains that he is the ghost of the
+dead merchant. So Amadas is at last released from misfortune and lives
+in happiness.</p>
+<p>In all six of these stories we have a knight, who sets out to win a
+tourney in which the victor&rsquo;s prize is to be the hand of a
+princess. In all of them save <i>Old Swedish</i> he is represented as
+being impoverished by previous extravagance, in <i>Richars, Lion de
+Bourges</i>, and <i>Rittertriuwe</i> it being expressly stated that he
+had wasted his fortune by over-indulgence in his passion for jousting.
+On his way to the place appointed for the contest the hero pays for the
+burial<a class="noteref" id="xd20e2710src" href="#xd20e2710" name=
+"xd20e2710src">17</a> of a man whose corpse is held for debt.<a class=
+"noteref" id="xd20e2719src" href="#xd20e2719" name=
+"xd20e2719src">18</a> He goes on and is approached either before
+(<i>Richars, Lion de Bourges, Dianese, Old Swedish</i>, and <i>Sir
+<span class="pagenum">[<a id="pb38" href="#pb38" name=
+"pb38">38</a>]</span>Amadas</i>) or after (<i>Rittertriuwe</i>) he
+reaches the lists by a man, who provides him with a horse, by the aid
+of which he wins the tourney and the princess. In <i>Dianese</i> the
+hero is a merchant, in <i>Old Swedish</i> his estate is not mentioned,
+but in the other four variants he appears as a knight (a white knight
+in <i>Richars, Lion de Bourges</i>, and <i>Sir Amadas</i>). In
+<i>Dianese</i> the hero is also provided with armour; in <i>Richars</i>
+and <i>Lion de Bourges</i> he is assisted in his jousting by the White
+Knight; and in <i>Sir Amadas</i> he finds a wreck on the coast from
+which he obtains all things needful. In <i>Richars</i> we find the
+somewhat inept conclusion that the hero asks his friendly helper
+whether he will take the princess or the property<a class="noteref" id=
+"xd20e2769src" href="#xd20e2769" name="xd20e2769src">19</a> as his
+share. The latter responds that he wishes only his horse, explains who
+he is, and vanishes. In all the other variants, however, the condition
+is made that the hero divide whatever he shall gain.<a class="noteref"
+id="xd20e2775src" href="#xd20e2775" name="xd20e2775src">20</a></p>
+<p>With reference to <i>Richars</i> and <i lang="fr">Lion de
+Bourges</i>, Wilhelmi&rsquo;s careful discussion<a class="noteref" id=
+"xd20e2789src" href="#xd20e2789" name="xd20e2789src">21</a> has made it
+clear that, though they agree in many points as against all the other
+related versions, not only in respect to <i>The Grateful Dead</i>, but
+to the further course of a complicated narrative, neither one could
+have been taken from the other. The difference in the matter of the
+division between <i>Richars</i> and all the other variants he neglects,
+though it strengthens his position. Back of <i>Richars</i> and <i>Lion
+de Bourges</i>, earlier than the thirteenth century, there must have
+existed a literary work which was their common source. This
+hypothetical French romance may be considered as the foundation of the
+whole group which we are discussing.</p>
+<p>Since <i>Old Swedish</i> agrees with most of the other variants with
+regard to the division, and furthermore <span class="pagenum">[<a id=
+"pb39" href="#pb39" name="pb39">39</a>]</span>with <i>Rittertriuwe</i>,
+in stating that the hero offered all his property in order to keep his
+wife, there seems to be no doubt that it belongs to this particular
+group, despite the fact that it says nothing about the hero&rsquo;s
+poverty. The connection is not improbable on the score of chronology,
+if we suppose that the source of <i>Richars</i> and <i lang="fr">Lion
+de Bourges</i>, or some similar tale, found its way into the North by
+translation in the first half of the thirteenth century, a time when
+translations into Icelandic at any rate were made in great numbers.
+Indeed, the names Pippin, Lorraine, etc., immediately suggest a French
+source; and the story is not really a legend at all, though it appears
+in a legendary, but a narrative quite in the style of the <i>romans
+d&rsquo;adventure</i>.</p>
+<p>With reference to <i>Sir Amadas</i>, two points of special interest
+appear. The hero is provided the wherewithal for his successful
+courtship by means of a wreck to which he is directed by the White
+Knight; and he is required to divide his child as well as his wife with
+his helper. These peculiarities, together with the different opening,
+make it improbable that <i>Richars</i>, as preserved, was the direct
+source of the romance, though its author may have known some text
+either of that romance, or of <i>Lion de Bourges</i>. It seems more
+likely, however, that the source of <i>Sir Amadas</i> was rather the
+common original of both those versions. In the present state of the
+evidence it is impossible to do more than to show, as I have attempted
+to do, that the fourteenth-century <i>Sir Amadas</i> is a member of the
+little group under discussion.</p>
+<p>The proposed division of the son is peculiarly important in that it
+connects the group with the stories in which <i>The Grateful Dead</i>
+is compounded with the theme of <i>Amis and Amiloun</i>. Indeed, the
+general relationship of <i>The Spendthrift Knight</i> to that theme
+must be considered in a later chapter<a class="noteref" id=
+"xd20e2856src" href="#xd20e2856" name="xd20e2856src">22</a> after more
+important compounds have been <span class="pagenum">[<a id="pb40" href=
+"#pb40" name="pb40">40</a>]</span>discussed. It will be noted that the
+group just considered is purely literary and purely mediaeval. Though
+it has representatives in Italy, Germany, Sweden, and England, it is to
+all intents and purposes French in source and character. Five of its
+members are the only variants treated in this chapter where the
+question of dividing the hero&rsquo;s prize is brought up. The group
+thus stands by itself, and may be considered as an entity when we come
+to a discussion of the larger matters of relationship.</p>
+<p>A solitary folk-tale now demands attention&mdash;my <i>Breton II.
+The Grateful Dead</i> in a simple form is here combined with a story
+told of Gregory the Great,<a class="noteref" id="xd20e2866src" href=
+"#xd20e2866" name="xd20e2866src">23</a> as Luzel, to whom the tale was
+recounted by a <i>Breton</i> peasant, indeed briefly noted.<a class=
+"noteref" id="xd20e2908src" href="#xd20e2908" name=
+"xd20e2908src">24</a> The Breton tale runs as follows: A rich lord and
+lady had no children. While the lady was praying to St. Peter in a
+chapel that was being repaired, she fell a victim to a young painter,
+and had by him a son, who was named after St. Peter. When the boy was
+twelve years of age, he carried St. Peter across a stream one day,
+while his shepherd companion <span class="pagenum">[<a id="pb41" href=
+"#pb41" name="pb41">41</a>]</span>carried Christ. The companion died
+soon after. Pierre then set forth to visit his patron in Paradise. On
+his way he stopped overnight at the house of an old woman, whose
+husband lay unburied because there was no money to pay the priest.
+Pierre gave all his money for the interment, and went on. When he came
+to the sea, a naked man, who said that he was the dead, carried him
+across to a point near the gates of Paradise. There he found Peter, and
+was shown the glories of heaven by the Saviour, as well as Purgatory
+and Hell. In the last he saw a chair reserved for his mother, but by
+his entreaties induced the Lord to grant her a release on condition of
+doing penance himself for her. So he was told to put on a spiked
+girdle, to throw the key of it into the sea, and not to take it off
+till the key should be found. After donning this instrument Pierre was
+carried by the ghost back to his own land, where he lived on
+alms&mdash;first on the public ways, and later, without discovering
+himself, in his father&rsquo;s castle. During his father&rsquo;s
+absence he was killed at the command of his mother, but was dug up
+alive by his father and treated with respect. One day at a feast he
+found the key in the head of a fish. When the girdle was opened, he
+died, and his soul was borne to heaven by angels.</p>
+<p>Two Danish variants present a curious but not inexplicable
+combination of <i>The Grateful Dead</i> with <i>Puss in Boots</i>, as
+was noted by K&ouml;hler.<a class="noteref" id="xd20e2921src" href=
+"#xd20e2921" name="xd20e2921src">25</a> <i>Danish I.</i> relates how a
+youth pays three marks, which is his all, to bury the body of a dead
+man, for whose interment the priest has demanded payment in advance. He
+is then joined by another youth, who is the ghost of the dead, and goes
+to a certain city. There, by giving himself out as a prince at the
+advice of his companion, who provides him with proper trappings, he
+wins the hand of a princess. In <i>Danish II.</i> an old soldier pays
+his last three marks to <span class="pagenum">[<a id="pb42" href=
+"#pb42" name="pb42">42</a>]</span>prevent three creditors from digging
+up a corpse. He is joined by a pale stranger, who takes him in a leaden
+ship to a land where he marries a princess, who is fated to marry no
+one save a man who comes in this way. The stranger secures, by a lying
+ruse, a troll&rsquo;s castle for the hero, and, after explaining that
+he is the ghost of the buried debtor, disappears.</p>
+<p>The traces of the <i>Puss in Boots</i> motive<a class="noteref" id=
+"xd20e2940src" href="#xd20e2940" name="xd20e2940src">26</a> are, I
+think, sufficiently clear, especially in the first of the two variants,
+since the point of that familiar tale is certainly that the hero
+marries a woman of high estate by making himself out as of equal rank,
+substantiating his statements by a succession of clever ruses. That the
+grateful dead enables him to fulfil the required conditions is an
+introduction that could easily replace the ordinary one, especially
+since a helper of some sort is necessary to the story. Just what the
+relation of these two variants is to other <i>Puss in Boots</i> stories
+does not here concern us. From the side of <i>The Grateful Dead</i>,
+however, it is possible to see how the combination&mdash;found only in
+two folk-tales from a single country, it will be observed&mdash;may
+have arisen. The benefits bestowed on the hero show an essential
+likeness to those found in a widespread compound type to be studied in
+a later chapter,<a class="noteref" id="xd20e2964src" href="#xd20e2964"
+name="xd20e2964src">27</a> where the thankful dead helps his friend to
+obtain a wife by the performance of some feat. Since the combination
+now in consideration seems to be confined to the region about Denmark,
+while mediaeval and modern examples of the other are found in many
+lands, it may be regarded as a mere variation on the better-known
+compound type, produced by the similarity of the two endings. Yet
+<span class="pagenum">[<a id="pb43" href="#pb43" name=
+"pb43">43</a>]</span>it has to be treated separately, because it
+involves an independent theme.</p>
+<p>An echo of the simple theme of <i>The Grateful Dead</i> is found in
+two English plays&mdash;Massinger&rsquo;s <i>Fatal Dowry</i> and
+Rowe&rsquo;s <i>Fair Penitent</i>. In the former young <span class=
+"corr" id="xd20e2981" title="Source: Charalois">Charolais</span> goes
+to prison to release his father&rsquo;s body from the clutch of
+creditors, who wish to keep it unburied for vengeance.<a class=
+"noteref" id="xd20e2984src" href="#xd20e2984" name=
+"xd20e2984src">28</a> He is rescued by Rochfort, who pays the debts and
+gives him his daughter in marriage. The intrigues of love and vengeance
+that follow do not concern us. In Rowe&rsquo;s play, which was based on
+Massinger&rsquo;s, this part has been curtailed to a few slight
+references. Altamont gives himself as ransom for his father&rsquo;s
+body to the greedy creditors, who will not allow burial to take place.
+He is rewarded by the care and bounty of Sciolto, who becomes a second
+father to him.</p>
+<p>Stephens was certainly right in connecting<a class="noteref" id=
+"xd20e2989src" href="#xd20e2989" name="xd20e2989src">29</a> the story
+in <i>The Fatal Dowry</i> with <i>The Grateful Dead</i>, though it is
+only a fragment and lacks some of the most essential features of the
+complete theme. The ghost, indeed, does not appear at all, but the part
+played by Rochfort may be regarded as a greatly sophisticated
+reminiscence of that trait, especially since he not only rescues the
+hero, but provides him with a wife. The echo of the theme is too vague
+for us to distinguish the form in which it was found by Massinger,
+though I think that we should not go far wrong in supposing that he had
+in mind some narrative, either popular or literary, nearly approaching
+the compound type treated in chapter vi. below. As one of the
+comparatively few traces that the motive has left in England this
+double dramatic use is not without interest.<a class="noteref" id=
+"xd20e2998src" href="#xd20e2998" name="xd20e2998src">30</a>
+<span class="pagenum">[<a id="pb44" href="#pb44" name=
+"pb44">44</a>]</span></p>
+</div>
+<div class="footnotes">
+<hr class="fnsep">
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e2421" href="#xd20e2421src" name="xd20e2421">1</a></span> Miss
+Petersen&rsquo;s conclusion, <i>Sources of the Nonne Prestes Tale</i>,
+p. 109, note, is not altogether convincing, since the vogue of Valerius
+Maximus was so great that other authors than Holkot are likely to have
+quoted Cicero&rsquo;s stories from him. The book may yet be found in
+which the one follows the other &ldquo;right in the nexte
+chapitre.&rdquo;</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e2432" href="#xd20e2432src" name="xd20e2432">2</a></span> Given by
+Hippe, pp. 143 f. Wherever Hippe&rsquo;s summaries are adequate and
+careful, I shall refer the reader to his monograph for comparison.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e2447" href="#xd20e2447src" name="xd20e2447">3</a></span> This
+story has nothing in common with the mediaeval tale of the compact
+between two friends that the first to die shall appear to the other.
+See the writer&rsquo;s <i>North-English Homily Collection</i>, 1902,
+pp. 27&ndash;31.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e2458" href="#xd20e2458src" name="xd20e2458">4</a></span>
+Apparently beneficent spirits, whose nature is half fairy and half
+angel. See <i>Servian V.</i> below.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e2485" href="#xd20e2485src" name="xd20e2485">5</a></span> See
+chapter viii. and Sepp, pp. 678&ndash;680 for illustrations of the
+belief.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e2490" href="#xd20e2490src" name="xd20e2490">6</a></span> One can
+conceive of separate generation of a very simple story under similar
+conditions, but not, I think, that a series of events showing
+combination of themes or detailed correspondence would so arise.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e2531" href="#xd20e2531src" name="xd20e2531">7</a></span> Carnoy
+and Nicolaides, <i lang="fr">Traditions populaires de l&rsquo;Asie
+Mineure</i>, 1889, pp. 57&ndash;74.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e2560" href="#xd20e2560src" name="xd20e2560">8</a></span> See
+Baring-Gould&rsquo;s <i>Curious Myths</i>, 2nd ed. 1869, pp. 561 ff.
+for a popular account. The philosophical basis of the tale is discussed
+by Liebrecht, <i lang="de">Zur Volkskunde</i>, 1879, pp. 54 ff. (from
+<i>Germania</i>, xiii. 161 ff.), and by Hartland, <i>Science of Fairy
+Tales</i>, 1891, pp. 255&ndash;332, 337&ndash;347.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e2578" href="#xd20e2578src" name="xd20e2578">9</a></span> See
+Hippe, p. 148.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e2583" href="#xd20e2583src" name="xd20e2583">10</a></span> <i>Or.
+und Occ.</i> ii. 176.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e2591" href="#xd20e2591src" name="xd20e2591">11</a></span>
+<i lang="de">Kinder- und Hausm&auml;rchen</i>, no. 28. See notes (ed.
+1856), iii. 55, 56; also K&ouml;hler, <i lang="de">Kleinere
+Schriften</i>, i. 49, 54.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e2629" href="#xd20e2629src" name="xd20e2629">12</a></span> See
+Hippe, p. 155. This analysis includes only the second of two
+well-defined parts. The first section is related to the English <i>Sir
+Degarre</i> (ed. from Auchinleck MS. for the Abbotsford Club, 1849;
+from Percy Folio, Hales and Furnivall, <i>Percy Folio MS.</i>, 1868,
+iii. 16&ndash;48; early prints by Wynkyn de Worde, Copland, and John
+King; see G. Ellis, <i>Specimens of Early English Metrical
+Romances</i>, 1811, iii. 458 ff., J. Ashton, <i>Romances of
+Chivalry</i>, 1887, pp. 103 ff., Paul&rsquo;s <i>Grundriss</i>, ii. i.
+643). This connection was pointed out by Foerster, p. xxiii. The same
+material was used also in a Dutch chapbook, <i lang="nl">Jan wt den
+vergiere</i>, of which a copy printed at Amsterdam is preserved at
+G&ouml;ttingen. See the article &ldquo;<span lang=
+"de">Niederl&auml;ndische Volksb&uuml;cher</span>,&rdquo; by Karl
+Meyer, in <i lang="de">Sammlung bibliothekswissenschaftlicher
+Arbeiten</i>, ed. Dziatzko, viii. 17&ndash;22, 1895. I am indebted for
+this last reference to the kindness of Dr. G. L. Hamilton.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e2667" href="#xd20e2667src" name="xd20e2667">13</a></span> See
+Hippe, pp. 152 f.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e2674" href="#xd20e2674src" name="xd20e2674">14</a></span> See
+Hippe, pp. 158 f.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e2683" href="#xd20e2683src" name="xd20e2683">15</a></span> This
+trait recalls the first of Chaucer&rsquo;s two stories in the
+<i>Nun&rsquo;s Priest&rsquo;s Tale, Cant. Tales</i>, B.
+4174&ndash;4252, where the comrade is found buried with dung on a
+cart.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e2695" href="#xd20e2695src" name="xd20e2695">16</a></span> For a
+fuller analysis see Hippe, pp. 160&ndash;164.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e2710" href="#xd20e2710src" name="xd20e2710">17</a></span> In
+<i>Richars, Lion de Bourges, Dianese</i>, and <i>Sir Amadas</i> he pays
+his all, even to his equipment for war, the most logical and, on the
+whole, probably the earlier form of the story.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e2719" href="#xd20e2719src" name="xd20e2719">18</a></span> In all
+except <i>Old Swedish</i> and <i>Sir Amadas</i> the man was a knight;
+in these he was a merchant, the husband of the woman at whose house the
+hero lodges.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e2769" href="#xd20e2769src" name="xd20e2769">19</a></span>
+&ldquo;<span lang="fr">V le femme u l&rsquo;auoir ares</span>,&rdquo;
+v. 5316.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e2775" href="#xd20e2775src" name="xd20e2775">20</a></span> Though
+in <i lang="fr">Lion de Bourges</i> he excepts the lady
+specifically.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e2789" href="#xd20e2789src" name="xd20e2789">21</a></span> See
+<i lang="de">&Uuml;ber Lion de Bourges</i>, particularly pp.
+46&ndash;54.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e2856" href="#xd20e2856src" name="xd20e2856">22</a></span> See
+chapter vii.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e2866" href="#xd20e2866src" name="xd20e2866">23</a></span> The
+<i>Trentall of St. Gregory.</i> The Old French text has been edited by
+P. Meyer, <i>Romania</i>, xv. 281&ndash;283. The English versions, of
+which the first seems to be taken from this, are found in the following
+MSS.: (A) Vernon MS. fol. 230, ed. Horstmann, <i lang="de">Engl.
+Stud.</i> viii. 275&ndash;277, and <i>The Minor Poems of the Vernon
+MS.</i> i., E.E.T.S. 98, 1892, pp. 260&ndash;268; Vernon MS. fol. 303,
+variants given in Horstmann&rsquo;s ed. for E.E.T.S.; MS. Cotton
+Caligula A II., ed. Furnivall, <i>Political, Religious, and Love
+Poems</i>, E.E.T.S. 15, 1866, pp. 83&ndash;92, reprinted by Horstmann,
+E.E.T.S. pp. 260&ndash;268; MS. Lambeth 306, variants given by
+Furnivall; a critical text with variants of the four was made by A.
+Kaufmann, <i lang="la">Trentalle Sancti Gregorii, <span lang=
+"de">Erlanger Beitr&auml;ge</span></i>, iii. 29&ndash;44, 1889. (B) MS.
+19, 3, 1, Advocates&rsquo; Libr., Edinburgh, ed. Turnbull, <i>The
+Visions of Tundale</i>, 1843, pp. 77 ff., and B&uuml;lbring,
+<i>Anglia</i>, xiii. 301&ndash;308; MS. Kk. I, 6, Camb. Univ. Libr.,
+ed. Kaufmann, pp. 44&ndash;49. Kaufmann in his introduction discusses
+the relations of the versions. See further Varnhagen, <i>Anglia</i>,
+xiii. 105 f. Another legend of Gregory in popular fiction is treated by
+Bruce in his edition of <i>De Ortu Waluuanii, Publications Mod. Lang.
+Ass.</i> xiii. 372&ndash;377. The story in the <i>Gesta Romanorum</i>
+to which Luzel, i. 83, note, refers is this rather than our tale.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e2908" href="#xd20e2908src" name="xd20e2908">24</a></span> i. 83
+and 90, notes.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e2921" href="#xd20e2921src" name="xd20e2921">25</a></span>
+<i lang="de">Or. und Occ.</i> iii. 99 f.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e2940" href="#xd20e2940src" name="xd20e2940">26</a></span> See
+<i lang="de">Das M&auml;rchen vom gestiefelten Kater</i>, Leipzig,
+1843; Benfey, <i>Pantschatantra</i>, i. 222; Grimm, <i lang=
+"de">Kinder- und Hausm&auml;rchen</i>, iii. 288; Liebrecht, <i lang=
+"de">Dunlop&rsquo;s Geschichte der Prosadichtungen</i>, 1851, p. 286;
+Pol&iacute;vka, <i lang="de">Arch. f. slav. Phil.</i> xix. 248;
+etc.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e2964" href="#xd20e2964src" name="xd20e2964">27</a></span> Chapter
+vi.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e2984" href="#xd20e2984src" name="xd20e2984">28</a></span> An
+unnecessarily nauseating reason is given by one of them (Act i. sc.
+i.), but this seems to be of Massinger&rsquo;s invention.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e2989" href="#xd20e2989src" name="xd20e2989">29</a></span> P.
+8.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e2998" href="#xd20e2998src" name="xd20e2998">30</a></span> It is
+interesting also to note that a Viennese dramatist of our own day has
+adapted Massinger&rsquo;s drama, retaining a vague reminiscence of the
+thankful dead. The curious may see <i lang="de">Der Graf von
+Charolais</i> by Richard Beer-Hofmann, 1905.</p>
+</div>
+</div>
+<div id="ch4" class="div1 chapter"><span class="pagenum">[<a href=
+"#toc">Contents</a>]</span>
+<div class="divHead">
+<h2 class="label">Chapter IV.</h2>
+<h2 class="main"><i>The Grateful Dead</i> and <i>The Poison
+Maiden</i>.</h2>
+</div>
+<div class="divBody">
+<p class="first">One of the most prevalent types of <i>The Grateful
+Dead</i> is that in which it has combined with <i>The Poison
+Maiden</i>, a theme almost world-wide in distribution and application.
+From the time of Benfey and Stephens<a class="noteref" id=
+"xd20e3023src" href="#xd20e3023" name="xd20e3023src">1</a> the
+connection between the two themes has been regarded as vital. Though
+Hippe <span class="corr" id="xd20e3026" title=
+"Source: recognised">recognized</span> that the stories were perhaps
+originally independent,<a class="noteref" id="xd20e3029src" href=
+"#xd20e3029" name="xd20e3029src">2</a> he took the compound as his
+point of departure and derived all other forms from it. As will be seen
+in the course of our study, such a filiation is exceedingly improbable,
+if the essential features of <i>The Grateful Dead</i> and <i>The Poison
+Maiden</i> be closely examined. Hippe went wrong, I should say, in
+failing to differentiate between what traits belong to the former and
+what to the latter theme.</p>
+<p>As a matter of fact, <i>The Poison Maiden</i> exists in a cycle of
+its own. Any doubt about this and any necessity of studying the theme
+in detail here is removed by the valuable monograph of Wilhelm Hertz,
+<i lang="de">Die Sage vom Giftm&auml;dchen</i>,<a class="noteref" id=
+"xd20e3047src" href="#xd20e3047" name="xd20e3047src">3</a> in which the
+literature of the subject has been marshalled with masterly skill.
+Starting with the <span class="pagenum">[<a id="pb45" href="#pb45"
+name="pb45">45</a>]</span>stories of how a maiden, who had been fed
+with snake-poison, was sent to Alexander the Great from India by an
+enemy, and how the plot to kill the emperor through her embraces was
+foiled by the cunning of Aristotle,<a class="noteref" id="xd20e3057src"
+href="#xd20e3057" name="xd20e3057src">4</a> Hertz shows<a class=
+"noteref" id="xd20e3067src" href="#xd20e3067" name="xd20e3067src">5</a>
+that the central idea of the tale is the belief that a man could be
+killed by sexual connection with a woman who had been nourished on
+poison. In most of the variants, to be sure, it is the bite of the
+woman that is venomous, while in others it is her glance or her breath;
+but these are natural modifications. Without following the study into
+details, the important fact to remember is that there has existed from
+early times a tale relating how a man was saved by a watchful friend on
+his bridal night from a maiden whose embraces were certain
+death.<a class="noteref" id="xd20e3070src" href="#xd20e3070" name=
+"xd20e3070src">6</a> With this in mind we can safely proceed to a
+consideration of the variants of <i>The Grateful Dead</i> which have
+similar features.</p>
+<p>Twenty-four of the stories in my list fall into this category, viz.:
+<i>Tobit, Armenian, Gypsy, Siberian, Russian <span class=
+"pagenum">[<a id="pb46" href="#pb46" name="pb46">46</a>]</span>I., II.,
+III.</i>, and <i>IV., Servian II., III.</i>, and <i>IV., Bulgarian,
+Esthonian II., Finnish, Rumanian I., Irish I., II.</i>, and <i>III.,
+Breton I., Danish III., Norwegian II., Simrock X., Harz I., Jack the
+Giant Killer</i>, and <i>Old Wives&rsquo; Tale</i>. All but three of
+them<a class="noteref" id="xd20e3102src" href="#xd20e3102" name=
+"xd20e3102src">7</a> are folk-tales, a fact that considerably
+simplifies the discussion.</p>
+<p>According to the apocryphal story, Tobit buries by night the dead
+who lie in the street. He is thrown into prison, and later becomes
+blind and poverty-stricken. He sends his son Tobias to his brother
+Gabael for the return of a loan. The youth is accompanied by the angel
+Raphael in disguise, who calls himself Azarias. On the journey Tobias
+catches a fish and preserves the heart, liver, and gall at the bidding
+of his companion. When they arrive at their journey&rsquo;s end, the
+angel, as go-between, asks Gabael&rsquo;s daughter Sara in wedlock for
+Tobias, though seven men have died while consummating their marriage
+with her. By burning the heart and liver of the fish at the command of
+the angel, and by prayer, Tobias escapes; for the demon Asmodeus is
+driven out of the maiden and bound by Raphael. With his bride and
+companion Tobias goes home, where he cures Tobit&rsquo;s blindness by
+means of the gall of the fish. After being offered half of the wealth
+that he has brought the family, Raphael explains his identity and
+disappears.</p>
+<p>This variant is peculiar in that the father does the good action,
+while the son is chiefly rewarded. Indeed, it is the son whose life is
+saved from the possessed woman whom he marries. Moreover, the grateful
+dead is replaced by an angel, who indeed commends Tobit for his good
+deed, but is certainly a substitute for the ghost. Obviously
+<i>Tobit</i> with such peculiarities as these cannot be regarded as the
+general source of the widespread folk-tale. At the same time we must
+not forget that it has been, perhaps, the best-loved story in the
+<span class="pagenum">[<a id="pb47" href="#pb47" name=
+"pb47">47</a>]</span>Apocrypha,<a class="noteref" id="xd20e3119src"
+href="#xd20e3119" name="xd20e3119src">8</a> and that its influence on
+details of the narrative may be looked for almost anywhere in
+Christendom.</p>
+<p>In the <i>Armenian</i> story from Transcaucasia<a class="noteref"
+id="xd20e3133src" href="#xd20e3133" name="xd20e3133src">9</a> a man
+finds a corpse hanging in a tree and being beaten by his late
+creditors. The man pays the debt and buries the body. Some years later
+he becomes poor. A rich man offers him in marriage his daughter, with
+whom five bridegrooms have already met death on the wedding night.
+While thinking over the proposition, he is approached by a man who
+offers to become his servant for half of his future possessions, and
+counsels him to marry the woman. On the night of the marriage the
+servant stands with a sword in the chamber, cuts off the head of a
+serpent that comes from the bride&rsquo;s mouth, and pulls out its
+body. Later he asks for his share of his master&rsquo;s gains. When he
+is about to split the woman through the middle, a second snake glides
+from her mouth. The servant then says that he is the ghost of the
+corpse long ago rescued, and disappears. Here the story appears in a
+very normal form, except that the hero is not taking a journey at the
+time of his kind deed, and that he waits several years for his reward.
+Moreover, the second snake appears to be due to reduplication.</p>
+<p>In <i>Gypsy</i> a youth gives his last twelve piasters for the
+release of a corpse, which is being maltreated by Jews. The ghost of
+the dead man follows him and promises to get him a bride if he will
+share her with him. The youth consents and marries a woman whose five
+bridegrooms have died on the wedding night. The companion keeps watch
+in the chamber and cuts off the head of a dragon that comes from the
+bride&rsquo;s mouth. <span class="pagenum">[<a id="pb48" href="#pb48"
+name="pb48">48</a>]</span>Later he demands his half of the woman, and
+takes a sword to cut her asunder, when she screams and disgorges the
+dragon&rsquo;s body. The ghost then explains the situation and
+disappears.<a class="noteref" id="xd20e3149src" href="#xd20e3149" name=
+"xd20e3149src">10</a></p>
+<p>With the <i>Siberian</i> variant some very important modifications
+enter. A soldier buys a picture of the Saviour from a peasant and
+maltreats it. A merchant&rsquo;s son then buys it out of reverence and
+takes it to his mother. Later he helps an old man on a raft and goes
+with him to market. There he meets the daughter of a priest and, by the
+advice of his friend, marries her. When the old man strikes her with a
+whip, she splits open, and the devil comes out. She is put together
+again by the mysterious companion, and accompanies them home, where the
+old man asks for a division of the gains they have made together. Again
+he divides the woman. After she has been burned, she is found living
+and purified. Then the old man says that he is God and departs.</p>
+<p>This tale, found among the Turkish race of southern Siberia, has
+transformed the opening incident altogether. For the burial of the
+corpse it substitutes a good deed, which is entirely different from the
+original trait. Yet it is evident that we have to do with <i>The
+Grateful Dead</i>, after all, since the divine image is rescued from
+senseless contumely and God himself appears in the r&ocirc;le of the
+thankful ghost. It is evident also that the theme is combined with
+<i>The Poison Maiden</i>. Though we do not hear of any misadventures of
+other men with the priest&rsquo;s daughter, the marvels which attend
+her purification indicate the danger in which the hero stood.</p>
+<p><i>Russian I.</i> is likewise peculiar in several respects. The
+younger of two brothers angers his parents by going <span class=
+"pagenum">[<a id="pb49" href="#pb49" name="pb49">49</a>]</span>to the
+wars without their permission. He is killed. Later he appears to his
+brother, asking him to implore pardon of their mother, whose anger
+prevents him from resting quietly in his grave. The elder brother thus
+succeeds in giving peace to the ghost. Later, when he marries a
+merchant&rsquo;s daughter, whose first two husbands have been killed by
+a dragon on the wedding night, he is saved by the ghost of the dead,
+which keeps watch in the chamber with a sword and kills the nine-headed
+dragon.</p>
+<p>This tale stands almost alone<a class="noteref" id="xd20e3174src"
+href="#xd20e3174" name="xd20e3174src">11</a> in giving the two chief
+characters personal relations, since it is nearly always a total
+stranger whom the hero benefits. That actual burial of the dead does
+not come in question is not so remarkable, as various changes have been
+made in this trait. One story,<a class="noteref" id="xd20e3185src"
+href="#xd20e3185" name="xd20e3185src">12</a> indeed, which otherwise
+has no likeness, similarly makes the dead man uneasy in his grave. The
+beginning of <i>Russian I.</i> has thus suffered considerable
+modification. The ending is also different from the normal type in that
+the division of the property and the woman has entirely
+disappeared.</p>
+<p><i>Russian II.</i> has also some peculiarities, though none which is
+difficult to explain. A youth named Hans receives three hundred rubles
+from his uncle, who has taken his inheritance, and goes into the world.
+In another province he ransoms with his whole stock of money an
+unbeliever, who is being bled by the people. He has the poor man
+baptised, but is not able to save his life, so sorely has he been
+wounded. The people, however, pay for proper burial. Hans goes on and
+is joined by an angel, who proposes that he take him as uncle and
+divide with him whatever they get while in one another&rsquo;s company.
+They come to a city where <span class="pagenum">[<a id="pb50" href=
+"#pb50" name="pb50">50</a>]</span>the king proposes that Hans marry his
+daughter, and to this the hero agrees at his companion&rsquo;s advice,
+despite the protests of the citizens, who say that the princess has
+already strangled six bridegrooms. On the wedding night the uncle keeps
+watch, and slays a dragon which is approaching to kill the young man.
+After two months the pair set out for home with the uncle. On the way
+they are saved by the old man from robbers, and get a store of gold.
+When they arrive at the place where the uncle first appeared, he calls
+for a fulfilment of their agreement, and saws the bride asunder. Young
+dragons come out of her; but, when she has been washed and sprinkled
+with water, she is made whole. The angel thereupon parts with the
+couple.</p>
+<p>For the burial of the dead we have in this tale the interesting
+substitution of an unsuccessful attempt of the hero to save a
+man&rsquo;s life by paying his entire inheritance as ransom. That the
+man dies and is buried shows how the change probably arose<span class=
+"corr" id="xd20e3200" title="Source: ,">.</span> Strangely enough, as
+in the case of <i>Tobit</i>, an angel appears in the r&ocirc;le of the
+grateful dead, and, even more oddly, takes the form of the hero&rsquo;s
+uncle, who gave him the money with which he set forth on his journey.
+The recurrence of the angel in this and in one other variant<a class=
+"noteref" id="xd20e3206src" href="#xd20e3206" name=
+"xd20e3206src">13</a> inclines me to the belief that the essential
+feature of the reward in the original story was that it came from
+heaven. The remainder of <i>Russian II.</i> has no characteristic
+unusual in the tales where the woman is actually divided to get rid of
+the snakes or dragons.</p>
+<p>In <i>Russian III.</i><a class="noteref" id="xd20e3217src" href=
+"#xd20e3217" name="xd20e3217src">14</a> the youngest of three brothers
+rescues a swimming coffin from the sea and takes it on his ship. From
+the coffin comes a man clothed in a white shirt, who enters the service
+of his rescuer, and helps him win a beautiful princess as wife. A
+six-headed dragon has hitherto killed all her bridegrooms on the
+wedding night, <span class="pagenum">[<a id="pb51" href="#pb51" name=
+"pb51">51</a>]</span>but it is overcome by the hero through his
+obedience to the advice of his servant. The latter cleanses the
+bride&rsquo;s body of the dragon brood and goes away. Here the opening
+has been modified, though not beyond recognition, since the rescued man
+is clearly enough the grateful dead.</p>
+<p><i>Russian IV.</i>, taken like the preceding from a folk-book,
+differs from that in only minor points, though the ampler form in which
+I have found it makes it of more importance. The three sons of a czar
+go out in separate ships to see the world. The youngest, named Sila,
+rescues a swimming coffin, which his brothers have not heeded, and
+buries it on shore. There he leaves his companions, and goes on alone
+till joined by a man dressed in a shroud, who says that he is the
+rescued corpse and proposes that Sila win a certain Princess Truda as
+wife by his aid. The hero is dismayed when he sees the walls of her
+city decorated with the heads of countless former suitors, but he is
+told by his servant not to fear. On the bridal night he is counselled
+to keep silence, and, when his wife presses her hand on his breast, to
+beat her, as she is in league with a six-headed dragon. Sila obeys, the
+dragon appears, and the servant cuts off two of its heads. Two more
+heads are cut off on the second night, and the remaining two on the
+third. The bride is not completely cleansed, however, till the end of a
+year, when the servant cuts her in two, burns the evil things that
+emerge from her body, and sprinkles her with living water to make her
+well again. He then disappears.</p>
+<p>Here the grateful dead appears with perfect clearness, as he did not
+in <i>Russian III.</i> The course of events by which the lady is won
+does not differ materially from that of <i>Russian II.</i> Presumably
+<i>III.</i> would follow the same procedure, had we an adequate
+summary. <i>III.</i> and <i>IV.</i> are like <i>I.</i>, and different
+from <i>II.</i>, in omitting <span class="pagenum">[<a id="pb52" href=
+"#pb52" name="pb52">52</a>]</span>all mention of any division of
+property or of the woman between hero and assistant. The division for
+the sake of cleansing in <i>IV.</i> is, however, actual.</p>
+<p>Not without contamination from another source, <i>Russian V.</i> and
+<i>VI.</i> still belong to the class containing variants with <i>The
+Poison Maiden</i>. In <i>Russian V.</i> the only son of a rich man went
+out into the world to seek his fortune. On the road he gave a large sum
+of money for two horses. Later he stopped at an inn, where the widow of
+the landlord was weeping because she had no money to pay the debts of
+her husband, who was cursed by all the people, though he had been dead
+two years. The hero gave all his money to save the memory of the dead
+man, and proceeded. Soon he met two unsatisfied creditors, who still
+cursed the dead landlord, and to them he gave his two horses. Not long
+afterward he was joined by a man, who accompanied him on condition of
+receiving half of what they might win together. They came to a place
+where a lord offered a thousand rubles to anyone who would watch his
+daughter&rsquo;s corpse over night in a chapel. The hero undertook the
+adventure, and received payment in advance. At dark his companion came
+to him, and gave him a cross as protection. At midnight the lady came
+out of her coffin, but could not find the man because he held the
+cross. The same adventure was repeated the next night. On the third
+night the hero, according to his companion&rsquo;s advice, got into the
+coffin when the vampire rose, and would not get out for all her
+entreaties, being protected by the cross. So in the morning both were
+found alive, and were betrothed. Then came the companion, cut the
+maiden into halves, took out her entrails, and put her together again,
+when she became very beautiful. Next day he called the hero aside,
+explained his identity with the dead landlord, and disappeared.</p>
+<p><i>Russian VI.</i> differs from the above in several points,
+<span class="pagenum">[<a id="pb53" href="#pb53" name=
+"pb53">53</a>]</span>but is closely allied to it. There were two
+brothers, one good and the other stingy. The former expended in
+benevolence all his wealth, save a hundred rubles, while the latter
+grew richer and richer. A poor man borrowed a hundred rubles from the
+miser, calling St. George as witness that he would pay; but he died in
+debt. The rich brother came to the widow, and said that he would get
+his money from St. George if not from the dead man. He pulled down an
+image of the saint from the wall, dug up the corpse, and spat upon them
+both. At this juncture the good brother came by, and gave his last
+hundred rubles to put the matter right. He then went to a large city,
+where the king&rsquo;s daughter had eaten all the deacons who watched
+with her dead body. So when volunteers were called for to stay with
+her, the hero offered to undertake the task at the advice of an old
+man, who promised to pray for his safety on condition of receiving half
+his winnings. He received payment in advance from the king, and divided
+with the old man, by whom he was given a sanctified coal, a taper, a
+cross, and a scapulary, together with advice how to act. So he entered
+the chapel, lighted his taper, closed his eyes, made the sign of the
+cross, and enclosed himself in a circle marked with the coal near the
+head of the bier. At cockcrow the vampire came out all blue and
+grinning; but, though she yelled horribly, she could not touch the man
+in the circle, who put the cross in the coffin. At the second cockcrow
+she tried to get into the coffin, and unavailingly begged him to take
+out the cross. At the third cockcrow he put the scapulary on her,
+whereupon she rose and thanked him, promising to be his wife and
+servant. So in the morning the hero married her and received the
+kingdom from her father. To their chamber that night came the old man,
+and recalled the agreement to divide. He cut the lady into halves,
+minced her flesh on the table, and blew on the bits, whereupon she came
+<span class="pagenum">[<a id="pb54" href="#pb54" name=
+"pb54">54</a>]</span>together more beautiful than ever. The helper then
+threw off his gaberdine, and showed himself to be St. George.</p>
+<p>In the two stories just summarized <i>The Grateful Dead</i> is clear
+enough, though in <i>VI.</i> St. George has ousted the ghost from part
+of its proper functions, just as the angel does in <i>Tobit, Russian
+II.</i>, and <i>Simrock IV.</i>, God in <i>Siberian</i>, and various
+saints elsewhere. The introduction in <i>VI.</i> is a unique trait, as
+far as I know. In both the variants the main features of the theme
+appear without distortion, including the picturesque cleansing of the
+woman by actual division. <i>The Poison Maiden</i>, however, has been
+replaced by a story of similar character, but of different content,
+which I have not elsewhere found compounded with <i>The Grateful
+Dead</i>. A vampire infests a church (or a churchyard). A soldier is
+sent to watch nights, and to try to dislodge her. He successfully
+counters her tricks, and finally gets hold of something belonging to
+her, which he refuses to return. Thereupon she is reduced to
+submission, promises him happiness, and is married to him with the
+consent of the king.<a class="noteref" id="xd20e3304src" href=
+"#xd20e3304" name="xd20e3304src">15</a> This tale, it will be evident,
+bears a strong likeness to <i>The Poison Maiden</i> in the figure of
+the <span class="pagenum">[<a id="pb55" href="#pb55" name=
+"pb55">55</a>]</span>heroine, though it certainly is independent. The
+vital difference between the two is the absence of any helping friend
+in the story of the vampire. Because of the lack of this figure it
+seems improbable that the tale was compounded with <i>The Grateful
+Dead</i> without the intermediary stage in which <i>The Poison
+Maiden</i> appears. I regard the vampire as usurping the place of the
+possessed maiden, and the two Russian variants as a secondary growth.
+Given the normal form of the compound as it appears in <i>Russian
+II.</i>, for instance, there would be no difficulty in substituting an
+even more gruesome figure for that of the heroine there depicted, and
+in making the hero&rsquo;s danger lie in a prenuptial attack on her
+part.</p>
+<p>The three Servian tales, which fall in this section, differ widely
+in their characteristics. The first of them, <i>Servian
+II.</i>,<a class="noteref" id="xd20e3372src" href="#xd20e3372" name=
+"xd20e3372src">16</a> is the most nearly normal. Vlatko goes into the
+world to trade, but pays all his money to free from debt a corpse,
+which creditors are digging up in order to vent their spite upon it. He
+returns home, and is sent out again by his parents, receiving a greater
+sum of money and, from his mother, an apple by means of which he can
+tell the intentions of anyone who desires his friendship by the
+way.<a class="noteref" id="xd20e3375src" href="#xd20e3375" name=
+"xd20e3375src">17</a> He is joined by a man, who cuts the apple into
+two exact halves, and so is accepted as a friend. After Vlatko has
+prospered in trade, the friend proposes that he marry the
+emperor&rsquo;s daughter, with whom ninety-nine men have already died
+on the wedding night. Arrangements are made, and the friend keeps watch
+in the bridal chamber. During the night he cuts off the heads of three
+snakes, which come from the lady&rsquo;s mouth. Sometime afterwards all
+three set out for Vlatko&rsquo;s home; and on the way the hero divides
+his property with his friend. <span class="pagenum">[<a id="pb56" href=
+"#pb56" name="pb56">56</a>]</span>Jestingly the latter proposes that
+they divide the wife, and, after blindfolding the husband, shakes her
+three times, when three dead snakes come out of her. Thereupon he
+disappears.</p>
+<p>Like <i>Armenian</i> and <i>Gypsy</i>, this variant has the ghost
+cut off the head of the monster (here three snakes) that possesses the
+maiden. The actual division of the woman as it appears in those tales
+occurs here as a mere jest, which is the case with most of the European
+versions.<a class="noteref" id="xd20e3395src" href="#xd20e3395" name=
+"xd20e3395src">18</a></p>
+<p><i>Servian III.</i> has a more romantic character. The daughter of
+an emperor had been married thirteen times, but each of her bridegrooms
+had died on the wedding night. A certain prince, who had fallen in love
+with her through a dream, set out for her castle. On the way he paid
+the debts of a poor man, whose corpse was held by creditors, and buried
+him. Soon after, he was met by a man who became his servant, and won a
+castle for him by a wonderful adventure. After the wedding this man
+killed the snakes that came out of the bride, and also caused her to
+disgorge three snake eggs by threatening her with his drawn sword. He
+then disappeared.</p>
+<p>This variant shows traces of foreign substance in the dream and the
+winning of the castle by the unrevealed companion. Possibly the latter
+trait unites it with the combined type of which <i>The Water of
+Life</i> is one of the elements. It will be noticed that the division
+of the property and of the woman is not brought into question, though
+the sword is used somewhat incongruously for the removal of the last
+traces of the heroine&rsquo;s snaky infestation. Thus, by an evident
+change in structure, <span class="pagenum">[<a id="pb57" href="#pb57"
+name="pb57">57</a>]</span>the identity of the hero&rsquo;s companion is
+never explained.</p>
+<p>With <i>Servian IV.</i><a class="noteref" id="xd20e3422src" href=
+"#xd20e3422" name="xd20e3422src">19</a> we encounter a most serious
+problem, which must receive special treatment later on,<a class=
+"noteref" id="xd20e3425src" href="#xd20e3425" name=
+"xd20e3425src">20</a>&mdash;the relation of <i>The Grateful Dead</i> to
+<i>The Thankful Beasts</i> theme. A poor youth three times set free a
+gold-fish which he had three times caught. Later he was cast out of his
+father&rsquo;s house and sent into the world. He was joined by a man,
+who swore friendship with him on a sword, and accompanied him to a city
+where many men had been mysteriously slain while undertaking to pass a
+night with the king&rsquo;s daughter. The hero undertook the adventure,
+and was saved by his companion, who cut off the head of a serpent that
+came from the princess&rsquo;s mouth. In the morning the youth was
+married to the lady, and divided all his property with his helper. On
+their way home the latter demanded half of the bride, and, while she
+was held by two servants, swung a sword above her. With a shriek she
+cast first two sections, and finally the tail, of a serpent from her
+mouth. Thereupon the friend leaped into the sea, for he was the
+gold-fish.</p>
+<p>The burial of the dead has here been ousted by a good deed which the
+hero does to a gold-fish. That the trait is foreign to the type,
+however, seems clear. From the time when the companion appears to the
+hero, the story follows the normal course until the very end, when the
+man unexpectedly leaps into the sea. The thankful dead has been
+replaced by the thankful beast, but the tale really belongs to the
+present category, since otherwise it has all the characteristics of the
+type. Thus the division of the woman is almost precisely similar to
+that of <i>Armenian</i> and <i>Gypsy</i>&mdash;that is, the sword is
+raised, and the woman disgorges the serpent with a scream. That it
+comes out piecemeal may be a faulty recollection <span class=
+"pagenum">[<a id="pb58" href="#pb58" name="pb58">58</a>]</span>of the
+actual division. As so often, it is not stated that the companion made
+a share of the gains a condition of his help.</p>
+<p><i>Bulgarian</i> is in some respects very primitive, though
+fragmentary. A father sends his son out into the world to gain
+experience. The youth is joined by an archangel, who promises him
+assistance on condition that he will pay their joint expenses and will
+be obedient. The companion kills a negro and a serpent, and goes with
+the hero into their den, where the adventurers find, but leave, great
+treasure. They come to a city where the king&rsquo;s daughter has been
+thrice married, each time only to have her bridegroom die on the
+wedding night. Now she is to be given to any man who can live with her
+one night; and many wooers have died in the attempt. The youth offers
+himself as a suitor, and is saved by the archangel, who draws a serpent
+out of the woman. Later he helps the hero to get the wealth previously
+found in the cave, and demands the division of everything, even the
+wife. When he cuts her in two, many little snakes fall out of her body.
+He then unites her, and gives the hero all the riches they have
+obtained.</p>
+<p>The burial of the dead has entirely disappeared, as will be
+observed, though the other traits of the story show that we must regard
+it as of the type now under consideration. The appearance of the
+archangel as companion, and the plunder which they take by the way,
+suggest the influence of <i>Tobit</i>, which indeed appears as a
+folk-tale in the same collection.<a class="noteref" id="xd20e3453src"
+href="#xd20e3453" name="xd20e3453src">21</a> The conditions made by the
+angel are only slightly altered from the normal form, while every other
+feature is found intact, even to the actual division of the woman.</p>
+<p><i>Esthonian II.</i> has altogether lost the essential features of
+our theme; and it has besides put in several traits from a
+<i>m&auml;rchen</i>, which, as we shall soon see, is joined
+<span class="pagenum">[<a id="pb59" href="#pb59" name=
+"pb59">59</a>]</span>to ours with considerable frequency. The inclusion
+of this variant here is justified only by some vague traces indicating
+that the extraneous parts of the narrative have replaced others which,
+if preserved, would make it an ordinary representative of <i>The
+Grateful Dead</i>.</p>
+<p>A certain couple had a weak-minded son, who could not learn. Wishing
+to get rid of him, the father took the boy into a forest and gave him
+gladly to an old man whom he chanced to meet. From the man the youth
+received books in foreign tongues, which he learned to read in a day.
+He then wandered till he came to a city, where lived a princess who was
+in the power of devils and went to church with them every night. The
+hero watched in the church for three nights, with three, six, and
+twelve candles, successively. Thus on the third night he freed the
+princess and married her, receiving half the kingdom. He then sought
+the old man, who told him to cut the woman in halves and divide her.
+The old man halved her himself, when there sprang out a serpent, a
+toad, and a lizard. After this he gave her back to her husband.</p>
+<p>The obscurity of motivation in this tale makes apparent the
+extensive revision that it has undergone. The introduction is nowhere
+else found combined, as far as I know, with the stories of our cycle.
+The characteristics of <i>The Poison Maiden</i> are sufficiently
+evident in the conclusion; but there seems to be no way to account for
+the peculiar form of demonic possession, together with the actual
+division of the woman, except by supposing, with Dutz,<a class=
+"noteref" id="xd20e3475src" href="#xd20e3475" name=
+"xd20e3475src">22</a> that the variant has lost the part concerning the
+burial of the dead man. If this be true, the story belongs in the
+category where it is here placed.</p>
+<p>The <i>Finnish</i> variant<a class="noteref" id="xd20e3483src" href=
+"#xd20e3483" name="xd20e3483src">23</a> presents difficulties of a
+somewhat different sort. A merchant&rsquo;s son, to whom it has been
+foretold that he will marry a three-horned maiden, <span class=
+"pagenum">[<a id="pb60" href="#pb60" name="pb60">60</a>]</span>goes
+abroad to escape this fate. There he sees the corpse of a debtor
+hanging nailed to a church wall, and insulted by the passers-by. He
+expends all but nine silver kopecks in rescuing the body, and turns
+homeward. He is joined by a companion, who makes the money last three
+days, and on the fourth arranges for him to marry the three-horned
+daughter of a king. On the wedding night the helper brings the hero
+fresh-cut twigs. By beating the maiden with these her blood is
+purified, the horns drop off, and she becomes very beautiful.</p>
+<p>No new material is here introduced; but the handling is considerably
+changed, and the narrative abridged. The woman in the case is
+three-horned instead of possessed by snakes, nor is there any hint of
+harm to the bridegroom. A reminiscence of the division of the woman,
+though not of the dowry, appears in the beating which the ghostly
+companion gives her, whereby she is freed from her horns and made very
+beautiful. The variant appears to be weakened by frequent
+retelling.</p>
+<p><i>Rumanian I.</i> is more striking, since it has undergone both
+revision and addition. The only daughter of an emperor wears out twelve
+pairs of slippers every night, until her father offers her hand and the
+heirship of the kingdom to any man who can explain this extraordinary
+and costly habit. Many men of high birth and low make the attempt
+unsuccessfully. Meanwhile, a certain peasant, whose servant had died
+when his year of service was but half ended, had placed the body in a
+chest under the roof in revenge for his disappointment. The new servant
+had discovered this, and had given the corpse the rites due the dead,
+as far as permitted by his master. When he departs at the end of his
+year of service, the dead man comes from the earth, thanks him, and
+proposes that they swear on the cross to be brothers. So they do, and
+go on together till they come to an iron wood. The vampire breaks off a
+twig, and casts it to <span class="pagenum">[<a id="pb61" href="#pb61"
+name="pb61">61</a>]</span>the earth in the place where the
+emperor&rsquo;s daughter comes at night with the sons of the dragon.
+When she appears, she sees the broken twig, and is afraid. So she goes
+to the copper wood, where she sees another twig broken by the vampire,
+and hastens on to the place where the sons of the dragon dwell. It is
+in going so far that she wears out her slippers. When she comes to the
+place, and is about to sit down at table, she drops her handkerchief.
+The vampire, who has followed her from the copper wood in the form of a
+cat, takes it away, as he does also the spoon that falls from her hand
+and the ring that falls from her finger. He goes back to the copper
+wood with them, and explains everything to his friend. The latter takes
+them to the emperor and wins the lady.</p>
+<p>This curious tale has several elements which make it difficult to
+classify. As far as the kindness to the dead goes, the matter is
+simple. Instead of an agreement between the companions to divide their
+gains, however, an oath of brotherhood is introduced. This is probably
+a local substitution, since it has long been a custom of the Slavs of
+the south to swear brotherhood on the cross,<a class="noteref" id=
+"xd20e3499src" href="#xd20e3499" name="xd20e3499src">24</a> but it
+necessitates the further loss of important features at the end of the
+narrative such as the saving of the bridegroom on the wedding night and
+the division of the maiden (or some modification of that feature) by
+the vampire. Indeed, the heroine is rather enchanted than possessed.
+The whole series of acts by which she is freed introduces traits into
+the narrative which we have hitherto met only in <i>Esthonian II.</i>
+Were it not that they are repeated in all the other members of the
+group save <i>Breton I.</i>, which we have still to consider, there
+would be considerable doubt about placing <span class="pagenum">[<a id=
+"pb62" href="#pb62" name="pb62">62</a>]</span>this variant under the
+category of <i>The Grateful Dead</i> + <i>The Poison Maiden</i>. As it
+is, we can with security say that this and the following versions
+belong here. They have simply modified the normal form by the addition
+of certain elements from another theme.</p>
+<p>The three Irish versions all have this form. In <i>Irish I.</i> a
+king&rsquo;s son, while hunting, pays five pounds to the creditors of a
+dead man, so that he may be buried. Later the prince kills a raven, and
+declares that he will marry only that woman who has hair as black as
+the raven, skin as white as snow, and cheeks as red as blood upon the
+snow.<a class="noteref" id="xd20e3528src" href="#xd20e3528" name=
+"xd20e3528src">25</a> On his way to find her he meets a red-haired
+youth, who takes service with him for half of what they may gain in a
+year and a day. The youth obtains for him from various giants by
+threats of what his master will do<a class="noteref" id="xd20e3534src"
+href="#xd20e3534" name="xd20e3534src">26</a> horses of gold and silver,
+a sword of light, a cloak of darkness, and the slippery shoes. When
+they come to the castle of the maiden, he helps the Prince to keep over
+night a comb and a pair of scissors in spite of enchantment, and he
+obtains at her bidding the lips of the giant enchanter, which are the
+last that she has kissed. He then tells the prince and the
+maiden&rsquo;s father to strike her three times, when three devils come
+from her mouth in fire. So the prince marries her, and is ready at the
+end of a year and a day to divide his child<a class="noteref" id=
+"xd20e3543src" href="#xd20e3543" name="xd20e3543src">27</a> at the
+servant&rsquo;s command. But the latter explains that he is the soul of
+the dead man, and disappears.</p>
+<p><i>Irish II.</i> differs little except in details from the above.
+The king of Ireland&rsquo;s son sets forth to find a woman with hair as
+black as the raven, skin as white as snow, <span class=
+"pagenum">[<a id="pb63" href="#pb63" name="pb63">63</a>]</span>and
+cheeks as red as blood. Ten pounds of the twenty which he takes with
+him he pays to release the corpse of a man on which writs are laid. He
+meets a short green man, who goes with him for his wife&rsquo;s first
+kiss; and he comes upon a gunner, a man listening to the growing grass,
+a swift runner, a man blowing a windmill with one nostril, and a strong
+man, all of whom accompany him for the promise of a house and garden
+apiece. After various adventures in the castles of giants, they arrive
+in the east, where the prince&rsquo;s lady dwells. She says that her
+suitor must loose her <i>geasa</i> from her before she can marry him.
+With the help of the short green man he gives her the scissors, the
+comb, and the King of Porson&rsquo;s head, which she requires. He is
+then told to get three bottles of healing water from the well of the
+western world. The runner sets out for them, and is stopped and put to
+sleep by an old hag on the way back; but the earman hears him snoring,
+the gunman sees him and wakes him up, and the windman keeps the hag
+back till he returns. Finally the strong man crushes three miles of
+steel needles so that the prince can walk over them. Thus the bride is
+won. The short green man claims the first kiss, and finds her full of
+serpents, which he picks out of her. He then tells the youth that he is
+the man who was in the coffin, and disappears with his fellows.</p>
+<p>In <i>Irish III.</i> three brothers set out from home with three
+pounds apiece. The youngest gives his all to pay a dead man&rsquo;s
+debts to three giants. He shares his food with a poor man, who offers
+to be his servant, saying that the corpse was his brother, and had
+appeared to him in a dream.<a class="noteref" id="xd20e3560src" href=
+"#xd20e3560" name="xd20e3560src">28</a> Jack the servant frightens the
+first giant into giving up his sword of sharpness, the second giant his
+cloak of darkness, and the third giant his shoes <span class=
+"pagenum">[<a id="pb64" href="#pb64" name="pb64">64</a>]</span>of
+swiftness. The two Jacks come to the castle of a king, whose daughter
+has to be wooed by accomplishing three tasks. Jack the servant follows
+the princess in the cloak of darkness to the demon king of
+Mor&oacute;co and rescues her scissors. Next day Jack the master runs a
+race with the king and beats him because shod with the shoes of
+swiftness. That night Jack the servant goes again to the demon king and
+cuts off his head with the sword of sharpness, thus accomplishing the
+third task. So Jack the master marries the princess.</p>
+<p>These three variants make evident the nature of the foreign material
+in <i>Esthonian II.</i> and <i>Rumanian I.</i> The whole sub-group,
+indeed, has in combination with <i>The Grateful Dead</i> + <i>The
+Poison Maiden</i> important elements from the themes of <i>The Water of
+Life</i> and <i>The Lady and the Monster</i>. These features will be
+considered in detail in a later chapter,<a class="noteref" id=
+"xd20e3586src" href="#xd20e3586" name="xd20e3586src">29</a> when we
+study the general type <i>The Grateful Dead</i> + <i>The Water of
+Life</i>. For the present it is enough to indicate how the addition has
+affected the type with which we are immediately concerned.</p>
+<p>Of the three Irish tales, the first two have best preserved the
+characteristics of the compound as found in Asia and Eastern Europe.
+<i>Irish I.</i> has all the essential features of <i>Armenian</i> and
+<i>Gypsy</i>,&mdash;for example, the burial, the agreement to divide
+what is gained, and the removal of the evil things by which the woman
+is possessed. To be sure, the latter are devils, not serpents, and the
+woman is beaten, not divided. Yet the division appears in another form,
+since the hero is ready to share his child with the red-haired man, a
+trait connected with the theme of <i>Amis and Amiloun</i>.<a class=
+"noteref" id="xd20e3609src" href="#xd20e3609" name=
+"xd20e3609src">30</a> <i>Irish II.</i> is in some respects more
+changed, and in some respects less, than <i>Irish I.</i> The agreement
+to divide is changed to a promise that the green man shall have the
+first kiss of <span class="pagenum">[<a id="pb65" href="#pb65" name=
+"pb65">65</a>]</span>the bride. On the other hand, the serpents in the
+woman&rsquo;s body are retained, a trait which is very primitive and
+very important in enabling us to identify the position of these
+variants. <i>Irish III.</i> has lost most of the typical features of
+the compound. Kennedy&rsquo;s evidence shows that Jack the servant is
+to be regarded as really the thankful dead; but the agreement to divide
+the gains and the removal of the demons or serpents have entirely
+disappeared under pressure from the secondary theme, the essential idea
+of which is the accomplishment by the hero of certain unspelling tasks.
+In conjunction with the other two variants, however, the position of
+<i>Irish III.</i> is clear.</p>
+<p>Very different from the Irish tales is <i>Breton I.</i>, since under
+the influence of a tendency very common in Brittany, the narrative has
+become a Mary legend and has lost its clearness of outline in the
+process. Yet it really belongs to this group, replacing by a
+dragon-fight and a rescue of the hero from the villain the cleansing of
+the bride. At least, I am led to the belief that such is the case by
+the fact that the story fits into no other category. Nor is it
+surprising that the position of the tale should be obscure in view of
+the grotesque transformation which it has undergone.</p>
+<p>A youth named Mao pays all his money to have the body of a beggar
+interred. The spirit of the dead man helps him win the daughter of a
+rich man after killing a dragon in the stables. The lady&rsquo;s
+treacherous cousin tries to burn him alive in an old mill, whence he is
+saved by the ghost. He forgives the man, and is tricked into promising
+him half of all his possessions in order to save his wife. When a son
+is born, the villain demands its division. At the hero&rsquo;s appeal,
+the Virgin comes with the ghost and takes Mao and his family to heaven,
+while the cousin is sent to hell. <span class="pagenum">[<a id="pb66"
+href="#pb66" name="pb66">66</a>]</span></p>
+<p><i>Norwegian II.</i> and <i>Danish III.</i> stand together, since
+the relation of the latter (Andersen&rsquo;s <i lang=
+"da">Reisekammeraten</i>) to the former is simply that of a literary
+redaction to its original. A brief analysis of each is, however,
+necessary.</p>
+<p>In <i>Norwegian II.</i> a young peasant on account of a dream sets
+forth to win the hand of a princess. On his way he gives most of his
+money to bury a dishonest tapster, who has been executed and left
+frozen in a block of ice outside a church for passers-by to spit upon.
+As he proceeds, the youth is joined by the ghost of the tapster, who
+accompanies him. They go to a hill, where they get a magic sword from
+one witch, a golden ball of yarn from another, and a magical hat from a
+third. Of the yarn they make a bridge, and so come to the
+princess&rsquo;s castle. The hero is told to keep her scissors
+overnight and loses them; but the companion rides behind the princess
+on her goat in the hat of invisibility, when she goes to her troll
+lover, and so rescues them. The hero is told to keep a golden ball
+overnight, and the same adventure is repeated. The hero is then told to
+bring what the princess is thinking of. The companion rides again with
+the princess and beats her with his sword, gets the troll&rsquo;s head
+for his master, and so enables him to win the lady. On the wedding
+night the hero flogs his wife at the advice of the companion, only just
+in time to save himself, indeed, as she is about to kill him with a
+butcher-knife. He dips her into a tub of whey, whence she comes out
+black as a raven, but after a rubbing with buttermilk and new milk she
+becomes very beautiful. The companion discovers his identity and
+disappears.</p>
+<p>In <i>Danish III.</i> poor John, whose father has died, dreams of a
+beautiful princess, and sets forth to find her. He does various kind
+deeds by the way, and one night takes refuge from the storm in a
+church. There <span class="pagenum">[<a id="pb67" href="#pb67" name=
+"pb67">67</a>]</span>he sees two evil men dragging a corpse from its
+coffin, and pays his all that it may be buried. He is joined by the
+ghost of the dead man, who accompanies him. They get three rods from an
+old woman, who is healed by the comrade&rsquo;s salve, and they come to
+a city, where they get a sword from a showman, whose puppets are made
+alive by the salve. They come to a mountain, where the companion cuts
+off the wings of a great white swan and carries them along. They come
+at length to the city of the beautiful princess, who is a witch. Anyone
+can marry her who guesses three things, but every man who has tried has
+failed and been killed. John tells the king that he will try to win
+her, and is told to come the next day. In the night the comrade puts on
+the wings of the swan, takes the largest of the rods, and follows the
+princess when she flies out to the palace of her wizard lover. There he
+hears that she is to think of her shoe when her suitor comes in the
+morning. All the way to the mountain and back the comrade beats her so
+that the blood flows. The next morning he tells John to guess her shoe
+when asked what she has thought of. Everyone save the princess rejoices
+when the youth guesses right. The next night the companion beats the
+princess with two rods as she flies, and learns that she is to think of
+her glove. Again everyone is pleased with John&rsquo;s answer. The
+third night the companion takes all three rods and the sword. He cuts
+off the wizard&rsquo;s head when he learns that the princess is to
+think of that, and he gives it to John, wrapped in a handkerchief. John
+produces this when asked by the <span class="corr" id="xd20e3658"
+title="Source: Princess">princess</span> what she has thought about,
+and so he wins her. That night, at the bidding of the companion, he
+dips her three times in a tub of water, into which have been shaken
+three swan&rsquo;s feathers and some drops from a flask. The first time
+she becomes a black swan, the second a white swan, and the third a more
+<span class="pagenum">[<a id="pb68" href="#pb68" name=
+"pb68">68</a>]</span>beautiful princess than ever. The next day the
+comrade explains his identity and disappears.</p>
+<p>It will be seen that Andersen simply embroidered the Norwegian tale
+as was his wont, adding a good many picturesque details, and softening
+some features. The changes do not materially affect the course of the
+narrative, nor need they delay us here, interesting though they are of
+themselves,<a class="noteref" id="xd20e3665src" href="#xd20e3665" name=
+"xd20e3665src">31</a> since the position of the variant with reference
+to the story-type under consideration is perfectly clear. <i>Norwegian
+II.</i> demands further attention. Like <i>Esthonian II., Rumanian
+I.</i>, and <i>Irish I., II.</i>, and <i>III.</i>, it has the form
+<i>The Grateful Dead</i> + <i>The Poison Maiden</i> + <i>The Water of
+Life</i>. The burial of the dead is undisturbed, but the agreement
+between the companions to divide their gains has entirely disappeared,
+perhaps because the secondary theme takes so large a place. The removal
+of the poisonous habitants of the bride is clearly indicated, though it
+has been weakened into a flogging, which is given, however, only just
+in time to save the bridegroom from death. The subsequent milk bath
+seems to show a conflict between the conclusions of the two subsidiary
+motives&mdash;the end of <i>The Poison Maiden</i> being release from
+something like demonic possession, and that of <i>The Water of Life</i>
+in this form being release from a spell&mdash;though perhaps the bath
+is only a reduplication of the purifying process.</p>
+<p><i>Simrock X.</i> is not unlike the two variants just cited. A
+king&rsquo;s son wastes his property, and is sent out to shift for
+himself. He pays the debts of a naked corpse, and has only enough money
+left to pay his reckoning at his inn. So he takes the body to a wood,
+and buries it there. As he goes his way, he is met by a man, who
+becomes his follower and secures three rods, a sword, and a pair of
+wings from a dead raven. They come to <span class="pagenum">[<a id=
+"pb69" href="#pb69" name="pb69">69</a>]</span>a castle, where to win
+the king&rsquo;s daughter the prince has to guess her thoughts for
+three days in succession. The companion flies with her each night when
+she goes to her wizard for counsel, and learns that the prince must say
+&ldquo;bread,&rdquo; &ldquo;the princess&rsquo;s jewels,&rdquo; and
+&ldquo;the wizard&rsquo;s head&rdquo; in turn. On the last night he
+cuts off the wizard&rsquo;s head and brings it to his master, who
+displays it at court and so breaks the spell. When the couple are
+married, the companion explains that he is the spirit of the dead man,
+and disappears.</p>
+<p>This variant obviously belongs to the same type as those preceding.
+As in <i>Irish I.</i> and <i>II.</i> the hero is a prince instead of a
+youth of low birth; but there is no general uniformity in this trait.
+The agreement of division and the violent dispossession of the heroine
+have disappeared. Indeed, so far has <i>The Water of Life</i>
+supplanted the other motives that the position of the tale is only
+evident when it is placed side by side with other versions of the same
+class. When so considered, however, the peculiar features of the
+succession of feats by which the bride is won appear very prominently,
+and establish the type.</p>
+<p><i>Harz I.</i> stands closer to <i>Norwegian II.</i> than the
+preceding. A youth pays his all for the burial of a poor man, whose
+ghost joins him. They go to a city, where a bespelled princess kills
+all her suitors who cannot answer a riddle. The companion spirit tells
+the youth to save her, explaining his own identity. He gives wings and
+an iron rod to the hero, who flies with the princess to a mountain
+spirit, and hears that he must guess that she is thinking of her
+father&rsquo;s white horse. The next night the youth follows her with
+two rods and is thus enabled to guess that she is thinking of her
+father&rsquo;s sword. The third night he follows her with two rods and
+a sword, with which he cuts off the monster&rsquo;s head. This he shows
+her in the morning when asked <span class="pagenum">[<a id="pb70" href=
+"#pb70" name="pb70">70</a>]</span>the usual question, and so he breaks
+the spell. On the wedding night he dips her thrice in water. The first
+time she comes from the bath a raven, the second time a dove, and the
+third time in her own shape, but purified.</p>
+<p>The burial is here retained, but the agreement is entirely lost.
+Though the variant follows <i>Norwegian II.</i> in general, even to
+such details as the preliminary beating of the lady, and the bath of
+final purification, the important trait of flogging the bride, by which
+the hero is saved on the wedding night, has altogether disappeared.
+Like <i>Simrock X.</i>, the tale has obscured the first of the two
+secondary themes for the benefit of the second. Its position seems
+sure, however, as a member of the little group now being
+considered.</p>
+<p><i>Jack the Giant-Killer</i> clearly belongs to this group,
+approaching <i>Irish I.</i> in form. The earliest complete version that
+I know is unfortunately not older than the eighteenth century, and
+perhaps has lost several features of interest which might be found in
+earlier forms. King Arthur&rsquo;s son sets forth to free a lady
+possessed of seven spirits. At a market town in Wales he pays almost
+all his money to release the body of a man who died in debt. He gives
+his last twopence to an old woman, who meets him after he has left the
+town. Jack the Giant-Killer is so pleased with these good deeds that he
+becomes the prince&rsquo;s servant. They go to a giant&rsquo;s castle
+together. Jack tells the giant that a mighty prince is coming<a class=
+"noteref" id="xd20e3740src" href="#xd20e3740" name=
+"xd20e3740src">32</a> and locks him up, so that the two take all his
+gold. Jack takes also an old coat and cap, a rusty sword, and a pair of
+slippers. They arrive at the lady&rsquo;s house. She tells the prince
+to show her in the morning a handkerchief, which she conceals in her
+dress. By putting on the coat of darkness, and the shoes of swiftness,
+and following her when she goes to <span class="pagenum">[<a id="pb71"
+href="#pb71" name="pb71">71</a>]</span>her demon lover, Jack gets the
+handkerchief for his master. Next day the lady tells the prince to get
+the lips which she will kiss the last that night. Jack follows her
+again and cuts off the demon&rsquo;s head, which the prince produces,
+thus breaking the spell that has bound her to the evil spirits.</p>
+<p>This variant, even in what is probably a mutilated state, is
+strikingly similar to <i>Irish I.</i> in such details as the means used
+to follow the lady, and the tasks imposed upon the suitor. Indeed, the
+fact that the adventures take place in Wales might lead one to suppose
+that the story in this form was Celtic, were not the knowledge of it so
+persistent in England also. Several features are obscured, at least in
+the form from which I cite. Though the burial of the dead is given
+clearly enough, and the fact that the lady is possessed is insisted on,
+the prince is kind to an old woman as well as to a dead man, and Jack
+is certainly not understood to be a ghost. All mention of an agreement
+between the companions, and of the means taken to free the heroine from
+her possession by dividing her or flogging her, has likewise
+disappeared. However, the correspondence both in outline and in detail
+with <i>Irish I.</i> is sufficient to establish the position of the
+variant.</p>
+<p>In the <i>Old Wives&rsquo; Tale</i> the theme of <i>The Grateful
+Dead</i> is imbedded in such a mass of folk-lore and folk-tales that it
+is quite impossible to restore adequately the narrative as Peele found
+it. He treated the story as a literary artist, of course, modifying and
+adding details to suit the scheme of his play. The outline of the
+story, as Peele gives it, is as follows: A king, or a lord, or a duke,
+has a daughter as white as snow and as red as blood, who is carried off
+by a conjurer in the form of a dragon. Her two brothers set forth to
+seek her, and by a cross meet an old man named Erestus, who calls
+himself the White Bear of England&rsquo;s Wood. <span class=
+"pagenum">[<a id="pb72" href="#pb72" name="pb72">72</a>]</span>He, they
+learn, has been enchanted by the conjurer, and is a man by day and a
+bear by night. He tells them of his own troubles, and gives them good
+advice. Later he is met by the wandering knight Eumenides, who likewise
+is seeking the lady Delia and is counselled:</p>
+<div class="lgouter">
+<p class="line">&ldquo;Bestowe thy almes, give more than all,</p>
+<p class="line">Till dead men&rsquo;s bones come at thy
+call.&rdquo;</p>
+</div>
+<p class="first">Eumenides pays all his money except three farthings to
+bury the body of Jack, while the conjurer compels Delia to goad her
+brothers at the work to which he has set them. Eumenides is overtaken
+by the ghost of Jack, who becomes his servant, or
+&ldquo;copartner,&rdquo; provides him with money, and slays the
+conjurer while invisible, thus breaking the spell of all the enchanted
+persons. Jack then demands his half of Delia, refuses to take her
+whole, and, when Eumenides prepares to cut her in twain, explains that
+he has asked this only as a trial of constancy. He quickly
+disappears.</p>
+<p>Dutz has already shown<a class="noteref" id="xd20e3773src" href=
+"#xd20e3773" name="xd20e3773src">33</a> that <i>Old Wives&rsquo;
+Tale</i> has three of the essential features of <i>The Grateful
+Dead</i>, viz.: the burial of the dead with the peculiar prophetic
+advice of Erestus, the reward of the hero by assistance in getting a
+wife, and the sharing of the woman. Because of the non-schematic nature
+of his discussion he did not make any attempt to classify the variant
+more specifically. In his edition of the play,<a class="noteref" id=
+"xd20e3782src" href="#xd20e3782" name="xd20e3782src">34</a> Professor
+Gummere, in indicating some of the folk-lore which Peele used, has
+likewise called attention<a class="noteref" id="xd20e3788src" href=
+"#xd20e3788" name="xd20e3788src">35</a> to the connection with our
+theme. Of particular importance is his hint as to the likeness of the
+variant to the story which I call <i>Irish III.</i> It is practicable,
+however, to carry the matter somewhat further. The adventures of Delia,
+Eumenides, and Jack are all that really concern us. It will be seen
+that <span class="pagenum">[<a id="pb73" href="#pb73" name=
+"pb73">73</a>]</span>these conform in essentials to the type under
+consideration. There is the burial, the agreement, the death of the
+wizard, and the division. To be sure, as in other instances, the
+dispossession of the woman has been obscured by other elements; yet the
+type is unmistakable, it seems to me. One trait in particular connects
+<i>Old Wives&rsquo; Tale</i> with <i>Irish I.</i> and <i>II.</i> In all
+three the hero seeks a maiden who is white as snow and red as blood. On
+the other hand, the ghost is called Jack as in <i>Irish III.</i> and
+the English tale which bears Jack&rsquo;s name. Because of these
+similarities and discrepancies one is forced to conclude that for this
+part of his play Peele drew upon some version of <i>Jack the
+Giant-Killer</i>, which was far better preserved than the forms known
+to-day. His original must have had many points in common with the tale
+as extant in Ireland, though we need not believe that he knew it in
+other than English dress.</p>
+<p>It yet remains to consider the relations of the two sets of variants
+discussed in this chapter to <i>The Poison Maiden</i> and to one
+another. The group is peculiar in that all the members of it are
+folk-tales, save three: <i>Tobit, Danish III.</i> and <i>Old
+Wives&rsquo; Tale</i>. The two latter are, however, immediately derived
+from popular narratives of an easily discernible type. Thus
+<i>Tobit</i> is an anomaly from almost any point of view, obscure in
+its origin and possessed of only trivial influence upon the other tales
+belonging to the same group. Of the twenty-six variants, fifteen have
+<i>The Grateful Dead</i> + <i>The Poison Maiden</i> simply, while the
+other eleven add thereto more or less distinct elements of <i>The Water
+of Life</i>.</p>
+<p>In the following versions the hero is saved on the wedding night, or
+the bride is purified by some means: <i>Tobit, Armenian, Gypsy,
+Siberian, Russian I., Russian II., Russian III., Russian IV., Russian
+V., Russian VI., Servian II., Servian III., Servian IV., Bulgarian,
+<span class="pagenum">[<a id="pb74" href="#pb74" name=
+"pb74">74</a>]</span>Esthonian II., Irish I., Irish II., Danish III.,
+Norwegian II.</i>, and <i>Harz I.</i> Not all the stories which I have
+placed in the group, it will be observed, have this feature; but, out
+of all the variants of <i>The Grateful Dead</i> enumerated in the
+bibliographical list, not one has it except members of the group. Now
+this purification of the bride, by means of which the hero is saved, is
+precisely the element of <i>The Poison Maiden</i> which is most
+essential. There can be no doubt, therefore, that this theme actually
+united with a more primitive form of <i>The Grateful Dead</i> to form
+the compound discussed in this chapter. The combination must have been
+made very early and in Asia, as <i>Tobit</i> and <i>Armenian</i> bear
+witness. It will be noted that all the variants, save <i>Finnish</i>,
+which have the simple compound, retain the rescue of the bridegroom,
+while only half of those where a subsidiary motive has been introduced
+have the like. Apparently the intrusion of new matter of a very
+romantic sort tended to obscure the original climax of the combined
+type.</p>
+<p>Another feature of much importance in this connection is the
+division of the woman, or whatever is substituted for it. In a large
+majority of the variants studied, which have the trait at all, the
+purpose of the division proposed or accomplished is to test the
+fidelity of the hero. Hippe believed<a class="noteref" id=
+"xd20e3868src" href="#xd20e3868" name="xd20e3868src">36</a> that this
+was a modification of the original trait, an opinion which would be
+justified if the compound type <i>The Grateful Dead</i> + <i>The Poison
+Maiden</i> only were considered. The versions which have the
+purification are the following: <i>Armenian, Gypsy</i>, <i>Siberian,
+Russian II., Russian IV., Russian V., Russian VI., Servian II., Servian
+III., Servian IV., Bulgarian</i>, <i>Esthonian II., Finnish, Irish I.,
+Irish II.</i>, and <i>Old Wives&rsquo; Tale</i>. In these the purpose
+of the division, or beating, whether actually performed or not, is the
+disposal of <span class="pagenum">[<a id="pb75" href="#pb75" name=
+"pb75">75</a>]</span>serpents or other venomous creatures by which the
+woman is possessed.<a class="noteref" id="xd20e3892src" href=
+"#xd20e3892" name="xd20e3892src">37</a> It will be noted, however, that
+all of these variants are of the type treated in the present chapter.
+If the division for the sake of purification were then regarded as more
+primitive and older than the division for the sake of sharing the gains
+or of testing the hero, it would naturally follow that all the combined
+types must proceed from <i>The Grateful Dead</i> + <i>The Poison
+Maiden</i>. Hippe followed the logical course from his premises in so
+regarding the relationship of the groups.<a class="noteref" id=
+"xd20e3907src" href="#xd20e3907" name="xd20e3907src">38</a> However, it
+seems clear to me&mdash;and it will be increasingly evident as we study
+the other groups&mdash;that the division for purification belongs
+solely to the compound treated in this chapter. It would follow
+logically from combining <i>The Poison Maiden</i>, where a friend saves
+the hero from the fatal embraces of a woman, with <i>The Grateful
+Dead</i>, where the hero is willing to divide his wife to satisfy the
+agreement which he has made with his benefactor. Only by such an
+explanation is it possible to account for the development of the
+several groups from a common root. The barbarous character of the
+division for purification, and the softening which it has undergone in
+the group which we have been studying, give it an appearance of
+antiquity to which it has no right. In point of fact, it belongs only
+to this group, which is thus clearly set off from all the others as an
+independent branch. The division for the sake of fulfilling an
+obligation is more widespread, though it has suffered many
+modifications. <span class="pagenum">[<a id="pb76" href="#pb76" name=
+"pb76">76</a>]</span></p>
+</div>
+<div class="footnotes">
+<hr class="fnsep">
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e3023" href="#xd20e3023src" name="xd20e3023">1</a></span> See pp.
+1 and 2.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e3029" href="#xd20e3029src" name="xd20e3029">2</a></span> P.
+181.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e3047" href="#xd20e3047src" name="xd20e3047">3</a></span> <i lang=
+"de">Abhandlungen der k. bayerischen Akademie der Wissenschaften</i>,
+1893, pp. 89&ndash;166. Reprinted, with some additional notes by the
+editor, in <i lang="de">Gesammelte Abhandlungen von Wilhelm Hertz</i>,
+ed. F. von der Leyen, 1905, pp. 156&ndash;277.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e3057" href="#xd20e3057src" name="xd20e3057">4</a></span> The
+existing versions go back to the pseudo-Aristotelian <i lang="la">De
+secretis secretorum</i> or <i lang="la">De regimine principum</i>,
+which was taken from the Arabic in the twelfth century (Hertz, p. 92).
+It is probable, however, that the tale existed far earlier than this
+and came from India (Hertz, pp. 151&ndash;155).</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e3067" href="#xd20e3067src" name="xd20e3067">5</a></span> Pp. 115
+ff.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e3070" href="#xd20e3070src" name="xd20e3070">6</a></span> Two
+Asiatic parallels not cited by Hertz will serve to illustrate the theme
+further. One of these is &ldquo;The Story of Swet-Basanta&rdquo; from
+Lal Behari Day, <i>Folk-tales of Bengal</i>, 1883, pp. 100 f. The hero
+is found by an elephant and made king of a land, where the successive
+sovereigns are killed every night mysteriously. He watches and sees
+something like a thread coming from the queen&rsquo;s nostrils. This
+proves to be a great serpent, which he kills, thus remaining as king.
+The other is from J. H. Knowles, <i>Folk-tales of Kashmir</i>, 1888,
+pp. 32 ff., &ldquo;A Lach of Rupees for a Bit of Advice.&rdquo; A
+prince pays a lach of rupees for a paper containing four rules of
+conduct. His father exiles him for this extravagance. In his wanderings
+the prince finds a potter alternately laughing and crying because his
+son must soon marry a princess, who has to be wedded anew each night.
+So the prince marries the woman instead and kills two serpents that
+come from her nostrils, thus retaining the kingdom. In these two
+stories there is no question of aid coming to the hero; he is saved by
+his own watchfulness.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e3102" href="#xd20e3102src" name="xd20e3102">7</a></span>
+<i>Tobit, Danish III</i>. (Andersen&rsquo;s tale), and Peele&rsquo;s
+<i>Old Wives&rsquo; Tale</i>.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e3119" href="#xd20e3119src" name="xd20e3119">8</a></span> For
+example, it appears in Schischm&aacute;noff&rsquo;s <i lang=
+"fr">L&eacute;gendes relig&iacute;euses bulgares</i>, 1896, pp.
+194&ndash;201, side by side with our <i>Bulgarian</i> tale.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e3133" href="#xd20e3133src" name="xd20e3133">9</a></span> I
+<span class="corr" id="xd20e3135" title=
+"Source: summarise">summarize</span> from K&ouml;hler&rsquo;s reprint
+in <i>Germania</i>, iii. pp. 202 ff.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e3149" href="#xd20e3149src" name="xd20e3149">10</a></span>
+Paspati&rsquo;s tale on pp. 605 ff. also has a dragon slain on a
+wedding night by a youth, who keeps watch. This single trait in a
+totally different setting must be borrowed from a Gypsy form of the
+simple or compound theme.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e3174" href="#xd20e3174src" name="xd20e3174">11</a></span> See
+<i>Annamite, Greek, Oliver</i>, and <i>Walewein</i>. There is something
+approaching it in <i>Rumanian I.</i></p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e3185" href="#xd20e3185src" name="xd20e3185">12</a></span>
+<i>Icelandic I.</i></p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e3206" href="#xd20e3206src" name="xd20e3206">13</a></span>
+<i>Simrock IV.</i></p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e3217" href="#xd20e3217src" name="xd20e3217">14</a></span> See
+Hippe, p. 145.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e3304" href="#xd20e3304src" name="xd20e3304">15</a></span>
+References to this story have been collected by G. Pol&iacute;vka, and
+printed in <i lang="de">Archiv f. slav. Phil.</i> xix. 251, in citing
+our <i>Russian V.</i> He says: &ldquo;Vgl. <span class="sc"><span lang=
+"ru">&#1056;&#1086;&#1084;&#1072;&#1085;&#1086;&#1074;&#1098;</span></span>,
+iv. S. 124, Nr. 65; Weryho, <i lang="pl">Pod. bia&#322;oruskie</i>, S.
+46; <span lang=
+"ru">&#1061;&#1091;&#1076;&#1103;&#1082;&#1086;&#1074;&#1098;</span>,
+i. Nr. 11, 12; <span lang=
+"ru">&#1057;&#1072;&#1076;&#1086;&#1074;&#1085;&#1080;&#1082;&#1086;&#1074;&#1098;</span>,
+S. 44, 310; <span lang=
+"ru">&#1052;&#1072;&#1085;&#1078;&#1091;&#1088;&#1072;</span>, 61;
+<span lang=
+"ru">&#1044;&#1088;&#1072;&#1075;&#1086;&#1084;&#1072;&#1085;&#1086;&#1074;&#1098;
+&#1052;&#1072;&#1087;&#1086;&#1088;.
+&#1055;&#1088;&#1077;&#1087;</span>, S. 268 f.; Dowojna Sylwestrowicz,
+ii. 129 f.; Kar&#322;owicz, Nr. 19; Kolberg, viii. S. 138 f., Nr. 55,
+56; xiv. S. 72 f., Nr. 16, 17; Ciszewski, i. Nr. 128; Kulda, iii. Nr.
+14; Strohal, Nr. 18, 19; Kres, iv. S. 350, Nr. 19; Th. Vernaleken,
+<i lang="de">Oesterr. K.H.M.</i> S. 44 f.; Ul. Jahn, i. 92, 356;
+Pr&ouml;hle, <i lang="de">M&auml;rchen f&uuml;r die Jugend</i>, S. 42;
+Wolf, <i>D.H.M.</i> 258 f.; S&eacute;billot, <i lang="fr">Contes des
+marins</i>, S. 38.&rdquo; As far as I have been able to ascertain,
+these references are all to the tale sketched above, uncompounded with
+<i>The Grateful Dead</i>. I must thank Professor Wiener for my
+knowledge of the Slavic forms, which he very generously examined for me
+as far as the books were available, <i>viz.</i> Romanov, Khudyakov,
+Sadovnikov, Man&#382;ura, Dragomanov, Sylwestrowicz, and Kolberg.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e3372" href="#xd20e3372src" name="xd20e3372">16</a></span> See
+Hippe, pp. 145 f.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e3375" href="#xd20e3375src" name="xd20e3375">17</a></span> For the
+test of friendship with an apple, see K&ouml;hler&rsquo;s notes in
+Gonzenbach, <i>Sicil. M&auml;rchen</i>, ii. 259 f., and in <i>Arch. f.
+slav. Phil.</i> v. 44 ff.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e3395" href="#xd20e3395src" name="xd20e3395">18</a></span> Hippe
+is in error, however, when he says (p. 178) that the division is
+everywhere modified in the European variants. See <i>Russian II., IV.,
+V.</i> and <i>VI., Bulgarian</i>, and <i>Esthonian II.</i> Moreover, I
+believe that Hippe&rsquo;s theory puts the cart before the
+horse&mdash;that the actual division is not so ancient a trait as it
+seems. See pp. 74, 75 below.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e3422" href="#xd20e3422src" name="xd20e3422">19</a></span> See
+Hippe, p. 146.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e3425" href="#xd20e3425src" name="xd20e3425">20</a></span> See
+chapter vii.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e3453" href="#xd20e3453src" name="xd20e3453">21</a></span> See p.
+47, note, above.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e3475" href="#xd20e3475src" name="xd20e3475">22</a></span> P.
+19.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e3483" href="#xd20e3483src" name="xd20e3483">23</a></span> See
+Hippe, pp. 148 f.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e3499" href="#xd20e3499src" name="xd20e3499">24</a></span> See
+note by Schott, p. 473, in which he gives evidence based on personal
+knowledge, and Grimm, <i lang="de">Geschichte der deutschen
+Sprache</i>, p. 92. I have touched on the matter in <i lang="de">Engl.
+Stud.</i> xxxvi. 195&ndash;201.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e3528" href="#xd20e3528src" name="xd20e3528">25</a></span> This
+trait is found not infrequently in other settings. See, for example,
+Vernaleken, <i lang="de">Oesterreichische Kinder- und
+Hausm&auml;rchen</i>, p. 141.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e3534" href="#xd20e3534src" name="xd20e3534">26</a></span> This
+trait recalls <i>Puss in Boots</i>, which is otherwise compounded with
+<i>The Grateful Dead</i>. See preceding chapter, p. 42, and p. 70
+below.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e3543" href="#xd20e3543src" name="xd20e3543">27</a></span> See
+chapter vii.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e3560" href="#xd20e3560src" name="xd20e3560">28</a></span> Kennedy
+says, p. 38: &ldquo;In some versions of &lsquo;Jack the Master,&rsquo;
+etc., Jack the servant is the spirit of the dead man.&rdquo;</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e3586" href="#xd20e3586src" name="xd20e3586">29</a></span> Chapter
+vi.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e3609" href="#xd20e3609src" name="xd20e3609">30</a></span> See
+chapter vii.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e3665" href="#xd20e3665src" name="xd20e3665">31</a></span> The
+three rods with which the princess is flogged are found in <i>Harz
+I.</i> See pp. 69, 70 below.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e3740" href="#xd20e3740src" name="xd20e3740">32</a></span> See p.
+62, note 2.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e3773" href="#xd20e3773src" name="xd20e3773">33</a></span> Pp. 10
+f.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e3782" href="#xd20e3782src" name="xd20e3782">34</a></span> Gayley,
+<i>Representative English Comedies</i>, 1903, pp. 333&ndash;384.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e3788" href="#xd20e3788src" name="xd20e3788">35</a></span> P.
+345.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e3868" href="#xd20e3868src" name="xd20e3868">36</a></span> Pp.
+176&ndash;178.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e3892" href="#xd20e3892src" name="xd20e3892">37</a></span>
+<i>Russian V.</i> and <i>VI.</i> are, of course, exceptions, since the
+woman is there a vampire.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e3907" href="#xd20e3907src" name="xd20e3907">38</a></span> See his
+scheme on page 181.</p>
+</div>
+</div>
+<div id="ch5" class="div1 chapter"><span class="pagenum">[<a href=
+"#toc">Contents</a>]</span>
+<div class="divHead">
+<h2 class="label">Chapter V.</h2>
+<h2 class="main"><i>The Grateful Dead</i> and <i>The Ransomed
+Woman</i>.</h2>
+</div>
+<div class="divBody">
+<p class="first">As has already been shown,<a class="noteref" id=
+"xd20e3929src" href="#xd20e3929" name="xd20e3929src">1</a> Simrock
+regarded as an essential feature of <i>The Grateful Dead</i> the
+release of a maiden from captivity by the hero. Stephens and
+Hippe<a class="noteref" id="xd20e3935src" href="#xd20e3935" name=
+"xd20e3935src">2</a> saw that such was not the case. The latter&rsquo;s
+treatment of the matter<a class="noteref" id="xd20e3938src" href=
+"#xd20e3938" name="xd20e3938src">3</a> leaves little to be desired as
+far as it goes, save that it implies a derivation of the compound
+<i>The Grateful Dead</i> + <i>The Ransomed Woman</i> from the compound
+treated in the last chapter&mdash;a view which I believe erroneous.</p>
+<p><i>The Ransomed Woman</i> appears as a separate tale or in
+combination with other themes than <i>The Grateful Dead</i> more than
+once. A prolonged study of the motive would probably yield a rich
+harvest of examples, though it is sufficient for the present purpose to
+refer to Hippe&rsquo;s article as establishing the existence of the
+form. His Wendish folk-tale<a class="noteref" id="xd20e3955src" href=
+"#xd20e3955" name="xd20e3955src">4</a> and <i lang="de">Guter
+Gerhard</i>, from the latter of which Simrock started his enquiry, are
+of themselves evidence enough.<a class="noteref" id="xd20e3961src"
+href="#xd20e3961" name="xd20e3961src">5</a> Neither example has
+anything whatever to do with <i>The Grateful Dead</i>.<a class=
+"noteref" id="xd20e3980src" href="#xd20e3980" name="xd20e3980src">6</a>
+The characteristics <span class="pagenum">[<a id="pb77" href="#pb77"
+name="pb77">77</a>]</span>of <i>The Ransomed Woman</i> will appear as
+we consider the compound type, which contains folk-tales almost
+exclusively, as was the case with the type studied in the previous
+chapter, but in most cases from Western Europe instead of from both
+Asia and Europe.</p>
+<p>Nineteen variants have <i>The Grateful Dead</i> and <i>The Ransomed
+Woman</i> combined in a comparatively simple form without admixture
+with related themes. These are: <i>Servian I., Lithuanian
+I.</i>,<a class="noteref" id="xd20e4013src" href="#xd20e4013" name=
+"xd20e4013src">7</a> <i>Hungarian II., Transylvanian</i>, <i>Catalan,
+Spanish, Trancoso, Nicholas, Gasconian</i>, <i>Straparola I., Istrian,
+Gaelic, Breton III.</i>,<a class="noteref" id="xd20e4026src" href=
+"#xd20e4026" name="xd20e4026src">8</a> <i>Swedish, Norwegian I.,
+Icelandic I.</i> and <i>II.</i>, and <i>Simrock IV.</i> and
+<i>VI.</i></p>
+<p>In <i>Servian I.</i> a merchant&rsquo;s son, while on a journey,
+ransoms a company of slaves whom he finds in the hands of freebooters.
+Among them is a beautiful maiden with her nurse. He marries the lady,
+who proves to be the daughter of an emperor. On a second voyage he
+ransoms two peasants, who have been imprisoned for not paying their
+taxes to the emperor. On his third journey he comes to his
+father-in-law&rsquo;s court, and is sent back for his wife. He is,
+however, cast into the sea by a former lover of the princess, and
+succeeds in getting ashore on a lonely island, where he remains for
+fifteen days and fifteen nights.<a class="noteref" id="xd20e4049src"
+href="#xd20e4049" name="xd20e4049src">9</a> Then an angel in the
+disguise of an old man appears to him, and, on condition of receiving
+half of his possessions, brings him to court, where he is <span class=
+"pagenum">[<a id="pb78" href="#pb78" name="pb78">78</a>]</span>reunited
+with his wife. After renouncing his claim, the old man explains who he
+is, and disappears.</p>
+<p>The most striking peculiarity of the variant is the loss of the
+burial, for which appears rather awkwardly the ransoming of some
+peasants on the hero&rsquo;s second voyage. That substitution has
+occurred is apparent, however, both from the clumsiness of the device
+by which the original trait is replaced, and from the angel in the form
+of an old man, who takes the r&ocirc;le of the ghost. It will be
+remembered that the same substitution has already been met with in the
+case of <i>Tobit</i> and <i>Russian II.</i></p>
+<p>In <i>Lithuanian I.</i> is found a variant which, as we shall find,
+is of a common type. A king&rsquo;s son pays three hundred gold-pieces,
+all that he possesses, to release a dead man from his creditors and
+have him buried. The hero then becomes a merchant, and finds a princess
+on an island, whither she has been driven by a storm. He takes her to a
+city, where he makes his home, and marries her. A messenger, sent out
+by her father to seek her, arrives, takes them aboard ship, and pitches
+the hero into the sea in order to obtain the offered reward. He is
+saved by a man in a boat, who says that he is the ghost of the dead,
+and instructs him how to rejoin his bride. So everything ends
+happily.</p>
+<p>The events as here related follow a very normal course, which is
+repeated again and again in stories of this type: a burial, a ransom,
+an act of treachery, a rescue by the ghost, and a happy reunion of the
+lovers. The agreement between the hero and the ghost, which is found in
+<i>Servian I.</i>, and very frequently elsewhere, is lacking, however.
+A peculiarity of the variant is the change in status of the hero. He is
+a prince, but becomes a merchant, thus uniting the two characters given
+him in the other tales of this class.</p>
+<p><i>Hungarian II.</i> is in some respects more interesting than the
+variant just cited. A merchant&rsquo;s son while in <span class=
+"pagenum">[<a id="pb79" href="#pb79" name="pb79">79</a>]</span>Turkey
+pays the debts and for the burial of a mistreated corpse. After
+returning home, he goes to England and rescues a French princess with
+her two maids, but by his cunning saves the gold that he has agreed to
+pay for them. At her bidding he goes to Paris and tells the king that
+she is safe. On his return to bring her to her home, where he is to
+marry her, he is placed on a desert island by a general who is
+enamoured of the princess. Thence he is rescued by an old man, the
+ghost of the dead, who takes him to the Continent. He goes to Paris,
+where he is <span class="corr" id="xd20e4078" title=
+"Source: recognised">recognized</span> by the princess, when he drops a
+ring that she has given him into a beaker. When she comes to him in his
+room, he threatens to kill her if she does not go away; but when she
+agrees that he has the right to do so since he has saved her life, he
+says that his threat was only a test of loyalty. So the story ends
+happily.</p>
+<p>The course of events is not very different from that of
+<i>Lithuanian I.</i>, since the variant has all the normal elements
+save the agreement between the ghost and the hero. A peculiarity is the
+final scene in which the hero tests his lady. It will be evident, I
+think, that this is an obscured and modified form of the test to which
+the ghost elsewhere submits the hero, a test of fidelity likewise,
+though different in its nature.</p>
+<p>In the <i>Transylvanian</i> variant, a merchant&rsquo;s son while on
+a journey pays fifty florins, half of his capital, for the burial of a
+dead man. On a second journey he pays one hundred florins, again
+one-half of his store, for the ransom of a princess who has been
+imprisoned while out doing charity <i>incognito</i>. She gives him a
+ring and sends him to the castle, where her father turns him out of
+doors. He then meets an old man&mdash;the ghost&mdash;and promises him
+one-half of his gains after seven years for his help. He is then
+enabled to marry the princess, who recognizes him, at the castle by his
+ring. They <span class="pagenum">[<a id="pb80" href="#pb80" name=
+"pb80">80</a>]</span>have two children. When the old man comes back at
+the end of seven years, the hero gives up one of his children, and,
+after offering her whole, is ready to divide his wife. The old man
+renounces his claim, and disappears.</p>
+<p>Every step in the narrative is here clearly marked, even to the
+conditional agreement with the ghost, which so frequently is wanting.
+The variant thus appears to be entirely normal as far as <i>The
+Grateful Dead</i> goes, though it does not have the rescue by the
+ghost&mdash;an important feature of <i>The Ransomed Woman</i>.</p>
+<p>In <i>Catalan</i><a class="noteref" id="xd20e4109src" href=
+"#xd20e4109" name="xd20e4109src">10</a> a young man on a journey has a
+poor man buried at his expense, and ransoms a princess. Later he goes
+to the court of her parents with a flag on which she has embroidered
+her name. They <span class="corr" id="xd20e4112" title=
+"Source: recognise">recognize</span> this, and send the youth back for
+the lady. On the way he is cast into the sea by the sailors, but is
+saved by the thankful dead and brought to the court again, where he
+espouses the princess.</p>
+<p>In <i>Spanish</i><a class="noteref" id="xd20e4119src" href=
+"#xd20e4119" name="xd20e4119src">11</a> a young Venetian merchant pays
+the debts of a Christian at Tunis, and has him buried. At the house of
+the creditor he also buys a Christian slave girl. He takes her back to
+Venice and marries her. At the wedding a sea-captain recognizes the
+lady, and lures the couple aboard his ship. The young man is cast into
+the sea, but by clinging to a plank reaches land, where he lives seven
+months with a hermit. At the end of that time he is sent to the coast,
+where he finds a ship, and is transported to Ireland. There he is
+entrusted by the captain with two letters to the king. The one says
+that he is a great physician, who will heal the sick princess; the
+other that the plank, the hermit, and the captain who has brought him
+to Ireland are one and all the ghost of the man whom he buried. The
+hero is recognized at court by the princess, who has <span class=
+"pagenum">[<a id="pb81" href="#pb81" name="pb81">81</a>]</span>been
+brought thither by the traitor, and has explained all to her
+father.</p>
+<p>In these tales the theme of <i>The Grateful Dead</i> is somewhat
+abbreviated for the sake of the romantic features of the secondary
+motive. In both, the agreement with the ghost and every trace of a
+division have disappeared, though they differ in the details of the
+treachery by which the lovers are separated. In the former<a class=
+"noteref" id="xd20e4130src" href="#xd20e4130" name=
+"xd20e4130src">12</a> much is made of the manner by which the hero gets
+a favourable reception at the court of the princess&rsquo;s father,
+while in the latter this is suppressed. Recognition by some such means,
+it will appear, is an important feature of the majority of the variants
+in this section. It must be remembered, of course, that <i>Spanish</i>
+is a semi-literary version, even though popular in origin.</p>
+<p><i>Trancoso</i>, the work of a sixteenth century Portuguese
+story-teller, is even more consciously literary. It shows, besides, the
+tendency of the narrative to take on a religious colouring. The son of
+a Lusitanian merchant, while in Fez on a trading expedition, buys the
+relics of a Christian saint. In spite of his father&rsquo;s anger, he
+does this a second time, and is so successful in retailing the bones
+that he is sent out a third time with instructions to buy as many
+relics as possible. On this expedition, however, he succeeds merely in
+ransoming a Christian girl, whom he takes home. At her request he
+carries to the King of England a piece of linen, on which she has
+embroidered the story of her adventures. He learns that she is the
+king&rsquo;s daughter, and restores her to her father. Subsequently he
+wanders over Europe in despair, for he has hoped to marry the princess,
+till he meets with two minstrels, who accompany him to the English
+court. There he makes himself known to the princess <span class=
+"pagenum">[<a id="pb82" href="#pb82" name="pb82">82</a>]</span>by a
+song; and, by the aid of the two minstrels, he wins her hand in a
+tournament. Later the two friends reveal themselves as the saints whose
+bones he had rescued from the Moors.</p>
+<p>Though this version clearly belongs in the category now under
+discussion, it has certain features that can be explained only on the
+supposition that Trancoso altered his source to suit his personal
+fancy. The clever substitute for actual burial, the duplication of that
+trait (which occurs nowhere else), the humorous touch with reference to
+the hero&rsquo;s success in selling relics, and the appearance of the
+ghosts as minstrels, are all strokes of individual invention. The
+wanderings of the hero and his manner of revealing himself to the
+princess are doubtless reminiscences from the popular romances of
+Spain, while the tournament probably comes, as Men&eacute;ndez y Pelayo
+hints,<a class="noteref" id="xd20e4144src" href="#xd20e4144" name=
+"xd20e4144src">13</a> from an earlier version of our theme,
+<i>Oliver</i>, which will be treated below. In spite of these
+peculiarities, the ordinary features of the combined theme are not more
+obscured than in the two preceding variants. The agreement, the
+division, and the rescue are the only ones that disappear.</p>
+<p>In the fourteenth century variant from <i>Scala Celi</i>,
+<i>Nicholas</i>, our story is altogether transformed into a legend. The
+only son of a widow<a class="noteref" id="xd20e4160src" href=
+"#xd20e4160" name="xd20e4160src">14</a> of Bordeaux is sent as a
+merchant to a distant city with fifty pounds. He gives it all to help
+rebuild a church of St Nicholas, and returns home empty-handed. Much
+later he is sent out with one hundred pounds, and buys the
+Sultan&rsquo;s daughter. His mother disowns him, and he is supported by
+the embroidery which the princess makes. With her wares he goes to a
+festival at Alexandria, but, at her bidding, keeps away from the
+castle. When he journeys to <span class="pagenum">[<a id="pb83" href=
+"#pb83" name="pb83">83</a>]</span>Alexandria a second time, however, he
+goes to the castle and is imprisoned, as the handiwork of the princess
+is recognized. She is sent for, while the hero is released and goes
+home. Since he does not find the maiden there, he returns to Alexandria
+with a piece of embroidery which she has sent him, meets her, and
+elopes by the aid of St. Nicholas, who sends them a ship
+opportunely.</p>
+<p>Because of its legendary character the variant has been materially
+transformed, but not beyond recognition. The thankful dead is replaced
+by the saint throughout, so that the burial is altered into church
+building, and both the agreement and the division of the gains
+disappear. The various elements of <i>The Ransomed Woman</i> fare
+better: the act of treachery done the hero is the only one lacking, and
+that perhaps is replaced by his imprisonment in the Sultan&rsquo;s
+castle. It is remarkable that the details of the narrative have been so
+little altered in spite of its complete change of purpose.</p>
+<p>In the <i>Gasconian</i> folk-tale Jean du Boucau, the son of a
+mariner, goes to fight the corsairs. On the shore of the sea he rescues
+a man named Uartia, who is pretending death to escape from his
+creditors. Later this man becomes a prosperous freebooter, and is
+sailing with a load of captives when met again by Jean. The latter is
+so shocked by his evil deeds that he encloses him in the coffin
+prepared for him on the previous occasion, and throws him into the sea.
+Jean then marries the most beautiful of the captives, who is the
+daughter of the King of Bilbao.</p>
+<p>The variant is excessively rationalized, it will be observed, and
+most traces of <i>The Grateful Dead</i> have disappeared. Though
+various substitutions for the burial are found in each of the groups,
+this is the only case that I know where the man plays &rsquo;possum to
+escape his creditors. The story is likewise unique in making the hero
+take vengeance on the man whom he has helped <span class=
+"pagenum">[<a id="pb84" href="#pb84" name="pb84">84</a>]</span>earlier,
+and accordingly in making him rescue the maiden from the hands of the
+person who is in the character of the thankful dead. The variant has
+been modified by a free fancy; yet its position in the group remains
+perfectly clear in spite of the loss of such traits as the agreement,
+the act of treachery, the rescue of the hero, and the division of the
+gains.</p>
+<p><i>Straparola I.</i>, one of the Italian novelist&rsquo;s two
+renderings of our theme, is far more normal than the above, and is
+probably based directly on a folk-story. Bertuccio pays one hundred
+ducats to free a corpse from a robber and bury it, greatly to his
+mother&rsquo;s disgust. He goes out again with two hundred ducats, and
+pays them for the ransom of the daughter of the King of Navarre. His
+mother is still more angry. The princess is taken home to Navarre by
+officers of the court who have been searching for her, but first she
+tells Bertuccio to come to her, and to hold his hand to his head as a
+sign when he hears that she is to be married. On his way to Navarre he
+meets a knight who gives him a horse and clothing on condition of his
+returning them, together with half of his gains. He marries the
+princess, and is returning home, when he meets the knight again and
+offers to give up his wife whole rather than kill her by division.
+Whereupon the knight explains that he is the spirit of the dead, and
+resigns his claim.</p>
+<p>All the traits previously mentioned are here evident save the act of
+treachery by which the hero comes near losing his bride. The sign
+appears as a means of communication between the lovers, as in
+<i>Transylvanian</i> and elsewhere. The question of division is simply
+a matter of fulfilling a bargain, but it shows how easily by a slight
+shift of emphasis the test of loyalty could be made the important
+element.</p>
+<p>None of the Italian folk variants, which I know, conforms to the
+above closely enough to be regarded as a <span class="pagenum">[<a id=
+"pb85" href="#pb85" name="pb85">85</a>]</span>near relative.
+<i>Istrian</i>, however, belongs in the same category. A youth called
+Fair Brow sets out to trade with six thousand <i>scudi</i>, which he
+pays to bury a debtor on the shore, for whom passers-by are giving
+alms. On his return home, he tells his father that he has been robbed,
+and again is sent out with six thousand <i>scudi</i>. He pays these for
+a maiden, who has been stolen from the Sultan, and he is consequently
+disowned by his father. After his marriage to the girl, the young
+couple live by the sale of the wife&rsquo;s paintings. Some sailors of
+the Sultan see these, and carry the lady off home. Fair Brow goes
+fishing with an old man whom he meets by the sea. They are driven by a
+storm to Turkey, and are sold to the Sultan as slaves, but they escape
+with the wife and considerable treasure. The old man then asks for a
+division of the property, even of the woman. When the hero offers him
+three-quarters of the wealth in order to keep the woman, the old man
+declares that he is the ghost, and disappears.</p>
+<p>All of the essential traits, except the preliminary agreement and
+the rescue of the hero, are here clearly marked. The latter is, indeed,
+probably accounted for by the storm which the hero and the ghost
+encounter together. The fact that the young couple live by the sale of
+the wife&rsquo;s handiwork, and that this in some way or other leads to
+her restoration to her parents or earlier connections, is an important
+feature of <i>The Ransomed Woman</i>, being found clearly in the
+Wendish tale as well as in many variants of the compound type.</p>
+<p><i>Gaelic</i> is an interesting example of the theme. Iain, the son
+of a Barra widow, becomes the master of a ship and goes to Turkey,
+where he pays the debts of a dead Christian and buries the corpse. He
+ransoms a Christian maiden, the daughter of the King of Spain, with her
+servant, on the same journey, and takes her back to England, together
+with much gold. At her advice he <span class="pagenum">[<a id="pb86"
+href="#pb86" name="pb86">86</a>]</span>goes to Spain and attends
+church, where the king recognizes by his clothing, his ring, his book,
+and his whistle that he has news of the lost princess. Iain then
+returns to England for the maiden, whom he is to marry. While going
+with her to Spain he is left on a desert island by a general, who has
+secreted himself on the ship; but after a time he is rescued by a man
+in a boat, to whom he promises half of his wife and of his children, if
+he shall have any. In Spain the princess, who has gone mad, recognizes
+him when he plays his whistle. So they are married, and the general
+burned. When three sons have been born, the rescuer appears and asks
+for his share; but as soon as Iain accedes he declares himself to be
+the ghost, and disappears.</p>
+<p>Apart from the dressing of the story, which is unusually good, the
+variant follows the normal course. The several signs by which the hero
+is recognized by the king and the princess mark the imaginative wealth
+of the Celt, though the appearance of a ring, and the fact that the
+hero is left on a desert island by an infatuated general, show a close
+correspondence with <i>Hungarian II.</i> The introduction of the
+children as part of the property to be divided is interesting, since it
+shows the connecting link by which the simple compound now under
+consideration passed into combination with the theme of <i>The Two
+Friends</i>.<a class="noteref" id="xd20e4224src" href="#xd20e4224"
+name="xd20e4224src">15</a> <i>Gaelic</i>, however, clearly belongs
+where it is here placed. The healing of the princess at the
+hero&rsquo;s coming reminds one of the similar trait in
+<i>Spanish</i>.</p>
+<p><i>Breton III.</i><a class="noteref" id="xd20e4239src" href=
+"#xd20e4239" name="xd20e4239src">16</a> is peculiar in several ways. A
+young man, who had been unjustly cast off by his parents, put himself
+under the protection of St. Corentin and the Virgin. To an old woman he
+gave all his stock of money that she might bury her husband and have
+<span class="pagenum">[<a id="pb87" href="#pb87" name=
+"pb87">87</a>]</span>masses said for his soul. The saint and the Virgin
+then led the hero to a nobleman, whose daughter he married. On a hunt
+he was cast into the sea by an envious uncle of his wife, at a time
+when she was pregnant; but he was brought to an island by some
+mysterious power and nourished there for five years by St. Corentin.
+Finally an old man appeared and took him home after he had promised
+half of his possessions to the rescuer. When a year had passed, the old
+man came back and demanded half of the child; but just as the
+mysterious stranger was about to divide the child St. Corentin and the
+Virgin appeared and explained their identity, together with that of the
+old man, who was the saint himself. They told the hero, furthermore,
+that God was well pleased with him, and would take his son and himself
+to Paradise. Father and son fell dead immediately, while the wife went
+into a convent.</p>
+<p>This tale, like <i>Nicholas</i>, has been dressed up as a legend,
+chiefly in the praise of St. Corentin, with the result that the
+elements are confused. The burial, however, persists, though the
+ransoming of the woman has been feebly replaced by the aid of the saint
+and the Virgin. The hero is cast into the sea by an avaricious uncle of
+the bride, again a weakened trait. The rescue and the agreement to
+divide are normal in essentials, though adorned with superfluous
+miracles, as is again the conclusion of the tale. It illustrates how
+easily such a narrative may be adapted, whether consciously or not, to
+a religious purpose. The division of the child, which comes in
+question, is of precisely the same character as in <i>Gaelic</i>; it
+does not imply the presence of a new motive, though it indicates the
+possibility of a new combination.</p>
+<p><i>Swedish</i><a class="noteref" id="xd20e4255src" href="#xd20e4255"
+name="xd20e4255src">17</a> is a somewhat abbreviated form of the normal
+type. Pelle B&aring;tsman, while on a journey, pays <span class=
+"pagenum">[<a id="pb88" href="#pb88" name="pb88">88</a>]</span>the
+debts of a dead man, and so brings repose to him; for he has been
+hunted from his grave and soundly beaten every night by his creditors,
+who are likewise dead. Pelle then falls in with robbers, with whom he
+finds the daughter of the King of Armenia. He escapes with her, and
+goes on board a ship to seek her father, but he is thrown overboard by
+the envious captain. He is saved by the thankful dead and brought to
+Armenia, where he marries the princess. Here the burial is peculiar in
+that the dead man is harassed by creditors who are already dead. This
+is a marvel, which need excite no surprise in view of the modifications
+of the trait found elsewhere. The ransom in this case does not imply a
+money payment, since the hero escapes from robbers with the maiden. The
+way in which the hero is left behind by the master of the vessel on
+which the lovers sail is a trait similar to the one in <i>Catalan</i>
+and <i>Spanish</i>. The agreement between the hero and the ghost, the
+sign employed by the hero, and the division of gains are all lacking;
+but no new feature replaces them.</p>
+<p><i>Norwegian I.</i><a class="noteref" id="xd20e4269src" href=
+"#xd20e4269" name="xd20e4269src">18</a> is not very different from the
+preceding tale. A man in the service of a merchant pays all he has,
+while on one voyage, to bury the body of a dead man. On his next voyage
+he ransoms a princess, and sets out with her for England. On the way
+she is carried off by her brother and a former suitor. The hero
+overtakes them and is given a ring by the lady, but is cast into the
+sea by the suitor. For seven years he lives on a desert isle, till an
+old man appears, tells him that it is the princess&rsquo;s bridal day,
+carries him to England, and gives him a flask. This the hero sends to
+his lady, is thus recognized, and is married. The agreement with the
+ghost and the division of the woman are entirely lacking, though the
+burial, the ransom, the treachery of the suitor, and the aid of
+<span class="pagenum">[<a id="pb89" href="#pb89" name=
+"pb89">89</a>]</span>the ghost <span class="corr" id="xd20e4274" title=
+"Source: apppear">appear</span> in normal fashion. The sign enters only
+as a means of communication between the lovers. The tale thus has no
+very unusual traits.</p>
+<p><i>Icelandic I.</i><a class="noteref" id="xd20e4280src" href=
+"#xd20e4280" name="xd20e4280src">19</a> is a fuller, and, for our
+purpose, more interesting variant than the last. Thorsteinn, a
+king&rsquo;s son, who has wasted his substance, sells his kingdom and
+sets forth into the world. He pays two hundred rix-dollars to free from
+debt a dead man, whose grave is beaten every day by a creditor to
+destroy his rest. The prince goes on, and in the castle of a giant
+finds a princess hanging by the hair. He frees her, and is taking her
+home when he meets Raudr, a knight to whom her hand has been promised
+if he can find her. Raudr puts the prince to sea alone in a boat and
+carries the lady home. Thorsteinn, however, is brought thither also by
+the ghost and is recognized by the princess, when she is about to be
+married to the traitor. So Raudr is punished, and Thorsteinn obtains
+the princess.</p>
+<p>Here, again, the agreement, the sign, and the division do not
+appear, though the version is otherwise normal. To be sure, the ransom
+of the lady is replaced by a rescue, as in <i>Swedish</i>, and the
+beating of the grave preserves a bit of northern superstition, which is
+interesting even though not primitive as far as our tale is
+concerned.<a class="noteref" id="xd20e4289src" href="#xd20e4289" name=
+"xd20e4289src">20</a></p>
+<p><i>Icelandic II.</i> is similar to the variant just cited in several
+particulars, though it has important differences. Vilhj&aacute;lmur, a
+merchant&rsquo;s son, loses his property and becomes the servant of
+twelve robbers. In their den he finds a princess named &Aacute;sa
+hanging by the hair. He escapes with her by sea, taking along the
+thieves&rsquo; treasure. This he pays to have the body of a debtor
+buried. To <span class="pagenum">[<a id="pb90" href="#pb90" name=
+"pb90">90</a>]</span>the haven where this happens comes Rau&eth;ur in
+search of the princess, takes the couple on his ship, but puts the hero
+to sea in a rudderless boat. A man appears to Vilhj&aacute;lmur in a
+dream, saying that he is the ghost of the man whom he has buried, and
+that he will bring him to land and show him treasure. So the hero is
+brought to the land of the princess and tells his story at the wedding
+of the traitor with the princess. Thus the bride is won for him.</p>
+<p>The hero, it will be observed, is a merchant instead of a prince, as
+in <i>Icelandic I.</i>, and the burial of the dead is customary in form
+though exceptionally placed in the narrative. Otherwise the two
+variants correspond rather closely, even in such a detail as the name
+of the traitor. There is the same omission of elements peculiar to
+<i>The Grateful Dead</i>, the same preponderance of the secondary
+motive, found in all the northern versions of this particular group.
+The two Icelandic variants seem to be perfectly distinct, though they
+are nearly related.</p>
+<p>The two German folk-tales which fall into this group are not very
+different from one another. In <i>Simrock IV.</i> a merchant&rsquo;s
+son pays the debts of a man who is being devoured by dogs, but does not
+succeed in saving his life. He goes on, finds two maidens exposed on a
+rock, and takes them home. In spite of his father&rsquo;s objections,
+he marries one of them. He goes to sea again, wearing a ring that his
+wife has given him, and carrying a flag marked with her name. Coming to
+the royal court of her father, he is sent back for the princess with a
+minister. On his voyage to court again he is put overboard by the
+minister, who hopes thus to win the princess. However, he is cast up on
+an island, where the ghost of the dead man appears to him in sleep and
+transports him miraculously to court. There he is recognized by his
+ring and reunited to his wife.</p>
+<p>Details such as those concerning the burial, the rescue <span class=
+"pagenum">[<a id="pb91" href="#pb91" name="pb91">91</a>]</span>of the
+lady, and the help given miraculously by the ghost mark the
+independence of the variant, though they do not alter the normal course
+of the narrative. As so often in this group, the agreement with the
+ghost and the division are entirely lacking.</p>
+<p>In <i>Simrock VI.</i> the variations from the normal are even
+slighter. Heinrich of Hamburg buys a beautiful maiden in a foreign
+land. On the sea-coast, when he is returning home with her, he pays the
+debts of a corpse and has it buried. He wishes to marry the girl, but
+she asks that he delay the wedding for a year and make a journey first.
+So she gives him two coffers, with which he crosses the sea. By the
+help of a shipman he finds his betrothed&rsquo;s royal father, but on
+his way back to fetch her home is cast overboard by the mariner, who is
+the original kidnapper of the maiden. This man gets her and carries her
+to the court with the hope of marrying her. The hero is saved from the
+sea, however, by the ghost of the dead man, who brings him to the
+garden of the princess&rsquo;s palace, where he is found by his
+bride.</p>
+<p>The order of the burial and the ransoming<a class="noteref" id=
+"xd20e4324src" href="#xd20e4324" name="xd20e4324src">21</a> is here
+reversed, but the facts are given in the ordinary form. Otherwise the
+variant does not differ essentially from the preceding.</p>
+<p>In <i>Transylvanian</i>,<a class="noteref" id="xd20e4344src" href=
+"#xd20e4344" name="xd20e4344src">22</a> and more clearly in
+<i>Gaelic</i> and <i>Breton III.</i>,<a class="noteref" id=
+"xd20e4353src" href="#xd20e4353" name="xd20e4353src">23</a> a tendency
+has been remarked to introduce the children of the hero as part of the
+gains which he is asked to divide with the thankful ghost. In a series
+of tales belonging to the general type <i>The Grateful Dead</i> +
+<i>The Ransomed Woman</i> this tendency has been accentuated so far
+that it seems best to group them together, because of their approach to
+the theme of <i>The Two Friends</i>. Since an actual combination of
+this motive <span class="pagenum">[<a id="pb92" href="#pb92" name=
+"pb92">92</a>]</span>with <i>The Grateful Dead</i> in its simple form
+is found in only three variants, all of them literary, it will perhaps
+be best to discuss the relationship of the main to the minor theme at
+this point.</p>
+<p><i>The Two Friends</i> is the chief motive of <i>Amis and
+Amiloun</i>, which in its various forms<a class="noteref" id=
+"xd20e4378src" href="#xd20e4378" name="xd20e4378src">24</a> is the
+mediaeval epic of ideal friendship. Its essential feature, as far as
+the present study is concerned, is the sacrifice of his two sons by
+Amis to cure the leprosy of Amiloun. They are actually slain, but are
+miraculously brought to life again by the power of God. This story,
+which exercised a powerful influence on the imagination of European
+peoples, easily became connected with the sacrifice of his wife by the
+hero of <i>The Grateful Dead</i>.</p>
+<p>The three variants with the simple compound, or forming a group on
+that basis, are those entered in the bibliography as <i>Lope de Vega,
+Calderon</i>, and <i>Oliver</i>.</p>
+<p>The plot of <i>Oliver</i> runs as follows<a class="noteref" id=
+"xd20e4409src" href="#xd20e4409" name="xd20e4409src">25</a>: Oliver,
+the son of the King of Castille, becomes the close friend of Arthur of
+Algarbe, the son of his stepmother. When he has grown up, he flees from
+home because of the love which the queen declares for him, leaving to
+Arthur a vial in which the water would grow dark, were he to come into
+danger. He is shipwrecked while on his way to Constantinople, but,
+together with another knight, is saved miraculously by a stag, which
+carries them to England. Talbot, the other knight, is ill, and asks
+Oliver to take him to his home at Canterbury, where he dies. Because of
+debts that his parents will not pay he cannot be buried in consecrated
+ground till Oliver himself <span class="pagenum">[<a id="pb93" href=
+"#pb93" name="pb93">93</a>]</span>attends to the matter. The hero then
+starts for a tourney where the hand of the king&rsquo;s daughter is the
+prize. On the way he loses his horse and money, but is supplied anew by
+a mysterious knight, on condition of receiving half of what he gets at
+the tourney. Here he is victor, and after a further successful war in
+Ireland marries the princess, who bears him two children. While hunting
+he is taken prisoner by the King of Ireland and placed in a dungeon.
+Arthur, who is acting as regent in Spain, notices that the vial has
+grown dark, and sets out to rescue his brother. In Ireland he is
+wounded by a dragon, but is healed by a white knight, who notices his
+resemblance to Oliver, and takes him to London to solace the princess.
+He only escapes her embraces by the pretence of a vow, and sets forth
+to deliver Oliver. On their way back he tells of his visit at London,
+and so excites Oliver&rsquo;s jealousy, who leaves him. At home,
+however, Oliver discovers his mistake, and determines to find his
+brother, who, after a punitive expedition into Ireland, falls gravely
+ill. Oliver learns in a dream that Arthur can only be cured by the
+blood of his children, whom he slays accordingly. On his return home,
+however, he finds them as well as ever. Later appears the mysterious
+knight to demand his share of wife and children, as well as of all his
+property. As Oliver raises his sword to divide his wife, he is told to
+desist, since his loyalty is proved. The knight then explains that he
+is the ghost of Talbot. Later Arthur marries Oliver&rsquo;s daughter,
+and eventually unites the kingdoms of England, Castille, and
+Algarbe.</p>
+<p><i>Oliver</i> has certain elements not to be accounted for by the
+combination of <i>The Two Friends</i> with <i>The Grateful Dead</i>.
+Such are the motive of the hero&rsquo;s journey, for example, which
+allies it with the tales of incestuous step-mothers; and the tourney in
+which the hero wins his bride. Yet the burial of the dead man
+<span class="pagenum">[<a id="pb94" href="#pb94" name=
+"pb94">94</a>]</span>(here a knight and a friend of the
+hero&rsquo;s)<a class="noteref" id="xd20e4427src" href="#xd20e4427"
+name="xd20e4427src">26</a> corresponds to the normal form of the
+episode in that Oliver pays the creditors and the sum necessary for the
+man&rsquo;s interment. So, too, the demand made by the ghost for half
+of all that has been won runs true to the original form. The
+distinctive trait of <i>Amis and Amiloun</i>, at the same time, comes
+out more clearly than in the case of such folk-tales as
+<i>Gaelic</i>&mdash;the hero actually kills his little children to save
+the life of his old friend and foster-brother. One factor leads me to
+think that the romance and the two romantic plays are to be regarded as
+forms of the general type treated in this chapter, with additions from
+other stories. The ghost rescues the hero from imprisonment A rescue of
+the sort&mdash;normally after the hero has been cast into the sea or
+left behind by his rival&mdash;is characteristic of <i>The Grateful
+Dead</i> + <i>The Ransomed Woman</i>. In <i>Oliver</i> this rescue
+takes place, to be sure, after the marriage instead of before, which is
+the normal order, yet it is a factor of considerable importance. The
+romance takes a position somewhat apart; and even though this is partly
+due to the literary handling which it has undergone, it must remain
+doubtfully classed with the immediate circle of variants belonging to
+the compound type.</p>
+<p>The position of the play by <i>Lope de Vega</i> is involved with
+that of <i>Oliver</i>. Don Juan de Castro flees to England because of
+the unlawful love of his stepmother, the Princess of Galicia. His ship
+is wrecked on the English coast, and the captain, Tibaldo, is cast
+ashore in a dying condition. To free the latter&rsquo;s mind from
+unrest, Don Juan pays his debts of two thousand ducats, though this is
+half of the hero&rsquo;s possessions. He hears that the princess
+Clarinda is promised to anyone of princely blood who wins an
+approaching tournament. While he <span class="pagenum">[<a id="pb95"
+href="#pb95" name="pb95">95</a>]</span>is sorrowful that he cannot
+enter the contest, because of his poverty, the ghost of Tibaldo appears
+to him one night and promises the necessary equipment on condition of
+receiving one-half the gains. The next morning he finds everything
+ready and wins the princess. He is later taken prisoner by one of the
+contestants through a ruse, and is carried off to Ireland. By the
+ghost&rsquo;s advice, his stepbrother and double comes to London and
+takes his place, while Don Juan is freed by force of arms and restored
+to his wife. After some years, when the couple have two children, the
+stepbrother falls ill of a dreadful malady, which can only be cured,
+Don Juan learns in a dream, by the blood of his children. So he slays
+them and gives their blood to the sick man to drink. They are found
+alive by a miracle; but Don Juan is troubled, and does not find rest
+till the ghost appears and tells him that the only remedy for his
+affliction is to fulfil his promise of a division. The hero prepares to
+divide his wife, when the ghost stops him and explains that the demand
+was only a test.</p>
+<p>As Schaeffer pointed out,<a class="noteref" id="xd20e4458src" href=
+"#xd20e4458" name="xd20e4458src">27</a> Lope&rsquo;s plot is clearly
+taken from <i>Oliver</i>, probably from the Spanish translation issued
+in 1499. Indeed, the drama follows the romance with far more fidelity
+than could have been expected of such an adaptation. The various
+elements of the motive appear without essential alteration.</p>
+<p>The play <i lang="es">El mejor amigo el muerto</i>, listed for
+convenience as <i>Calderon</i>, has suffered, in contrast to
+Lope&rsquo;s play, from many changes. Prince Robert of Ireland and Don
+Juan de Castro are wrecked on the English coast. The former finds the
+sea-captain Lidoro in a dying condition, and refuses to give him aid.
+Don Juan, on the other hand, finds Lidoro&rsquo;s body, which a
+creditor keeps from interment, and pays for his burial out of his
+scanty savings from the wreck. He then goes to London, <span class=
+"pagenum">[<a id="pb96" href="#pb96" name="pb96">96</a>]</span>where
+there is trouble because Queen Clarinda will not marry Prince Robert.
+Don Juan is cast into prison on a false charge, his identity being
+unknown to the queen, though he is recognized by Robert. He is saved by
+the aid of Lidoro&rsquo;s ghost, nevertheless, lays siege for
+Clarinda&rsquo;s hand, overcomes Robert, and so becomes king of
+England.</p>
+<p>The correspondence of names and details makes it clear that the
+source of this play is <i>Lope de Vega</i>, though the plot has been
+modified in several features. In the process of adaptation all trace of
+<i>The Two Friends</i> has dropped out, a fact which would make the
+position of the variant difficult to ascertain, had the authors not
+left most of the characters their original names. The change in the
+position of the rescue of the hero from prison, indeed, gives a
+specious resemblance to the normal type <i>The Grateful Dead</i> +
+<i>The Ransomed Woman</i>, which is quite unjustified by the real state
+of the case.</p>
+<p>All the other variants in which there is question of dividing a
+child, save one,<a class="noteref" id="xd20e4492src" href="#xd20e4492"
+name="xd20e4492src">28</a> are folk-tales; and all of them save
+three<a class="noteref" id="xd20e4497src" href="#xd20e4497" name=
+"xd20e4497src">29</a> clearly belong in the category now under
+discussion. If they did not group themselves in this way, I should be
+unwilling even to consider the possibility of any general influence
+from <i>The Two Friends</i> upon these tales, since the only trait
+borrowed by any of them is precisely the division. Only in
+<i>Oliver</i> and <i>Lope de Vega</i> is this sacrifice made for the
+healing of a friend; and we have seen in the case of
+<i>Transylvanian</i>, <i>Gaelic</i>, and <i>Breton III.</i> how
+naturally the division of the child grows out of the division of the
+wife. As the matter stands, however, the case for the influence of
+<i>The Two Friends</i> is sufficiently strong to warrant the grouping
+of these tales together. The general <span class="pagenum">[<a id=
+"pb97" href="#pb97" name="pb97">97</a>]</span>relationship of the theme
+may be deferred to a later chapter.<a class="noteref" id="xd20e4532src"
+href="#xd20e4532" name="xd20e4532src">30</a></p>
+<p><i>Lithuanian II.</i><a class="noteref" id="xd20e4540src" href=
+"#xd20e4540" name="xd20e4540src">31</a> is a characteristic specimen of
+the class of tales just referred to. A prince, while travelling, sees a
+corpse gnawed by swine in a street. He pays the man&rsquo;s creditors
+for his release and has the body buried. Later, on the same journey, he
+buys two maidens, one of whom is a king&rsquo;s daughter, and takes
+them home. After a year he goes on a second journey with the
+princess&rsquo;s picture for a figure-head on his ship, and a ring,
+which she has given him. The picture is recognized by the
+maiden&rsquo;s father, and the prince is sent back in the company of
+certain nobles to fetch her. While they are returning to her home with
+the princess, one of the nobles pushes the prince overboard. He lives
+on an island for two years, until a man comes to him and promises to
+bring him to court before the princess marries the traitor, on
+condition of receiving his first-born son. The agreement is made, and
+the prince wins his bride. After a son has been born to them, the man
+appears and demands the child. He is put off for fifteen years, and at
+the end of that time explains that he is the ghost of the rescued dead
+man.</p>
+<p>All the traits of the compound type, as it has already been
+analyzed, are here apparent, save that the sacrifice of the child is
+substituted for that of the wife. The variant does not demand any
+further comment.</p>
+<p>We come now to the various forms of <i>Jean de Calais</i>, which
+make up a little group by themselves. The ten examples of the story
+that I have been able to find differ from one another sufficiently to
+make separate analyses of most of them necessary.</p>
+<p>The version by Mme. de Gomez (<i>I.</i>) runs as follows:<a class=
+"noteref" id="xd20e4557src" href="#xd20e4557" name=
+"xd20e4557src">32</a> Jean, the son of a rich merchant at Calais, while
+on a journey, comes to the city of Palmanie on the island of
+<span class="pagenum">[<a id="pb98" href="#pb98" name=
+"pb98">98</a>]</span>Orimanie. There he pays the debts and secures the
+burial of a corpse which is being devoured by dogs. He also ransoms two
+slave girls, one of whom he marries and takes home. The woman is the
+daughter of the King of Portugal. While taking her to her
+father&rsquo;s court, Jean is separated from her by a treacherous
+general, but is saved by the grateful dead, and enabled to rejoin his
+wife. Later the ghost, who appears in the form of a man, demands half
+of their son according to the agreement of division which they have
+made. When Jean gives him the child to divide, the stranger praises his
+loyalty and disappears.</p>
+<p>This story has all the characteristics of the type <i>The Grateful
+Dead</i> + <i>The Ransomed Woman</i> + the demand that the hero&rsquo;s
+son be divided. In general outline it is scarcely distinguishable from
+<i>Lithuanian II.</i>, save that the hero Jean is a merchant&rsquo;s
+son instead of a prince. In details, however, it differs considerably.
+For example, Jean marries one of the captive maidens as soon as he buys
+her; there is no question of signs by which the hero is recognized by
+his wife&rsquo;s father or by the princess herself; and the ghost is
+less dilatory in his demands. Some of these differences are doubtless
+to be accounted for through the unfaithfulness of the rendering, which
+is semi-literary.</p>
+<p>At all events, <i>Jean de Calais III., IV.</i>, and <i>V.</i>, all
+three of which were heard on the Riviera, have several changes from
+<i>I.</i>, though they vary from one another only in very minor
+matters.<a class="noteref" id="xd20e4585src" href="#xd20e4585" name=
+"xd20e4585src">33</a> A single analysis will suffice for the three.
+Jean de Calais, the son of a merchant, on his first voyage gives all
+his profits to bury the corpse of a deceased debtor. On his second he
+ransoms a beautiful woman (with or without a companion), <span class=
+"pagenum">[<a id="pb99" href="#pb99" name="pb99">99</a>]</span>and
+lives with her in poverty because of his father&rsquo;s displeasure. On
+a subsequent voyage he bears her portrait on the prow of the ship,
+where it is seen by her father. A former suitor meets him on his return
+to court with his wife (in <i>III.</i> goes with him) and throws him
+into the sea either by violence or by a ruse. He is cast up on an
+island (in <i>III.</i> is carried thither in a boat by the ghost in
+human form), whence he is conveyed by the ghost, on condition of
+receiving half of his first son, or half of what he loves best, to the
+court just as the princess is to marry the traitor. By a ruse he enters
+the palace and is recognized. Later the ghost appears, but stays Jean
+when he is about to sacrifice his son.</p>
+<p><i>Jean de Calais VI.</i>, though from Brittany instead of southern
+France, does not differ greatly from the above, nor from <i>I.</i> Jean
+buries the dead man and ransoms two women on a single voyage, as in
+<i>I.</i> He is kindly received at home in spite of his extravagance,
+in which the variant differs from <i>III., IV.</i>, and <i>V.</i>, and
+he marries one of the maidens there. On his next voyage the King of
+Portugal (as in <i>I.</i> and <i>III.</i>) recognizes his
+daughter&rsquo;s portrait and that of her maid, which the hero has
+displayed on his ship. He brings his wife to the court, after which
+they go back, together with a former suitor, for their possessions. On
+the voyage Jean is thrown overboard, but is washed up on an island,
+whither the ghost comes, announces himself immediately, and bargains
+rescue for half of the hero&rsquo;s child. Jean is transported to court
+miraculously, and there meets with the customary adventures at the
+close of the tale.</p>
+<p>The variant is chiefly peculiar, it will be remarked, in placing the
+treachery of the former suitor after the marriage has been recognized
+by the king, and in making the ghost announce himself at once. Jean
+makes no blind bargain, a fact which detracts somewhat from the
+interest. <span class="pagenum">[<a id="pb100" href="#pb100" name=
+"pb100">100</a>]</span></p>
+<p><i>Jean de Calais II.</i> and <i>VII.</i> differ from the other
+forms of the story in several ways. In the former<a class="noteref" id=
+"xd20e4642src" href="#xd20e4642" name="xd20e4642src">34</a> Jean is the
+son of a rich merchant, and has wasted much money. He is sent out to
+seek his fortune on land with seven thousand pistoles, but he pays his
+all for the debts and burial of a poor man. On his return, he is
+commended by his father, but again falls into evil ways. Once more he
+is sent forth with seven thousand pistoles, and passes the cemetery
+where he buried the debtor. As he does so, a great white bird speaks
+from the cross, saying that it is the soul of the dead man and will not
+forget. Jean buys the two daughters of the King of Portugal from a
+pirate and takes them home, where, with his complaisant father&rsquo;s
+approval, he marries the elder. Later he journeys to Lisbon with the
+portraits of the sisters, which are recognized by the king.<a class=
+"noteref" id="xd20e4651src" href="#xd20e4651" name=
+"xd20e4651src">35</a> He is sent back for his wife, but is pushed
+overboard by a traitor, being driven on a rock in the sea, where he is
+fed by the white bird. Meanwhile, the traitor goes to Calais and
+remains there seven years as a suitor for the princess&rsquo;s hand. He
+is about to be rewarded, when Jean, after promising half of what he
+loves best to the white bird, is miraculously transported to Calais,
+whither the King of Portugal comes at the same time. The white bird
+bears witness to the hero&rsquo;s identity, and demands half of his
+child. When Jean is about to divide the boy, however, it stops him and
+flies away.</p>
+<p>Version <i>VII.</i> has certain characteristics in common with the
+above. It is a Basque tale. Juan de Kalais, the son of a widow, sets
+off as a merchant, but sells his cargo and ship to pay the debts of a
+corpse, which is being dragged about on a dung-heap. On his return, his
+mother is angry. Again he goes on a voyage, but <span class=
+"pagenum">[<a id="pb101" href="#pb101" name="pb101">101</a>]</span>with
+a very poor ship, and is compelled by an English captain to ransom a
+beautiful maiden with all his cargo. The hero&rsquo;s mother is again
+angry at this seemingly bad bargain, but she does not forbid his
+marrying the girl. Juan is now sent to Portugal by his wife with a
+portrait on a flag, a handkerchief, and a ring. At the same time she
+tells him that she has been called Marie Madeleine. When the King of
+Portugal sees the portrait, he sends the hero back with a general to
+fetch Marie, who is his daughter. The general pitches Juan overboard
+and goes for the princess, whom he persuades to marry him after seven
+years. At the end of that time, a fox comes to Juan on an island, where
+he has lived, and bargains to rescue him for half of all he has at
+present and will have later. The hero arrives in Portugal, is
+recognized by the king, tells his story, and has the general burned.
+After a year the fox appears and demands payment, but, when Juan is
+going to divide his child, it says that it is the soul of the dead man
+whom he buried long before.</p>
+<p>The two variants are chiefly peculiar in that they introduce a new
+element into the compound,&mdash;<i>The Thankful Beast</i>. This
+substitution of some beast for the ghost has been encountered twice
+before<a class="noteref" id="xd20e4666src" href="#xd20e4666" name=
+"xd20e4666src">36</a> in connection with <i>Jewish</i> and <i>Servian
+IV.</i>, and must receive special treatment later on.<a class="noteref"
+id="xd20e4675src" href="#xd20e4675" name="xd20e4675src">37</a> For the
+present it is sufficient to remark the variation from all other forms
+of <i>Jean de Calais</i> except <i>X.</i><a class="noteref" id=
+"xd20e4684src" href="#xd20e4684" name="xd20e4684src">38</a> In both
+<i>II.</i> and <i>VII.</i> Jean makes two journeys,<a class="noteref"
+id="xd20e4693src" href="#xd20e4693" name="xd20e4693src">39</a> as in
+<i>III., IV.</i>, and <i>V.</i>, as against <i>I.</i> and <i>VI.</i>
+The attitude of the parent differs widely in the two. The maiden whom
+the hero marries is a Portuguese princess, which is the prevailing form
+of the tale. The <span class="pagenum">[<a id="pb102" href="#pb102"
+name="pb102">102</a>]</span>portrait is also found in each, and both
+state the time of Jean&rsquo;s exile as seven years. <i>II.</i> differs
+from all the other versions in placing the later adventures of the
+story at Calais rather than at the court of the heroine&rsquo;s father.
+In <i>II.</i>, as in <i>VI.</i>, the ghost announces himself at the
+first meeting, which is undoubtedly a modification of the original
+story. Thus the two forms are sufficiently independent of one another,
+in spite of their common use of an animal as the hero&rsquo;s
+friend.</p>
+<p><i>Jean de Calais VIII.</i>, though like <i>VI.</i> from a Breton
+source, differs from all the other variants, chiefly in transposing the
+burial and the ransom. Jean Carr&eacute;, sent out by his godmother as
+a sea-captain, ransoms an English princess with her maid, and marries
+the former. After two years, when a son has been born to them, Jean
+goes on another voyage, and adorns the stern of his vessel with
+portraits of his wife, the child, and the maid, which he is begged to
+show while anchored at London. He does so, and is received by the king
+as a son-in-law. One day he sees a poor debtor&rsquo;s body dragged
+along the street, pays the debts, and has it buried. He then sets out
+with a fleet to seek his wife, and is cast overboard by a Jew, who is
+the pilot; but he is saved by a supernatural man, who carries him to a
+green rock in the sea. The princess refuses to go to England when the
+fleet arrives, and is wooed by the Jew so persistently that after two
+years she promises him marriage. At this juncture Jean, who has been
+asleep during the whole interval, is awakened by his rescuer and
+carried over the sea, where the man explains that he is the ghost of
+the debtor. Jean is first recognized by his little son, the Jew is
+burned by the <i lang="fr">gendarmes</i>, and all ends well.</p>
+<p>The transposition mentioned above is clearly a change due to the
+individual narrator or some local predecessor, since everywhere else
+the burial takes place before the <span class="pagenum">[<a id="pb103"
+href="#pb103" name="pb103">103</a>]</span>ransom. The mention of a Jew
+as traitor is also peculiar and unreasonable, since no motive for his
+action appears until later, and then incongruously. The variant is
+likewise defective in not having any bargain between the ghost and the
+hero. In other respects it is normal save in minor details. As in
+<i>V.</i>, the heroine is made an English princess, which occurs
+nowhere else. On the whole the version is picturesque, but
+defective.</p>
+<p><i>Jean de Calais IX.</i> is unique in certain features, though in
+most respects normal. It is from Asturia in Spain. Juan de Calais goes
+out into the world to seek his fortune with a single peseta as his
+store. This he gives to bury a corpse, and proceeds. In a certain
+kingdom he attracts the notice of a princess, who marries him after
+considerable opposition. When the wedding is over, he takes his wife to
+seek his father&rsquo;s blessing, but is cast off the ship by a former
+suitor of the lady, her cousin. He is carried to an island by invisible
+hands, where he lives until a phantom bargains to take him to court for
+half of what he gets by his marriage. He arrives on the day of the
+princess&rsquo;s wedding. He is recognized by the king, who puts to his
+guests a parable of an old key found just when a new one has been made,
+while the suitor flees. On the following night, when Juan is dejected
+at the thought of giving up half his son, the phantom appears and
+releases him from his agreement, explaining its identity.</p>
+<p>Juan wins the gratitude of the dead man, and obtains his bride in
+this version on a single journey, as in <i>I.</i> and <i>VI.</i>, but
+its chief peculiarity is the manner in which he gets his wife, with the
+sequel that the couple set out to seek his father instead of hers. The
+ransom is replaced by a romantic but more natural wooing, while the
+ghost appears somewhat unusually <i lang="la">in propria persona</i>.
+One of the oddest traits in the whole version is the parable of the
+key, by which the king introduces the <span class="pagenum">[<a id=
+"pb104" href="#pb104" name="pb104">104</a>]</span>hero to the assembled
+guests. This will be encountered again in <i>Breton VII.</i></p>
+<p>In <i>Jean de Calais X.</i>, finally, a <span class="corr" id=
+"xd20e4765" title="Source: Wallon">Walloon</span> variant, appear
+certain interesting changes in the fabric. The King of Calais sent his
+son Jean to America to trade, but the prince was shipwrecked on the
+coast of Portugal, and there ransomed and rescued a corpse, which was
+being dragged through the streets because the man had died in debt. The
+king scolded his son for wasting so much money, but the next year sent
+him to Portugal to trade. There he encountered brigands, who had
+captured the king&rsquo;s daughter with her maid, and ransomed them. On
+returning to Calais with his bride, he was ill received, and resolved
+to go back to Portugal. A young lord of Calais accompanied them and
+threw Jean into the sea, while he took the princess onward and obtained
+from her a promise of marriage in a year. Happily Jean found a plank by
+which he reached an island, where a crow fed him every day. At the end
+of a year he promised the crow half his blood for rescue, and was taken
+to Portugal by a flock of crows. There he was recognized, and the
+traitor hanged. One day the crow appeared and demanded the fulfilment
+of the promise. Jean was about to slay his son, when the bird explained
+its identity with the ghost of the dead man.</p>
+<p>This is the only version which makes Jean a prince; and it is
+curious that the change should occur in a tale from a region not very
+remote from Calais. Most of the events of the tale take place in
+Portugal, however, which is an extension of the ordinary appearance of
+that country as the home of the heroine. The most striking peculiarity
+of the version is the home of the traitor, who is a lord of Calais
+instead of Portugal. All mention of signs is lacking, which is
+doubtless due to the changes just mentioned. In the matter of the
+appearance of the ghost as an animal the variant allies itself with
+<i>II.</i> and <span class="pagenum">[<a id="pb105" href="#pb105" name=
+"pb105">105</a>]</span><i>VII.</i>, though it has no special likeness
+to them in other respects.</p>
+<p><i>Basque II.</i> is like <i>Gaelic</i><a class="noteref" id=
+"xd20e4784src" href="#xd20e4784" name="xd20e4784src">40</a> in general
+outline. Juan Dekos is sent out with a ship to complete his education.
+He pays all that he gets for his cargo to ransom and bury the corpse of
+a debtor. His father is not pleased, but sends him out again. This time
+he uses all his money to ransom eight slaves, seven of whom he sends to
+their homes, but carries one home with him. His father is still more
+angry, and casts him off; but Juan has a portrait of Marie Louise
+painted for the figure-head of his ship, and sets off with her for her
+own land. The lame mate pitches him overboard, and carries the lady to
+her father&rsquo;s dwelling-place, where he is to marry her after a
+year and a day. Juan is saved by an angel and placed on a rock. On
+Marie&rsquo;s wedding-day the angel returns, and offers to take the
+hero to his bride for half of the child that will be born. The angel
+was the soul of the dead man. So Juan arrives in time, is recognized by
+a handkerchief, and tells his story, which causes the burning of the
+mate. After a year the angel comes for his half of the babe, but when
+Juan starts to divide it stays his hand.</p>
+<p>Webster, the collector of this tale, noticed<a class="noteref" id=
+"xd20e4789src" href="#xd20e4789" name="xd20e4789src">41</a> its
+similarity to <i>Gaelic</i>, especially in the name of the hero, and
+surmised that the Basques must have borrowed it from the Celts in some
+way. The theory is tenable, though a comparison of the two variants
+shows that the Basques must either have borrowed it in a form
+considerably different from the Highland tale as we have it, or have
+altered the details largely. The first part of the story is entirely
+different; the hero goes on two voyages in <i>Basque II.</i>, one only
+in <i>Gaelic</i>; the lady goes with the hero immediately in the
+former, he returns for her in the latter; the treachery and the signs
+are different; the <span class="pagenum">[<a id="pb106" href="#pb106"
+name="pb106">106</a>]</span>ghost appears as an angel instead of a
+human being in <i>Basque</i>; and the promised division concerns the
+wife and three sons in <i>Gaelic</i>, a single babe in <i>Basque</i>.
+Thus, apart from the title, there is little to substantiate
+Webster&rsquo;s theory. The differences are certainly more important
+than those between any two versions of <i>Jean de Calais</i>. In some
+particulars, like the voyages and the portrait on the ship,
+<i>Basque</i> is more nearly normal, while in others, like the account
+of the treachery and the appearance of the ghost, <i>Gaelic</i>
+conforms to the ordinary form. Certainly <i>Basque II.</i> is to be
+regarded as a fairly close relative of <i>Lithuanian II.</i> and
+<i>Jean de Calais</i>.</p>
+<p>In <i>Breton VII.</i> a normal form appears, though with some
+embroidery of details. A merchant&rsquo;s son, Iouenn Kerm&eacute;nou,
+goes out with his father&rsquo;s ship to trade. He pays the greater
+part of the proceeds of the cargo to ransom and bury the corpse of a
+debtor, which dogs are devouring. On his way home he gives the rest of
+his money to ransom a princess, who is being carried to a ravaging
+serpent, which has to be fed with a royal princess every seven years.
+He is cast off by his father when he reaches home, but is supported by
+an aunt and enabled to marry his lady. After a son has been born to
+them, he is sent out by an uncle on another ship, which by his
+wife&rsquo;s counsel has the figure of himself and herself with their
+child carved on the prow. He comes to her father&rsquo;s realm, and
+after some misunderstanding is sent back with two ministers of state
+for the princess. While returning with her, he is pushed overboard by
+the first minister, who is an old suitor for the lady&rsquo;s hand, but
+swims ashore on a desert island. The wife goes to court, and after
+three years consents to marry the minister. All this time Iouenn lives
+alone on his rock, but at the end is greeted by the ghost of the man
+whose body he buried, which appears in a very <span class=
+"pagenum">[<a id="pb107" href="#pb107" name=
+"pb107">107</a>]</span>horrible form. On condition of giving in a year
+and a day half of what he and his wife possess, he is taken to court by
+this being, where he is recognized by means of a gold chain, which the
+princess had given him. At the wedding feast, which takes place that
+day, the wife recounts a parable of how she has found the old key of a
+coffer just as a new one was ready, brings in Iouenn, and has the
+minister burned. At the end of a year and a day comes the ghost, and
+demands half of the child (the older one has died) that has been born
+to them. As the hero reluctantly proceeds to divide the child, the
+ghost stops him, praises his fidelity, and disappears.</p>
+<p>It will be seen that this variant does not differ in essentials from
+those previously summarized, though its details exactly coincide with
+none of them. The order of events is normal, very like that of
+<i>Lithuanian II.</i>, for example, yet it has marks of peculiarity.
+Chief among these are the events connected with the ransom of the lady
+and the parable by which she introduces her long lost husband to court.
+The first is a trait borrowed from the <i>Perseus and Andromeda</i>
+motive,<a class="noteref" id="xd20e4847src" href="#xd20e4847" name=
+"xd20e4847src">42</a> the second is the same as the riddle in <i>Jean
+de Calais IX.</i><a class="noteref" id="xd20e4855src" href="#xd20e4855"
+name="xd20e4855src">43</a> How this latter feature should happen to
+appear in these two widely separated variants and nowhere else I am not
+wise enough to explain.</p>
+<p><i>Simrock I.</i> introduces still another complication in the way
+of compounds. A merchant&rsquo;s son on a journey secures proper burial
+for a black Turkish slave, thereby using all his money. His father is
+angry with him on his return. On his second voyage he ransoms a maiden
+and is cast off by his father when he reaches home. The young couple
+live for a time on the proceeds from the sale of the wife&rsquo;s
+handiwork, but after a little set off to the court of her father, who
+is a king. On the way <span class="pagenum">[<a id="pb108" href=
+"#pb108" name="pb108">108</a>]</span>they meet one of the king&rsquo;s
+ships, and go aboard. The hero is cast into the sea by the captain, but
+is saved by a black fellow and brought back to the ship. Again he is
+cast overboard. When the princess arrives at home, she agrees to marry
+whoever can paint three rooms to her liking. The hero, meanwhile, is
+again saved by the black man, and in return for the promise of his
+first child on its twelfth birthday he is given the power of obtaining
+his wishes. After a year and a day he is taken to court by his friend,
+where by wishing he paints the three rooms, the third with the story of
+his life. So he is recognized. On the twelfth birthday of his first
+child the black man comes to him and is offered the boy, but instead of
+taking him explains his identity.</p>
+<p>As far as <i>The Grateful Dead, The Ransomed Woman</i>, and the
+sacrifice of the child are concerned, this follows the normal course of
+events, except perhaps as to the child, of actually dividing which
+there is no question. Like <i>Lithuanian II., Jean de Calais III., IV.,
+V.</i>, and <i>X.</i>, <i>Basque II.</i>, and <i>Norwegian I.</i>, it
+makes the hero and heroine set out for her father&rsquo;s court
+together and of their own free will.<a class="noteref" id=
+"xd20e4882src" href="#xd20e4882" name="xd20e4882src">44</a> The colour
+of the thankful dead is a peculiar trait. Yet the element which
+complicates the question, as mentioned above, is the feat by which the
+hero obtains his wife. If I am not mistaken, this allies the variant on
+one side with stories of the type of <i>The Water of Life</i>, where
+the bride is gained by the performance of some task obviously set as
+impossible. The questions involving the relations of such motives with
+<i>The Grateful Dead</i> will occupy the next chapter, so that it needs
+simply to be mentioned at this point.</p>
+<p>In <i>Simrock II.</i> a miller&rsquo;s son goes with merchandise to
+England. In London he pays all his money for the debts and the burial
+of a poor man. He is again sent to England by his father, and this time
+he gives his <span class="pagenum">[<a id="pb109" href="#pb109" name=
+"pb109">109</a>]</span>whole ship to ransom a beautiful maiden. When he
+returns with her, he is cast off by his father, marries the girl, and
+lives on what she makes by her needle. He takes a piece of her
+embroidery with him to England, where it is seen by the king and queen,
+whose daughter has become his wife. He is sent for her in company with
+a minister, who pitches him overboard and goes on for the princess,
+hoping to marry her. The hero swims ashore, in the meantime, and
+communicates with his wife by means of a dove, which also feeds him.
+Finally a spirit conveys him to London, after receiving the promise of
+half of his first child. He obtains work in the kitchen of the castle,
+and sends a ring to his wife, by means of which they are reunited. At
+the birth of their child he refuses to give the spirit half, but offers
+the whole instead,<a class="noteref" id="xd20e4901src" href=
+"#xd20e4901" name="xd20e4901src">45</a> whereupon ensues an
+explanation.</p>
+<p>This variant is of the same type as <i>Jean de Calais II.</i> and
+<i>VII.</i>,<a class="noteref" id="xd20e4921src" href="#xd20e4921"
+name="xd20e4921src">46</a> resembling the latter more than the former
+in details. The three are sufficiently unlike, however, to make any
+immediate relationship quite out of the question, even did not
+geography forbid. As in <i>Hungarian II., Oliver, Lope de Vega,
+Calderon, Jean de Calais V.</i> and <i>VIII.</i>, and <i>Norwegian
+I.</i>, the heroine is an English princess, a point of interest, but
+not of much importance.</p>
+<p><i>Simrock VIII.</i> differs from the above in only two points. The
+beginning states that a merchant while in Turkey pays the debts and
+burial expenses of a poor man. On his next voyage he buys three hundred
+slaves from the Emperor of Constantinople. Three of them he keeps at
+his home, one of whom he marries. The further adventures of the hero
+agree with <i>Simrock II.</i> even in names and most details, except
+that the hero is <span class="pagenum">[<a id="pb110" href="#pb110"
+name="pb110">110</a>]</span>recognized at the court by dropping his
+ring in a cup of tea, which the princess gives him to drink. It will be
+evident that the two tales are nearly related.</p>
+<p>Last, but not least interesting of the versions in which the child
+appears, is the <i>Factor&rsquo;s Garland</i> or <i>Turkey Factor</i>,
+which must have been almost as well known in England at one time as the
+form of the story in <i>Jack the Giant-Killer</i>. It has no very
+remarkable features in its outline. A young Englishman, while acting as
+a factor in Turkey, pays fifty pounds to have the body of a Christian
+buried. A little later he pays one hundred pounds to ransom a beautiful
+Christian slave, and takes her back to his home, where he makes her his
+house-keeper. Later he sets out again, and is told by the woman to wear
+a silk waistcoat that she has embroidered, when he comes to the court
+whither he is bound. The work is recognized by her father, the emperor,
+and the factor sent back to fetch her. While returning with the
+princess, he is pushed overboard in his sleep by the captain, but swims
+to an island, whence he is rescued by an old man in a canoe, who
+bargains with him for his first-born son when three (or thirty) months
+old. The hero is recognized at court and marries the princess, while
+the captain dies by suicide. In two (or three) years the old man
+returns, just when the couple&rsquo;s son is three (or thirty) months
+old, and demands the child. On the hero&rsquo;s yielding, he explains
+that he is the ghost, and disappears.</p>
+<p>Like <i>Gaelic</i><a class="noteref" id="xd20e4959src" href=
+"#xd20e4959" name="xd20e4959src">47</a> and <i>Simrock
+VIII.</i>&mdash;the latter just discussed&mdash;this version makes the
+hero undergo his early adventures in Turkey. Indeed, the similarity to
+<i>Gaelic</i> throughout is very notable, far more so than in the case
+of <i>Basque II.</i><a class="noteref" id="xd20e4970src" href=
+"#xd20e4970" name="xd20e4970src">48</a> The only point in which it
+differs materially is the division of property, which in <i>Gaelic</i>
+concerns the wife and the three children, in the <i>Factor&rsquo;s
+<span class="pagenum">[<a id="pb111" href="#pb111" name=
+"pb111">111</a>]</span>Garland</i> one son only. In this matter there
+is agreement between the present variant, <i>Basque II.</i>, and
+<i>Simrock VIII.</i> Despite the likeness to <i>Gaelic</i>, there is no
+good reason for arguing any immediate connection with that version.
+They stand close to one another geographically and in content, that is
+all; they cannot be proved to be more than near relatives in the same
+generation.</p>
+<p>The variants which introduce the division of the child have now all
+been considered. It is necessary to turn to a few scattered specimens
+in which the compound, <i>The Grateful Dead</i> + <i>The Ransomed
+Woman</i>, has been joined with other material.</p>
+<p><i>Bohemian</i> is a curious and instructive example of the
+confusion which has resulted from welding various themes together.
+Bolemir, a merchant&rsquo;s son, is sent to sea, where he is robbed by
+pirates and imprisoned. He finds means to help an old man, who gives
+him a magic flute, and a princess, who gives him half of her veil and
+ring. By the aid of the flute he succeeds in winning the chief&rsquo;s
+permission to leave the island in the company of his friends. He sails
+with them to another island. There, at the old man&rsquo;s request, he
+strikes him on the head and buries him. He then goes home with the
+princess. On his second voyage he displays from his mast-head a golden
+standard, which the princess has made. He reaches the city of the
+lady&rsquo;s father, tells his story, and returns for the princess with
+the chamberlain. While they are all returning together, he is cast into
+the sea by the chamberlain, who takes the woman to court and obtains a
+promise of marriage, when a church has been built to her mind. Bolemir
+is saved from the sea by the ghost of the old man, and is given a
+wishing ring. He turns himself into an eagle and flies to court, into
+an old man and becomes a watchman at the church. By means of his ring
+he builds the structure, and paints it with the story of his life. At
+the wedding breakfast <span class="pagenum">[<a id="pb112" href=
+"#pb112" name="pb112">112</a>]</span>of the princess, who cannot longer
+delay the bridal, he tells his story, and so marries her.</p>
+<p>The peculiar form of the burial in this variant will be at once
+evident, though the reason for it is not clear to me. Disenchantment by
+decapitation is a common phenomenon in folk-lore and romance;<a class=
+"noteref" id="xd20e5007src" href="#xd20e5007" name=
+"xd20e5007src">49</a> but though the blow on the head, which the hero
+gives the old man in our tale, surely stands for beheading, it is hard
+to see where any unspelling process comes in. It is perhaps best to
+suppose the trait a confused borrowing, without much meaning as it
+stands. The ransoming of the woman is closely connected with the
+benefits done the old man. That it occurs on the same journey has been
+shown by the variations in <i>Jean de Calais</i> to be a matter of
+little consequence. With respect to the standard and the ring, by which
+the hero restores his wife to her father, and later to himself, the
+tale is perfectly in accord with the prevalent form of the compound
+type; and so also in regard to the rescue of the hero by the ghost. No
+hint is given of any agreement of division between the hero and the
+ghost. The chief peculiarity of the variant, however, is the means by
+which the heroine is won. The feat recalls <i>Simrock I.</i>,<a class=
+"noteref" id="xd20e5019src" href="#xd20e5019" name=
+"xd20e5019src">50</a> even in details like the demand on the part of
+the bride for mural decoration. It again shows the combination of the
+present type with a theme akin to <i>The Water of Life</i>.</p>
+<p><i>Simrock III.</i> has several points of contact with the above.
+Karl, the son of an English merchant, on his first voyage to Italy pays
+the debts of a merchant who has died bankrupt. On his way home he buys
+two sisters from some pirates at an inn. His father casts him off, so
+he marries the older of the maidens, who tells him that she is a
+princess. They start for Italy <span class="pagenum">[<a id="pb113"
+href="#pb113" name="pb113">113</a>]</span>together, and on the way meet
+an Italian prince, who is a suitor for the wife&rsquo;s hand. The hero
+is cast overboard, but is brought to land by a great bird, which tells
+him that it is the ghost of the man whom he has buried. It directs him
+to go to court and give himself out as a painter. The bird again comes
+to him there with a dagger in its beak, and tells him to cut off its
+head. Unwillingly Karl obeys, and sees before him the spirit of the
+dead man. The ghost paints the room in which they are standing with the
+hero&rsquo;s history. So on the wedding-day of the princess with the
+traitor, Karl explains the meaning of the pictures and wins his bride
+again.</p>
+<p>This Swabian story has preserved the decapitation<a class="noteref"
+id="xd20e5033src" href="#xd20e5033" name="xd20e5033src">51</a> in much
+better form than <i>Bohemian</i>, though the reason for its
+introduction is still hard to understand. The ghost is obviously
+released from some spell when it is beheaded, and is thus enabled to
+help the hero to better advantage than before. The episode also occurs
+in a more logical position than in <i>Bohemian</i>. It replaces the
+more ordinary and normal test of the hero by the ghost. Probably the
+introduction of it in the two cases is sporadic, though some connection
+between the two is conceivable. As far as <i>The Grateful Dead</i> and
+<i>The Ransomed Woman</i> proper are concerned, the variant has no
+peculiarities of special importance, being of the type in which the
+hero and heroine set out for court together.<a class="noteref" id=
+"xd20e5049src" href="#xd20e5049" name="xd20e5049src">52</a> It
+contains, however, the feat by which the bride is won, in the same form
+as in <i>Simrock I.</i> and <i>Bohemian</i>, which is due to an
+alliance with the type of <i>The Water of Life</i>. Yet it differs from
+them in making the ghost appear first as a bird, which connects it with
+<i>Jean de Calais II., VII.</i>, and <i>X.</i>, and with <i>Simrock
+II.</i> and <i>VIII.</i>, variants that have the thankful beast playing
+the r&ocirc;le of ghost.<a class="noteref" id="xd20e5074src" href=
+"#xd20e5074" name="xd20e5074src">53</a> <span class="pagenum">[<a id=
+"pb114" href="#pb114" name="pb114">114</a>]</span></p>
+<p><i>Simrock VII.</i>, together with some other peculiarities, again
+has the feat of winning the bride, though it is a feat of another sort.
+Wilhelm catches a swan-maiden, and later releases her from an enchanted
+mountain by hewing trees, separating grain, and finding his wife among
+three hundred women. Thus by her help he breaks the spell, and carries
+her back home. Later they journey together to her father&rsquo;s court.
+On the way Wilhelm pays the debts of a corpse, and has it buried. They
+meet two officers of the king, who toss Wilhelm overboard from the ship
+in which they sail, but he is saved by the ghost of the dead man and
+brought to court. He is recognized by the princess, and proves his
+identity to her father by means of a ring and a handkerchief.</p>
+<p>The most salient point here is the fact that the maiden is not
+ransomed at all, but instead is captured like any other swan-maiden. We
+have already met with the theme of <i>The Swan-Maiden</i> in
+combination with <i>The Grateful Dead</i> in simple form;<a class=
+"noteref" id="xd20e5090src" href="#xd20e5090" name=
+"xd20e5090src">54</a> but <i>Servian V.</i> has evidently nothing to do
+with <i>Simrock VII.</i>, since the part played by the borrowed motive
+is different in each. In the former it is introduced as the reward
+bestowed on the hero by the ghost, while in the latter the swan-maiden
+simply replaces the ransomed maiden, as is shown by the subsequent
+events of the story, which follow the normal order as far as she is
+concerned. The feats by which the hero disenchants her are essentially
+like those in <i>Bohemian, Simrock I.</i>, and <i>Simrock III.</i>,
+though they are differently placed. Probably the introduction of this
+new material accounts for the transposition of the ransoming and the
+burial, as the latter is in other respects regular. It is curious to
+observe that the process of changing about various features, thus
+begun, continued in other ways, as in the matter of the signs by which
+the hero is recognized by his father-in-law and his wife. These
+<span class="pagenum">[<a id="pb115" href="#pb115" name=
+"pb115">115</a>]</span>things go to show, however, that back of the
+variant must have existed the compound type in a normal form.</p>
+<p>In <i>Simrock V.</i> the thankful beast again appears, but in a less
+complicated setting than in the case of <i>Jean de Calais II.,
+VII.</i>, and <i>X.</i>, or <i>Simrock II., III.</i>, and <i>VIII.</i>
+A widow&rsquo;s son on his way home from market pays the debts of a
+corpse and buries it, thus using all his money. The next time he goes
+to market, he gives all his proceeds to ransom a maiden, whom he
+marries. She does embroidery to gain money, and one day holds out a
+piece of it to the king, who is passing. He recognizes her as his
+daughter, and accepts the hero as son-in-law. The young couple start
+back home for the widow, but on the way the servants cast the young man
+into the sea. He escapes, however, to an island, where he is fed by an
+eagle. Later the eagle declares itself to be the ghost of the dead man,
+and brings its benefactor to court.</p>
+<p><i>Oldenburgian</i> is a similar tale. A merchant&rsquo;s son while
+on a voyage pays thirty dollars to bury a man, and also buys a captive
+princess with her maid. Though ill-received by his father on his
+return, he marries the girl. Later he goes on another voyage, with his
+wife&rsquo;s portrait as the figure-head of his ship. This is
+recognized by the king, who sends him back for the princess in the
+company of a minister. The latter pitches him overboard, goes on for
+the princess, and does not tell her of her loss till they arrive at
+court. She finally consents to marry the traitor after five years.
+Meanwhile, the hero lives on an island, whither on the day appointed
+for the princess&rsquo;s bridal comes the ghost of the dead in the form
+of a snow-white dove. It takes him to the court, where he is recognized
+by a ring, a gift from his bride, which he drops into a cup that she
+offers him.</p>
+<p>Of these two variants, <i>Oldenburgian</i> is much better preserved
+than the Tyrolese story (<i>Simrock V.</i>). The <span class=
+"pagenum">[<a id="pb116" href="#pb116" name=
+"pb116">116</a>]</span>latter is dressed in a homely fashion, which
+probably accounts for some of the changes, since the gap between the
+visits to market and the romantic or miraculous features of the
+couple&rsquo;s later adventures was too wide to be easily bridged. The
+disappointed suitor is not mentioned, which leaves the attempt on the
+hero&rsquo;s life without motivation, and clearly indicates some
+loss.<a class="noteref" id="xd20e5139src" href="#xd20e5139" name=
+"xd20e5139src">55</a> The trait is distinctly marked in
+<i>Oldenburgian</i>, as are all the other events connected with <i>The
+Ransomed Woman</i>, though <i>Simrock V.</i> provides an entirely
+original reason for the voyage of the young couple,&mdash;their wish to
+get the hero&rsquo;s mother. The features concerning the rescue by the
+ghost and the hero&rsquo;s return to court are better preserved again
+in <i>Oldenburgian</i>, though both lack the agreement to divide, which
+is probably obscured as elsewhere by the prominence given the rescued
+woman. The most striking similarity between the two, however, lies in
+the fact that the ghost first appears as a bird. This clearly shows the
+existence of a type of <i>The Grateful Dead</i> + <i>The Ransomed
+Woman</i>, on which <i>The Thankful Beasts</i> has had some
+influence.</p>
+<p>It remains to consider the general relations of the variants
+discussed in this chapter. The wide variety in detail of the incidents
+concerned with the history of the hero&rsquo;s wife, yet the essential
+uniformity which they show, would indicate clearly, for one thing, that
+<i>The Ransomed Woman</i> is a motive originally quite independent of
+<i>The Grateful Dead</i>,&mdash;that the type of story which is our
+present concern is a true compound. It would even be possible to
+reconstruct the independent theme in a form not unlike the Wendish
+folk-tale cited in the beginning of the chapter. The hero, while on a
+journey, ransoms a princess, takes her home, goes on another journey
+with some sign that attracts her father&rsquo;s notice, goes back to
+<span class="pagenum">[<a id="pb117" href="#pb117" name=
+"pb117">117</a>]</span>her and is cast into the sea by some man who
+hopes to marry her himself, is rescued, and returns to court to claim
+his bride, usually by means of a token.</p>
+<p>The points of contact between this motive and <i>The Grateful
+Dead</i> would seem to be, first, the journey which the hero undertakes
+at the opening of the plot. It will be noted that in the compound he
+usually makes two voyages, burying the dead on the first and ransoming
+the maiden on the second, though the two are sometimes welded. The
+second point of contact, I take it, was the rescue of the hero. In each
+story he did a good act for which he was rewarded in some way. It has
+been shown that this reward sometimes took the form of a rescue in the
+simple form of <i>The Grateful Dead</i><a class="noteref" id=
+"xd20e5187src" href="#xd20e5187" name="xd20e5187src">56</a> and in the
+compound with <i>The Poison Maiden</i>.<a class="noteref" id=
+"xd20e5196src" href="#xd20e5196" name="xd20e5196src">57</a> What more
+natural than that it should lead to another combination with a story
+where the hero was saved from death? The difference in the case of the
+latter, of course, would be that the agency of rescue was of little
+importance. Could <i>Simonides</i> be shown to have anything more than
+a literary life in mediaeval Europe, I should be inclined to think that
+the rescue in that tale, even though the tale itself is not necessarily
+connected with <i>The Grateful Dead</i> as we know the theme, might
+have had some influence on the union. As the matter stands, however, it
+is probably better to believe that the two motives were united in
+eastern Europe, the one being Oriental and the other of uncertain
+derivation. That each motive had a wife as part of the hero&rsquo;s
+reward must be taken for granted, and it must have helped to combine
+them.</p>
+<p>It follows from this that the compound <i>The Grateful Dead</i> +
+<i>The Ransomed Woman</i> is quite independent of <span class=
+"pagenum">[<a id="pb118" href="#pb118" name="pb118">118</a>]</span>the
+one discussed in the previous chapter, and could not have proceeded
+from it as Hippe thought.<a class="noteref" id="xd20e5216src" href=
+"#xd20e5216" name="xd20e5216src">58</a> It would have been next to
+impossible for that combined type to divest itself of the features
+peculiar to <i>The Poison Maiden</i>, and to absorb in their place
+those of <i>The Ransomed Woman</i> without leaving some trace of the
+process. Thus the existence of the compound as an independent growth is
+assured. In this connection it is interesting to note that the rescue
+of the hero from drowning in consequence of an act of treachery (or
+from an island) occurs in all the variants of the type save four,
+<i>Transylvanian, Trancoso</i>, <i>Gasconian</i>, and <i>Straparola
+I.</i>,<a class="noteref" id="xd20e5235src" href="#xd20e5235" name=
+"xd20e5235src">59</a> but in no other version of <i>The Grateful
+Dead</i> as far as I know.</p>
+<p>From this general type developed minor varieties with traits
+borrowed from <i>The Water of Life, The Thankful Beasts</i>, and <i>The
+Two Friends</i>, or some such tale. Thus very complex variants arose.
+The question of the connection which these subsidiary elements sustain
+to the central theme cannot properly be discussed until they have been
+seen in other combinations. The part they play in the development of
+the story, it is evident, must have been a secondary one both in
+importance and in time. <span class="pagenum">[<a id="pb119" href=
+"#pb119" name="pb119">119</a>]</span></p>
+</div>
+<div class="footnotes">
+<hr class="fnsep">
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e3929" href="#xd20e3929src" name="xd20e3929">1</a></span> See
+above, p. 1.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e3935" href="#xd20e3935src" name="xd20e3935">2</a></span> See
+above, pp. 2 and 5.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e3938" href="#xd20e3938src" name="xd20e3938">3</a></span> Pp.
+170&ndash;175.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e3955" href="#xd20e3955src" name="xd20e3955">4</a></span> P.
+173.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e3961" href="#xd20e3961src" name="xd20e3961">5</a></span> See also
+the school drama cited by K&ouml;hler, <i>Germania III.</i> 208 f. The
+elements of <i lang="de">Der gute Gerhard</i>, foreign to <i>The
+Ransomed Woman</i>, I have treated in the <i>Publications of the Modern
+Lang. Ass.</i> 1905, xx. 529&ndash;545.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e3980" href="#xd20e3980src" name="xd20e3980">6</a></span> The same
+is true of the story related of St. Catharine, analyzed by Simrock, pp.
+110&ndash;113, and cited by Hippe, p. 166, from <i>Scala Celi</i>, by
+Johannes Junior (Gobius), under <i>Castitas</i>. Hippe, as shown by his
+scheme on p. 181, places this under &ldquo;<span lang=
+"de">Legendarische Formen mit Loskauf</span>.&rdquo; As a matter of
+fact, it is plainly a specimen of <i>The Calumniated Woman</i>.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e4013" href="#xd20e4013src" name="xd20e4013">7</a></span>
+Hippe&rsquo;s &ldquo;Lithuanian II.&rdquo;</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e4026" href="#xd20e4026src" name="xd20e4026">8</a></span>
+<i>Breton III.</i>, though placed here, has peculiar traits, which
+require special consideration.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e4049" href="#xd20e4049src" name="xd20e4049">9</a></span>
+K&ouml;hler, followed by Hippe, p. 145, makes the hero live for fifteen
+years on the island, while Mme. Mijatovich gives the time as stated. As
+I have no knowledge of Servian, I cannot tell which is in the right.
+Hippe&rsquo;s analysis is otherwise faulty.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e4109" href="#xd20e4109src" name="xd20e4109">10</a></span> See
+Hippe, p. 151.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e4119" href="#xd20e4119src" name="xd20e4119">11</a></span>
+<i>Ibid.</i></p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e4130" href="#xd20e4130src" name="xd20e4130">12</a></span> Hippe
+fails to note that the hero used all his money on the first journey in
+burying the dead, and that it was on a second trip that he bought the
+king&rsquo;s daughter.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e4144" href="#xd20e4144src" name="xd20e4144">13</a></span>
+<i>Or&iacute;genes de la Novela</i>, ii. xcv.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e4160" href="#xd20e4160src" name="xd20e4160">14</a></span> An odd
+inconsistency appears in the statement of the Latin that after the
+hero&rsquo;s second voyage &ldquo;pater suus et mater&rdquo; were angry
+with him.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e4224" href="#xd20e4224src" name="xd20e4224">15</a></span> So,
+too, with <i>Transylvanian</i>. See above, pp. 79f.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e4239" href="#xd20e4239src" name="xd20e4239">16</a></span> See
+Hippe, p. 150.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e4255" href="#xd20e4255src" name="xd20e4255">17</a></span> See
+Hippe, p. 158.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e4269" href="#xd20e4269src" name="xd20e4269">18</a></span>
+Hippe&rsquo;s brief analysis, p. 159, fails to give a satisfactory
+outline.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e4280" href="#xd20e4280src" name="xd20e4280">19</a></span>
+Hippe&rsquo;s analysis, p. 159, is not quite adequate.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e4289" href="#xd20e4289src" name="xd20e4289">20</a></span>
+<i>Russian I.</i> is the only other variant that I know which makes the
+dead man uneasy in his grave.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e4324" href="#xd20e4324src" name="xd20e4324">21</a></span> So also
+in <i>Servian I.</i> and <i>Icelandic II.</i>, cited above, as well as
+<i>Bohemian</i> and <i>Simrock VII.</i>, for which see below.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e4344" href="#xd20e4344src" name="xd20e4344">22</a></span> See pp.
+79 f.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e4353" href="#xd20e4353src" name="xd20e4353">23</a></span> See pp.
+85&ndash;87.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e4378" href="#xd20e4378src" name="xd20e4378">24</a></span> See
+<i lang="de">Amis et Amiles und Jourdains de Blaivies</i>, ed. K.
+Hofmann, 2nd ed. 1882; <i lang="de">Amis und Amiloun zugleich mit der
+altfranz&ouml;sischen Quelle</i>, ed. E. K&ouml;lbing, 1884, with the
+comprehensive discussion of versions in the introduction; also
+K&ouml;lbing, &ldquo;<span lang="de">Zur Ueberlieferung der Sage von
+Amicus und Amelius</span>,&rdquo; in Paul und Braune&rsquo;s <i lang=
+"de">Beitr&auml;ge</i> iv. 271&ndash;314; etc.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e4409" href="#xd20e4409src" name="xd20e4409">25</a></span>
+Hippe&rsquo;s analysis, p. 156, is different from mine, and is taken
+from a less trustworthy source. I use the summary of the Ghent
+text.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e4427" href="#xd20e4427src" name="xd20e4427">26</a></span> See p.
+49 for other tales in which the dead man is a friend of the
+hero&rsquo;s.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e4458" href="#xd20e4458src" name="xd20e4458">27</a></span>
+<i lang="de">Geschichte des spanischen Nationaldramas</i>, i. 141.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e4492" href="#xd20e4492src" name="xd20e4492">28</a></span> <i>Sir
+Amadas</i>, for which see p. 37.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e4497" href="#xd20e4497src" name="xd20e4497">29</a></span>
+<i>Irish I.</i>, for which see pp. 62 and 64, <i>Breton I.</i>, p. 65,
+and <i>Sir Amadas</i>.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e4532" href="#xd20e4532src" name="xd20e4532">30</a></span>
+<a href="#ch7">vii</a>.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e4540" href="#xd20e4540src" name="xd20e4540">31</a></span>
+Hippe&rsquo;s <i lang="de">Lithauische III.</i></p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e4557" href="#xd20e4557src" name="xd20e4557">32</a></span> See
+Hippe, pp. 156 f.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e4585" href="#xd20e4585src" name="xd20e4585">33</a></span> Thus
+<i>III.</i> makes the princess a daughter of the King of Portugal, as
+in <i>I.</i>; <i>IV.</i> gives no names whatever; and <i>V.</i> makes
+the heroine&rsquo;s father King of England.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e4642" href="#xd20e4642src" name="xd20e4642">34</a></span> From
+Gascony, like <i>III., IV.</i>, and <i>V</i>.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e4651" href="#xd20e4651src" name="xd20e4651">35</a></span> The
+portraits are not displayed on the ship, but on Jean&rsquo;s
+carriage,&mdash;a curious deviation.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e4666" href="#xd20e4666src" name="xd20e4666">36</a></span> See pp.
+27 and 57.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e4675" href="#xd20e4675src" name="xd20e4675">37</a></span> See
+chapter vii.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e4684" href="#xd20e4684src" name="xd20e4684">38</a></span> See pp.
+104 f.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e4693" href="#xd20e4693src" name="xd20e4693">39</a></span>
+<i>II.</i> is the only version which has Jean make his first two
+voyages on land, a trait which contradicts the general testimony of the
+tales throughout the chapter.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e4784" href="#xd20e4784src" name="xd20e4784">40</a></span> See pp.
+85 f.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e4789" href="#xd20e4789src" name="xd20e4789">41</a></span> P.
+146.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e4847" href="#xd20e4847src" name="xd20e4847">42</a></span> See
+<i>The Legend of Perseus</i>, E. S. Hartland, 1896, volume iii.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e4855" href="#xd20e4855src" name="xd20e4855">43</a></span> See p.
+103 above.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e4882" href="#xd20e4882src" name="xd20e4882">44</a></span> In
+<i>Jean de Calais IX.</i> they set out together, but to the
+hero&rsquo;s home.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e4901" href="#xd20e4901src" name="xd20e4901">45</a></span> So also
+in <i>Transylvanian</i>. Similarly the hero offers to give all of his
+wife, instead of dividing her, in <i>Dianese, Old Swedish</i>, and
+<i>Old Wives&rsquo; Tale</i>.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e4921" href="#xd20e4921src" name="xd20e4921">46</a></span> See pp.
+100&ndash;102.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e4959" href="#xd20e4959src" name="xd20e4959">47</a></span> See pp.
+85 f.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e4970" href="#xd20e4970src" name="xd20e4970">48</a></span> See pp.
+105 f.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e5007" href="#xd20e5007src" name="xd20e5007">49</a></span> See the
+paper by Kittredge, <i>Journal of American Folk-Lore</i>, xviii.
+1&ndash;14, 1905.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e5019" href="#xd20e5019src" name="xd20e5019">50</a></span> See pp.
+107 f.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e5033" href="#xd20e5033src" name="xd20e5033">51</a></span> In this
+connection it is cited by Kittredge in the study above mentioned, pp. 9
+f.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e5049" href="#xd20e5049src" name="xd20e5049">52</a></span> See p.
+108.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e5074" href="#xd20e5074src" name="xd20e5074">53</a></span> See p.
+101.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e5090" href="#xd20e5090src" name="xd20e5090">54</a></span> See pp.
+31 f.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e5139" href="#xd20e5139src" name="xd20e5139">55</a></span> The
+same loss is evident in <i>Catalan, Spanish, Simrock I.</i>, and
+<i>Simrock VII.</i></p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e5187" href="#xd20e5187src" name="xd20e5187">56</a></span> See p.
+27 for <i>Jewish</i>.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e5196" href="#xd20e5196src" name="xd20e5196">57</a></span> That
+is, the rescue of the bridegroom from the creatures which possess the
+bride.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e5216" href="#xd20e5216src" name="xd20e5216">58</a></span> See p.
+4 above.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e5235" href="#xd20e5235src" name="xd20e5235">59</a></span> Of
+course this excludes the group connected with <i>Oliver</i>, which has
+no proper connection with the compound type.</p>
+</div>
+</div>
+<div id="ch6" class="div1 chapter"><span class="pagenum">[<a href=
+"#toc">Contents</a>]</span>
+<div class="divHead">
+<h2 class="label">Chapter VI.</h2>
+<h2 class="main"><i>The Grateful Dead</i> and <i>The Water of Life</i>
+or Kindred Themes.</h2>
+</div>
+<div class="divBody">
+<p class="first">The <i lang="de">m&auml;rchen</i> known in its various
+forms as <i>The Water of Life</i><a class="noteref" id="xd20e5270src"
+href="#xd20e5270" name="xd20e5270src">1</a> is based on the myth which
+goes by the same name.<a class="noteref" id="xd20e5285src" href=
+"#xd20e5285" name="xd20e5285src">2</a> The myth, as has been shown
+quite independently by two recent investigators, Dr.
+W&uuml;nsche<a class="noteref" id="xd20e5288src" href="#xd20e5288"
+name="xd20e5288src">3</a> and Dr. E. W. Hopkins,<a class="noteref" id=
+"xd20e5291src" href="#xd20e5291" name="xd20e5291src">4</a> is of
+Semitic origin, and is found among the traditions of the
+Assyrio-Babylonian cycle. It is to be distinguished from the very
+similar myth of <i>The Fountain of Youth</i>, which apparently
+originated in India.<a class="noteref" id="xd20e5301src" href=
+"#xd20e5301" name="xd20e5301src">5</a> The latter concerns the magic
+properties of the &ldquo;water of rejuvenation&rdquo;; the former in
+its uncontaminated <span class="pagenum">[<a id="pb120" href="#pb120"
+name="pb120">120</a>]</span>form, at least, deals with water which
+cures, revivifies, or revitalizes. The two have been frequently
+confused, not only in popular tradition of all ages, but in critical
+writings of contemporary date as well. It is the great merit of
+Professor Hopkins&rsquo; article, to which reference has been made,
+that their essential difference in origin and character is clearly
+marked. Though he makes no pretence that his study of <i>The Fountain
+of Youth</i> is definitive, he has broken ground which sadly needed the
+plough, and incidentally has thrown light upon <i>The Water of
+Life</i>.</p>
+<p>The myth which is properly known by this name is intimately
+connected in origin and development with that of <i>The Tree of
+Life</i>,<a class="noteref" id="xd20e5317src" href="#xd20e5317" name=
+"xd20e5317src">6</a> which finds expression in the legends of the
+Cross. In the words of Dr. W&uuml;nsche:<a class="noteref" id=
+"xd20e5323src" href="#xd20e5323" name="xd20e5323src">7</a>
+&ldquo;<span lang="de">Wie wir aus den kosmogonischen und theogonischen
+Mythen und Sagen der V&ouml;lker das Rauschen des Lebensbaumes
+vernehmen, durch dessen Fr&uuml;chte sich G&ouml;tter und Menschen ihre
+ungeschw&auml;chte Lebenskraft und ewige Jugendfrische erhalten, so
+nicht minder das Sprudeln einer Quelle des Lebenswassers, die Leben
+schafft und zu Ende gehendes oder bereits erloschenes Leben wieder zu
+neuem Sein erweckt.</span>&rdquo; Both myths are Semitic, and both have
+profoundly influenced Christian doctrine. It is with the &ldquo;water
+of life,&rdquo; however, that we are immediately concerned, and with
+that only as it has found embodiment in a widely disseminated and
+variously modified tale. Whence this <i lang="de">m&auml;rchen</i> came
+we must presently inquire, in order to reach some conclusion as to the
+point in space and time where it joined <i>The Grateful Dead</i>, but
+we must first fix its essential traits.</p>
+<p>Owing to the complex variations which the tale <span class=
+"pagenum">[<a id="pb121" href="#pb121" name=
+"pb121">121</a>]</span>presents in its various combinations with really
+foreign themes, there is great difficulty in getting at the outline of
+the original story or even the characteristics common to all the known
+variants. To do this satisfactorily would require a searching and
+detailed study, which it is impossible to undertake here,&mdash;an
+examination with <i>The Water of Life</i> as the point of attack. It is
+possible, however, to arrive at a rough sketch of the theme.</p>
+<p>&ldquo;<span lang="fr">Dans tous ces contes,</span>&rdquo; says
+Cosquin, in his notes on <i>The Water of Life</i>,<a class="noteref"
+id="xd20e5351src" href="#xd20e5351" name="xd20e5351src">8</a>
+&ldquo;<span lang="fr">trois princes vont chercher pour leur
+p&egrave;re l&rsquo;eau de la vie ou un fruit merveilleux qui doit le
+gu&eacute;rir, et c&rsquo;est le plus jeune qui r&eacute;ussit dans
+cette entreprise. Dans plusieurs ... les deux a&icirc;n&eacute;s font
+des dettes, et ils sont au moment d&rsquo;&ecirc;tre pendus, quand leur
+fr&egrave;re paie les cr&eacute;anciers (dans des contes allemands et
+dans les contes autrichiens, malgr&eacute; l&rsquo;avis que lui avait
+donn&eacute; un hermite, un nain ou des animaux reconaissants, de ne
+pas acheter de &lsquo;gibier de potence&rsquo;). Il est tu&eacute; par
+eux ou, dans un conte allemand (Meier, no. 5), jet&eacute; dans un
+grand trou; mais ensuite il est rappel&eacute; &agrave; la vie dans des
+circonstances qu&rsquo;il serait trop long
+d&rsquo;expliquer.</span>&rdquo;</p>
+<p>Dr. W&uuml;nsche&rsquo;s summary is somewhat different:<a class=
+"noteref" id="xd20e5361src" href="#xd20e5361" name="xd20e5361src">9</a>
+&ldquo;<span lang="de">Gew&ouml;hnlich handelt es sich um einen
+K&ouml;nig und seine drei S&ouml;hne. Der K&ouml;nig leidet an einer
+schlimmen Krankheit, von der ihn kein Arzt zu heilen vermag. Da wird
+ihm durch irgendeine Gelegenheit die Kunde, dass er von seinem Siechtum
+durch das Lebenswasser eines fernen Landes befreit werden k&ouml;nne.
+Aus Liebe zu ihrem Vater machen sich die drei S&ouml;hne nacheinander
+auf den Weg, das Lebenswasser zu holen. Doch die beiden &auml;ltesten
+erliegen den auf dem Wege ihnen begegnenden Versuchungen, nur der
+j&uuml;ngste ist wegen seiner Standhaftigkeit und Bescheidenheit so
+gl&uuml;cklich, es zu erhalten. Ein Riese, ein Zwerg, ein alter Mann
+oder ein alte Frau <span class="pagenum">[<a id="pb122" href="#pb122"
+name="pb122">122</a>]</span>sind ihm zur Auffindung der Wunderquelle
+behilflich, indem sie ihm guten Rat erteilen und ihm sagen, wie er es
+anzufangen und wovor er sich in acht zu nehmen habe. Hier und da
+greifen auch dienstbare Tiere, Vierf&uuml;ssler, V&ouml;gel und Fische
+hilfreich ein, indem sie dem J&uuml;nglinge genau die &Ouml;rtlichkeit
+des Wassers angeben, oder auch selbst ihn mit Schnelligkeit dahin
+bringen. Die Lebensquelle sprudelt in einem Berge, der sich nur zu
+gewissen Zeiten, gew&ouml;hnlich gegen Mittag oder Mitternacht von
+11&ndash;12 Uhr &ouml;ffnet. Im berge steht in der Regel in einem
+pr&auml;chtigen Garten ein versunkenes Schloss, das die grossen
+Sch&auml;tze und Kostbarkeiten birgt, durch deren Anblick der
+Eintretende geblendet wird. In einem Gemache des Schlosses wieder ruht
+auf einem Bett eine Jungfrau von wunderbarer Sch&ouml;nheit, die
+sp&auml;ter als Prinzessin hervortritt und den Prinzen, der durch das
+Sch&ouml;pfen des Lebenswassers sie von ihrem Zauber gel&ouml;st hat,
+zum Gemahle heischt. Der Prinz hat nur kurze Zeit bei ihr geruht oder
+ihr einen fl&uuml;chtigen Kuss auf die Lippen gedr&uuml;ckt. In vielen
+F&auml;llen wird der Eingang zur Quelle von einem Drachen oder einem
+anderen Ungeheuer bewacht, die erst aus dem Wege ger&auml;umt werden
+m&uuml;ssen. Es kostet einen schweren Kampf. Auf dem Heimweg trifft der
+j&uuml;ngste K&ouml;nigssohn gew&ouml;hnlich mit seinen &auml;lteren
+Br&uuml;dern wieder zusammen, die ihr Leben durch tolle Streiche
+verwirkt haben und die er vom Tode loskauft. Zuweilen sind aber die
+Br&uuml;der durch ihre Unbedachtsamkeit in schwarze Steine verwandelt
+worden und liegen am Abhange des Zauberberges, oder stehen als
+Marmors&auml;ulen auf demselben, oder sind infolge ihres Hochmutes in
+einen tiefen Abgrund eingeschlossen. Auch in diesem Zustande werden sie
+durch den j&uuml;ngsten Bruder bald durch das gesch&ouml;pfte Wasser
+des Lebens, bald auf seine Bitten hin wieder ins Leben gerufen. Vereint
+reisen sie nun mit ihrem Bruder nach Hause zum K&ouml;nige. Unterwegs
+<span class="pagenum">[<a id="pb123" href="#pb123" name=
+"pb123">123</a>]</span>aber erfasst die Beiden Falschen Neid und
+Missgunst, weil ihr Bruder allein in den Besitz des Lebenswasser
+gelangt ist und sie sich vergeblich darum gem&uuml;ht haben. Daher
+vertauschen sie das Lebenswasser, w&auml;hrend der Bruder schl&auml;ft,
+mit gew&ouml;hnlichem Wasser und eilen nun voraus und machen mit dem
+erbeuteten Trank den kranken K&ouml;nig gesund, oder sie erscheinen
+nach der Ankunft des Bruders, dessen vertauschtes Wasser den K&ouml;nig
+nur noch elender gemacht hat. Dabei raunen sie dem K&ouml;nige heimlich
+ins Ohr, dass der j&uuml;ngere Bruder ihn habe vergiften wollen,
+infolgedessen dieser vom K&ouml;nige verbannt oder gar zum Tode
+verurteilt wird. Derselbe lebt nun l&auml;ngere Zeit zur&uuml;ckgezogen
+in einer untergeordneten Stellung, bis endlich durch die von ihm
+entzauberte Prinzessin seine Unschuld an den Tag
+kommt.</span>&rdquo;</p>
+<p>Dr. W&uuml;nsche gives as subsidiary types stories where a princess
+wishes the magic water for herself, and, when her two brothers fail to
+return with it, goes on a quest which results in obtaining the water
+and releasing the enchanted brothers; where a mother and son are the
+chief actors; where a bird, or fruit, or the water of death is
+substituted for the water of life; and where thankful beasts appear.
+All of these elements and more appear in the accessible variants, yet
+not all of them can be said rightly to represent <i>The Water of
+Life</i> as such. The basal traits of the story are much more simple
+than Dr. W&uuml;nsche would have us believe. They do not include, for
+example, the wonderful companions whom the hero finds nor the
+adventures with the enchanted princess, since these are in reality
+traits of originally separate themes, as will presently be
+shown.<a class="noteref" id="xd20e5376src" href="#xd20e5376" name=
+"xd20e5376src">10</a></p>
+<p>On the other hand, Cosquin&rsquo;s outline seems to me defective in
+two ways. First, he does not recognize that there existed in the
+original theme some reward due the <span class="pagenum">[<a id="pb124"
+href="#pb124" name="pb124">124</a>]</span>hero for his constancy and
+intelligence in the pursuit of his quest. <i>A priori</i> this
+conclusion would be expected from the general manner of folk-tales, and
+as a matter of fact it appears in all the versions which have come to
+my attention. The reward almost always takes the form of a princess,
+though the manner in which she is won varies very greatly. In the
+second place, Cosquin seems to regard <i>The Golden Bird</i> as a theme
+quite independent of <i>The Water of Life</i>.<a class="noteref" id=
+"xd20e5392src" href="#xd20e5392" name="xd20e5392src">11</a> This, I
+think, is to lose sight of the essential likeness between the two
+tales, despite their difference of introduction. As Dr. W&uuml;nsche
+notes,<a class="noteref" id="xd20e5399src" href="#xd20e5399" name=
+"xd20e5399src">12</a> not only a bird, but a fruit or the water of
+death may be substituted for the usual object of the quest. Indeed,
+certain variants have more than one of these magical forces.<a class=
+"noteref" id="xd20e5402src" href="#xd20e5402" name=
+"xd20e5402src">13</a> To be sure, this superfluity of riches doubtless
+results from the fusion of subsidiary types, but none the less it
+points to the original unity of the central theme, which is all that I
+wish to suggest.</p>
+<p>From this discussion we emerge with an outline of <i>The Water of
+Life</i> in something like the following form: A sick king has three
+sons, who go out to seek some magical water (or bird, or fruit) for his
+healing. The two older sons fall by the way into some misfortune due to
+their own fault; but the youngest, not without aid of one sort or
+another from beings with supernatural powers, succeeds in the quest and
+at the same time wins a princess as wife. While returning, he rescues
+his brothers, and is exposed by their envy and ingratitude to the loss
+of all he has gained (sometimes even of his <span class=
+"pagenum">[<a id="pb125" href="#pb125" name=
+"pb125">125</a>]</span>life). In the end, however, he comes to his own
+either because the cure cannot be completed without him or because his
+wife brings the older princes to book.</p>
+<p>This summary I should be unwilling to have considered as anything
+more than a tentative sketch, since a systematic study of the material
+may bring to light certain features which I have overlooked.<a class=
+"noteref" id="xd20e5417src" href="#xd20e5417" name=
+"xd20e5417src">14</a> It will, however, serve its purpose here.</p>
+<p>This simple form of <i>The Water of Life</i> is not that with which
+<i>The Grateful Dead</i> has combined. Indeed, the opinion that this
+union was secondary to that of <i>The Grateful Dead</i> with <i>The
+Poison Maiden</i> and <i>The Ransomed Woman</i><a class="noteref" id=
+"xd20e5437src" href="#xd20e5437" name="xd20e5437src">15</a> is
+strengthened by the fact that it is found with both of these compound
+types, and that <i>The Water of Life</i> almost invariably appears in a
+somewhat distorted form. In point of fact, the latter tale seems to
+have lent itself with remarkable facility to combination with other
+themes. Thus it is frequently found mixed with <i>The Skilful
+Companions</i><a class="noteref" id="xd20e5446src" href="#xd20e5446"
+name="xd20e5446src">16</a> (both with <span class="pagenum">[<a id=
+"pb126" href="#pb126" name="pb126">126</a>]</span>and without <i>The
+Grateful Dead</i>), <i>The Lady and the Monster</i>,<a class="noteref"
+id="xd20e5524src" href="#xd20e5524" name="xd20e5524src">17</a> and
+<i>The Thankful Beasts</i>.</p>
+<p>The reason for the existence of the compounds just mentioned is not
+far to seek. With <i>The Skilful Companions</i><a class="noteref" id=
+"xd20e5543src" href="#xd20e5543" name="xd20e5543src">18</a> there is a
+ready point of contact in the hero&rsquo;s need for aid in the
+accomplishment of his quest, another in the circumstance that three or
+more companions set out together with a common end in view, and still
+another in the fact that a maiden is rescued by them. To <i>The Lady
+and the Monster</i>, at least in those variants where <i>The Grateful
+Dead</i> appears, <i>The Water of Life</i> has the necessary approach
+in the r&ocirc;le of the lady herself. As for <i>The Thankful
+Beasts</i>, their appearance at opportune <span class="pagenum">[<a id=
+"pb127" href="#pb127" name="pb127">127</a>]</span>moments when the
+heroes of folk-tales need assistance is too frequent to require
+justification in any particular case. It is with such combinations as
+these, intricate and involved, that many variants of <i>The Grateful
+Dead</i> are found joined. Sometimes one element, sometimes another,
+predominates, so that the threads which unite them are hopelessly
+snarled. Sometimes <i>The Water of Life</i> is lost in the
+entanglement, or only appears as a distorted trait, while <i>The
+Skilful Companions</i> or <i>The Lady and the Monster</i> come out more
+clearly. Through this labyrinth we must painfully take our way,
+exercising what caution we can. The present guide recognizes the danger
+of losing the road and does not pretend to more than a rough and ready
+knowledge of the wilderness. Accordingly, he undertakes only to conduct
+the curious wayfarer by the least difficult of the paths that traverse
+it.</p>
+<p>Let us first consider the tales into which <i>The Poison Maiden</i>
+and <i>The Ransomed Woman</i> do not enter, which have only <i>The
+Grateful Dead</i> + <i>The Water of Life</i> or some kindred theme.
+These include <i>Maltese, Polish</i>, <i>Hungarian I., Rumanian II.,
+Straparola II., Venetian</i>, <i>Sicilian, Treu Heinrich</i>, and
+<i>Harz II.</i> They are as widely different in their characteristics
+as in their sources.</p>
+<p><i>Maltese</i> has the following form: The three sons of a king
+successively go out in search of a bird, the song of which will make
+their father young. The elder two lose their all by gambling with a
+maiden in a palace by the way. The youngest brother pays four thousand
+pounds sterling to bury properly a man who has been dead eight months.
+He is warned against the maiden by a ghost, and so wins all from her
+(by using his own cards), thus rescuing his brothers. When he comes to
+the castle, the ghost again appears, and tells him to take the bird
+that he finds in a dirty cage. On the way back he is thrown overboard
+from the steamboat by his brothers, <span class="pagenum">[<a id=
+"pb128" href="#pb128" name="pb128">128</a>]</span>but is saved by the
+ghost, who appears in the form of a rock with a tree on it. He is
+rescued by another steamer, and comes home in rags, where he is
+recognized by the bird, which has hitherto refused to sing. The
+brothers are banished.</p>
+<p>According to the <i>Polish</i> story, a poor scholar pays his all
+for the burial of a corpse lying maltreated by the way. Later he goes
+to sleep under an oak, and on awaking finds his purse full of gold. He
+is robbed of this while crossing a stream, by some scoundrels who cast
+him into the water; but he is rescued by the ghost of the dead man, who
+appears in the form of a plank and gives him the power of turning
+himself into a crow, a hare, or a deer. He becomes a huntsman to a
+king, whose daughter lives on an inaccessible island. In her castle is
+a sword with which a man could overcome the greatest army. When war
+threatens, the king offers the princess to any man who can obtain the
+sword. By means of his power of metamorphosis the hero carries her a
+letter and wins her love. When he exhibits his magical powers, she cuts
+off a bit of the fur, or a feather, from each creature into which he
+turns. With the sword he then starts back to court, but on the way he
+is shot by a rival and robbed of the sword and a letter from the
+princess. He lies in the way in the form of a dead hare till the war is
+ended and the rival is about to marry the princess, when he is revived
+and warned by the ghost. At court he is recognized by the princess, who
+proves his tale by having him turn into various shapes and fitting the
+samples which she has taken.</p>
+<p>In <i>Hungarian I.</i> a soldier gave all he had to an old beggar,
+who in turn gave him the power to change at will into a dove, a fish,
+or a hare. He took service with a king, and one day was sent back to
+the castle for a magic ring. There he met the princess, and exhibited
+to her his powers of metamorphosis, permitting her to <span class=
+"pagenum">[<a id="pb129" href="#pb129" name="pb129">129</a>]</span>pull
+two feathers, take eight scales, and cut off his tail. While running
+back to the king in the form of a hare, he was shot by an envious
+comrade, who took the ring and was rewarded. The hero was restored to
+life by the old beggar, and returned to the castle, where he was
+brought to the princess. She succeeded in proving the truth of his
+story by means of the feathers, the scales, and the tail, which she had
+so fortunately preserved.</p>
+<p><i>Rumanian II.</i>, though changed into legendary form, does not
+differ greatly from the two variants just cited. A shepherd boy gave
+his one sheep to Christ, when He asked for food. In return, he received
+a knife with three blades. Later he took service with a man, with whom
+he entered the army of the emperor. One day the monarch found that he
+had forgotten his ring, and promised half his kingdom to anybody who
+could bring it to him from the palace within twenty-four hours. By
+means of his magical knife the hero changed into a hare, obtained the
+emperor&rsquo;s ring as well as one from the princess&rsquo;s own hand,
+and returned to the army. There he was met by his master, who plundered
+him, threw him into a spring, and went to the emperor for reward. When
+the battle was over and all had returned to the capital, the princess
+said that the man who was presented as her bridegroom was not he to
+whom she gave the ring. Meanwhile, Christ had rescued the hero from the
+spring and sent him to the palace in the form of a fox with his ring in
+a basket. The princess recognized from the token that he was her true
+bridegroom, and brought him to the emperor.</p>
+<p><i>Straparola II.</i> introduces certain new elements to our notice.
+A king&rsquo;s son releases a wild man, whom his father has
+incarcerated, in order to get back an arrow that the man has taken from
+him. The man is really a disappointed lover, who had given himself up
+to a savage life. The boy&rsquo;s mother, in fear of the king, sends
+him <span class="pagenum">[<a id="pb130" href="#pb130" name=
+"pb130">130</a>]</span>away in the care of two faithful servants, with
+whom he lives in obscurity till he is sixteen years old. Covetous of
+his wealth, they are about to kill him, when the wild man, transformed
+into a splendid knight by a grateful fairy, joins them. They go to a
+beautiful city called Ireland, which is devastated by a ferocious horse
+and an equally savage mare. The traitorous servants plot to destroy the
+prince by giving out, first, that he has boasted that he can overcome
+the horse, and, second, the mare. By the advice of his unknown friend
+and the help of the latter&rsquo;s fairy horse, he accomplishes these
+labours. He is told by the king that he may have one of his daughters
+in marriage, if he can tell which has hair of gold. He is told by his
+companion that a hornet, which he has released, will appear at the test
+and fly three times around the head of the princess whom he is to
+choose. The man explains at the same time the cause of his
+benevolence,&mdash;gratitude because by him he has been delivered from
+death. The prince is thus enabled to pick out the princess with golden
+hair, and is married to her, while his companion receives the
+sister.</p>
+<p>In the <i>Venetian</i> tale, again a peculiar variant, twelve
+brothers seek twelve sisters as wives. Eleven of them go out at first,
+and are turned to stone. The youngest brother sets out after a year,
+and on the way has a poor dead man buried. Later, when he has saved his
+eleven brothers, they become envious, and throw him into a well. The
+thankful dead man then comes, draws him out with a cord, and explains
+who he is. The hero proceeds to his home and tells his story.</p>
+<p><i>Sicilian</i> is more extended but less difficult to place. The
+three orphaned sons of a rich man try to win the daughter of a certain
+king, who has announced that he will marry the princess to anyone who
+can make a ship that will travel alike on land and water. The eldest
+and middle brothers are unsuccessful because they are <span class=
+"pagenum">[<a id="pb131" href="#pb131" name=
+"pb131">131</a>]</span>unkind to the poor who ask for work. The
+youngest brother gives work to both old and young, and, when an old man
+(St. Joseph) appears, makes him overseer. After the work is done, he
+agrees to give half of what he obtains to the old man, and goes with
+him in the ship to court. On the way he takes in a man who is found
+putting clouds in a sack, another who is bearing half a forest on his
+back, another who has drunk half a stream, another who is aiming his
+bow at a quail in the underworld, and another who stands with one foot
+at Catania and the other at Messina. At the court the king refuses to
+give up his daughter till the hero can send a message to the underworld
+and get an answer in an hour, which he does by means of the
+long-strider and the shooter; and till he can find a man who will drink
+half the contents of his cellar in one day, which the drinker easily
+accomplishes. The king then offers as dowry only what one man can carry
+away, but he is foiled by the man who bore half the forest on his back,
+who now takes all the contents of the palace and departs with the hero,
+the princess, and their companions. The king pursues them, but is
+befogged by the man with the clouds. When they arrive at home, the
+saint demands his half, even of the king&rsquo;s daughter; but when the
+hero takes his sword to divide her, he cries out that he merely wished
+to test his faithfulness.</p>
+<p>In <i>Treu Heinrich</i> a noble youth lost his property through
+prodigality in tournaments. Finally he sold his all to enter a tourney
+for the hand of the daughter of the King of Cyprus, but he gave half to
+his faithful follower Heinrich. After they set out for Cyprus, they
+were joined by a knight, who shared the hero&rsquo;s hospitality for
+fourteen days, agreeing to do the same in return, but at last riding
+away. In destitution they arrived at Famagust in Cyprus. While Heinrich
+was in the city, the hero found a clear stone left by a bird, through
+which <span class="pagenum">[<a id="pb132" href="#pb132" name=
+"pb132">132</a>]</span>he obtained power to become a bird. He then
+established himself in the city, met the princess with the result that
+they fell in love, and flew to her chamber as a bird. He obtained from
+her not only his desire but an ornament which he gave to the strange
+knight, who had again joined him. Later he overcame this knight in the
+tourney, but the latter was mistaken for himself. Again he flew to the
+princess, who gave him a crown, and again, after giving it to the
+stranger, he overcame him in a fight. The princess now gave him a
+helmet, which he kept; and he was proclaimed victor of the jousting.
+Once more he flew to the princess, and obtained from her an ornament
+for his helmet, made by herself. Thus he won her as wife.</p>
+<p>In <i>Harz II.</i> our primary motive is far less obscure than in
+the version just summarized. A youth pays his all, thirty-eight
+dollars, to free a dead man from indebtedness. He goes his way, and
+meets a young fellow, who accompanies him. They fall in with a man
+bearing two trees, a man with a hat on one side, a man with a wooden
+leg, and a man with a blind eye. The six go together to a city, where
+the princess can be won only by performing feats, with the penalty of
+death attached to failure. The companions aid the hero by bringing
+water from a distant spring and by keeping a fiery furnace habitable,
+so that he wins the princess.</p>
+<p>These nine variants are, it will be seen, related in very different
+degrees to <i>The Grateful Dead</i>. What a debased type of the
+<i lang="de">m&auml;rchen</i> they represent is shown by the fact that
+in no less than five<a class="noteref" id="xd20e5672src" href=
+"#xd20e5672" name="xd20e5672src">19</a> the burial of the corpse, which
+is the most fundamental trait of the theme, has been lost. Yet for two
+reasons it is clear that they are really scions of the stock. In the
+first place, wherever the burial has been cut away, other elements of
+<span class="pagenum">[<a id="pb133" href="#pb133" name=
+"pb133">133</a>]</span>the motive in its simple form have been
+retained. Thus in <i>Hungarian I.</i> and <i>Rumanian II.</i> the deeds
+of the old beggar (or Christ) make his identity with the ghost
+unquestionable; in <i>Straparola II.</i>, despite its sophistication,
+the wild man fills the same r&ocirc;le, while his explanations at the
+end show that the burial has been merely blurred; in <i>Sicilian</i>
+both the agreement to divide and the division of the woman as a test
+are introduced; and in <i>Treu Heinrich</i> there is double division in
+a way, since the hero divides his property with his faithful follower
+to begin with and afterwards agrees to an exchange of hospitality with
+the helpful knight, going so far as actually to give him two of the
+four gifts received from the princess. In the second place, certain
+variants without the burial are very closely allied with others which
+retain it,<a class="noteref" id="xd20e5698src" href="#xd20e5698" name=
+"xd20e5698src">20</a> as will be seen in a moment. Thus all those
+treated here may safely be admitted to the group.</p>
+<p>The reader must, however, have been struck, while examining the
+summaries just given, with the great diversity of the residuum which
+would be left if the parts properly belonging to <i>The Grateful
+Dead</i> were taken away. Indeed, they may be separated on this score
+into four categories with a couple of minor divisions. <i>Polish,
+Hungarian I.</i>, and <i>Rumanian II.</i> are very similar in respect
+to these matters, having a princess who is won by the feat of obtaining
+something left at home by her father (this feat made possible by the
+power given the hero to change his form) and a treacherous rival.
+<i>Polish</i> has the peculiarity that the article to be obtained by
+the hero is a magical sword.<a class="noteref" id="xd20e5726src" href=
+"#xd20e5726" name="xd20e5726src">21</a> <i>Treu Heinrich</i> stands a
+little apart from these, since the rival does not appear <span class=
+"pagenum">[<a id="pb134" href="#pb134" name="pb134">134</a>]</span>and
+the princess is won by a tourney; yet it has the curious metamorphosis,
+and must be considered as having some connection. <i>Maltese</i> and
+<i>Venetian</i> fall together. <i>Venetian</i> has retained from <i>The
+Water of Life</i> only the misfortune and the treachery of the older
+brothers,<a class="noteref" id="xd20e5754src" href="#xd20e5754" name=
+"xd20e5754src">22</a> while <i>Maltese</i> keeps also the magical bird
+and the features naturally connected therewith. The introduction of two
+steamboats in the latter is a curious illustration of the ease with
+which popular tales change details without altering essentials.
+<i>Sicilian</i> and <i>Harz II.</i> again are alike, both being
+compounded with <i>The Skilful Companions</i>,<a class="noteref" id=
+"xd20e5772src" href="#xd20e5772" name="xd20e5772src">23</a> and making
+the winning of the princess depend on feats really accomplished by the
+helpers characteristic to that tale. <i>Straparola II.</i> must be
+placed alone, having nearly all trace of <i>The Water of Life</i> lost
+in the traits of <i>The Lady and the Monster</i>, with a princess won
+by the hero&rsquo;s happily directed choice.<a class="noteref" id=
+"xd20e5791src" href="#xd20e5791" name="xd20e5791src">24</a></p>
+<p>All of these features will appear again when we come to discuss
+variants which combine the compound types <i>The Grateful Dead</i> +
+<i>The Poison Maiden</i> or <i>The Ransomed Woman</i> with <i>The Water
+of Life</i>. They may, therefore, be passed over for the present,
+together with the question as to whether such a simple combination as
+<i>The Grateful Dead</i> + <i>The Water of Life</i> may be regarded as
+being the original from which the more complicated types have sprung.
+It is sufficient for the moment to recognize the tendency of the
+simpler variants to fall <span class="pagenum">[<a id="pb135" href=
+"#pb135" name="pb135">135</a>]</span>into groups on the basis of the
+residuum left by subtracting traits belonging to <i>The Grateful
+Dead</i>.</p>
+<p>Let us now consider the tales where a thankful beast plays the part
+of the grateful dead through at least a portion of the narrative, and
+where there is still no trace of either <i>The Poison Maiden</i> or
+<i>The Ransomed Woman</i>. The change of beast for ghost is so obvious
+and easy that the separation of these variants from the preceding
+appears at first sight to be of merely formal use. Yet thus considered,
+they may serve to define the sub-divisions already noticed. Nine such
+versions have come to my knowledge: <i>Walewein, Lotharingian,
+Tuscan</i>, <i>Brazilian, Basque I., Breton IV., V.</i>, and
+<i>VI.</i>, and <i>Simrock IX.</i> All but one are folk-tales, and
+that, curiously enough, an episode in a thirteenth century<a class=
+"noteref" id="xd20e5844src" href="#xd20e5844" name=
+"xd20e5844src">25</a> Dutch romance translated from the
+French.<a class="noteref" id="xd20e5847src" href="#xd20e5847" name=
+"xd20e5847src">26</a></p>
+<p><i>Walewein</i>, the variant in question, has the following form:
+Walewein (or more familiarly Gawain) sets forth from Arthur&rsquo;s
+court to secure a magical chessboard. He is promised it by King Wonder
+if only he will get the sword of rings from King Amoris, who in turn
+will give that up if Walewein will bring him the princess of the Garden
+of India. On this quest the hero mortally wounds a certain Red Knight,
+who prays him for Christian burial and is properly interred. He then
+proceeds to the castle of King Assentin, whose daughter recognizes in
+him the ideal knight whom she has seen in a dream. He is led under the
+dark river which surrounds the castle by the Fox Rog&egrave;s, and wins
+the princess. The lovers and the fox (a prince transformed) escape by
+the help of the Red Knight&rsquo;s ghost. After many adventures they
+come together to the court with a chessboard, which is given up by King
+Wonder in exchange for the sword. Walewein is able to keep the princess
+for his own because of the death of Amoris. <span class=
+"pagenum">[<a id="pb136" href="#pb136" name="pb136">136</a>]</span></p>
+<p><i>Lotharingian</i> runs as follows: A king has three sons. He sends
+them successively to seek the water of life. Two of them refuse to help
+a shepherd on the way, and rest from their search in Pekin. The third,
+who is deformed, aids the shepherd, and receives from him some arrows,
+which will pierce well whatever they strike, and a flageolet, which
+will make everyone dance within hearing of it. Arrived at Pekin, the
+humpback pays the debts of a corpse, and has it buried. He goes on till
+his money is exhausted. When he is about to shoot a fox one day, he is
+stayed by pity, and is directed by the creature to the castle where the
+water of life is to be found. There he is detained by an ogre, and wins
+battles for him by the aid of the magical arrows. There is a princess
+in the castle, who refuses to marry the ogre. The hero makes her dance,
+and obtains from the ogre as recompense the promise of whatever he
+wishes. He asks for the most beautiful thing there and the right to
+circle the castle three times. So he takes the princess, a phial of the
+water of life, as well as the uglier of the two mules and of the two
+green birds, as the fox has told him, and flees away. He meets the fox
+again, and is warned not to help any one in trouble. Nevertheless, he
+rescues his two brothers from the scaffold in Pekin, and is cast into a
+well by them. They go home, but are not able to heal the king.
+Meanwhile, the prince is saved by the fox, and is made straight of
+body. He goes home, and at his coming the king becomes young again,
+while the brothers are burned. So the prince marries the lady.</p>
+<p>In <i>Tuscan</i> we learn that the youngest of three princes, while
+wandering, paid the debts of a man whose corpse was being insulted.
+When he had buried the man, he found himself without a farthing, and so
+slept in the forest. In the morning he was greeted by a hare
+(<i>lieprina</i>) with a basket of food in its mouth. He took
+<span class="pagenum">[<a id="pb137" href="#pb137" name=
+"pb137">137</a>]</span>this gladly, and reflected that the creature
+must be the soul of the man whom he had buried. He then came to an inn,
+and took service with the host, whose beautiful daughter he soon
+discovered to be a princess, who had been bought while an infant. After
+winning her love, the hero went on into two kingdoms, where he obtained
+a magical purse and a wonderful horse from two ugly daughters of
+innkeepers. With these possessions he returned to the princess, and
+started with her for his home. On the way he saved from death his two
+older brothers, who had gone out to seek adventures at the same time as
+himself. They repaid the kindness by trying to drown him and by
+carrying the princess off home, where only by feigning illness could
+she frustrate their plan that she choose one of them as husband.
+Meanwhile, the hero was rescued from drowning by the hare, and came
+home. By pretending to be a physician he obtained access to the
+princess, was recognized, and then revealed himself to his father.</p>
+<p>The <i>Brazilian</i> tale is brief but not unusual in type. A
+prince, while seeking a remedy for his father, passes through a town
+and sees a corpse, which is held for debt. He pays the creditors, and
+has the corpse buried. Later he is met by a fox, which helps him obtain
+not only the remedy for his father but in addition a princess as his
+wife. On its last appearance the beast declares that it is the soul of
+the man whom he buried.</p>
+<p><i>Basque I.</i> has the following form: Three sons go out to seek a
+white blackbird by which their father can be healed. Two of them get
+into debt to the same three ladies, and, according to the custom of the
+land, are imprisoned. The third son resists the sirens, ransoms his
+brothers, and also pays the debts of a dead man, whose corpse is being
+maltreated. He arrives at the house of the king who has the white
+blackbird, and is told to get a certain young woman from another king.
+<span class="pagenum">[<a id="pb138" href="#pb138" name=
+"pb138">138</a>]</span>He goes far on till he comes near the castle,
+where he meets a fox and is instructed by it to enter a certain room,
+in which he will find the lady dressed in poor clothing. He must have
+her put on good clothes, and she will sing. He follows the advice, but
+is interrupted, while the lady is singing, by the king of the castle,
+who tells him that he must get a white horse from still another king.
+He meets the fox again, and is instructed that, when he finds the horse
+with an old saddle on it, he must put on a good one, so that it will
+neigh. Again he follows the fox&rsquo;s advice, and is interrupted by
+people who rush in when they hear the horse neigh. From them he obtains
+the steed, and retraces his steps, eloping with the lady at the second
+king&rsquo;s castle and at the first king&rsquo;s carrying off the
+blackbird. On his arrival at home he is thrown into a cistern by his
+treacherous brothers, who take his spoil to the king. He is saved by
+the fox, however, which draws him out with its tail. When he comes into
+the presence of his father, and not till then, is the healing
+accomplished.</p>
+<p>In <i>Breton IV.</i> we find again three sons of a king, who set
+forth to get the white blackbird and also the lady with locks of gold.
+Jeannot, the youngest of them, pays for the interment of a beggar on
+the way. Later a fox comes to him, saying that it is the soul of the
+poor man. It helps him procure the youth-giving blackbird and afterward
+the lady with the marvellous hair. He then meets his brothers, who for
+envy push him over a precipice, but he is saved and sent homeward by
+the fox.</p>
+<p><i>Breton V.</i> does not differ materially from the preceding,
+though it has interesting minor variations. The three sons of a king
+seek the bird Dr&eacute;daine in its golden cage in order to cure their
+father. The two elder brothers go to England, and there meet jolly
+companions, but find no trace of the bird. The third brother, the ugly
+one, comes thither, is mocked and robbed by <span class=
+"pagenum">[<a id="pb139" href="#pb139" name=
+"pb139">139</a>]</span>them, but goes his way. One night he lodges in a
+forest hut, and there finds a man&rsquo;s body, which the widow cannot
+bury for lack of money to pay the priest. He is now poor, but pays for
+the interment of the corpse, and proceeds. He is followed by a white
+fox, which instructs him how to achieve his quest. He soon reaches the
+castle, traverses three courts, comes to one chamber where he finds a
+piece of inexhaustible bread, enters a second where he gets an
+unfailing pot of wine and makes love to a sleeping princess, and goes
+on to a third where he finds a magical sword and the bird. He hastens
+away with his booty, guided for a time by the fox, sells his bread and
+his wine to innkeepers on condition that they be given up to the
+princess if ever she comes for them, and arrives at the city where his
+brothers are now in prison. He ransoms them by helping the king, and
+pays their debts by selling his sword. On their way home he is thrown
+into a well by his brothers, who take the bird to their father, but do
+not succeed in curing him. Meanwhile, the hero is saved by the fox,
+which now explains that it is the soul of the man whom he has buried,
+and definitely disappears. He arrives at his home as a beggar, and
+takes service with his father. Later the princess comes thither with
+the son that is the fruit of their union, and brings with her the
+bread, wine, and sword which she has found on the way. The bird sings,
+the king is healed, and the wicked brothers are executed.</p>
+<p><i>Breton VI.</i> lacks some of the interesting traits of the
+variant just given, but embroiders the theme with considerable grace.
+The three sons of a king set out to find the princess of Hungary, who
+has the only remedy that will cure their father. The eldest forgets his
+purpose, and wastes his money in rioting. The second finds him just as
+he is being led to death on account of debt, ransoms him, and shares
+his riotous pleasures. The third <span class="pagenum">[<a id="pb140"
+href="#pb140" name="pb140">140</a>]</span>brother, a humpback, goes out
+with little money, but on his way procures burial for a man&rsquo;s
+corpse, which the widow has been unable to do because of lack of money
+to pay the priest. The next day a fox with a white tail meets him, and
+in return for a bit of cake leads him to the castle of a princess.
+There the prince resists the lady&rsquo;s advances, which he suspects
+are derisive, and is sent to her sister&rsquo;s castle, where he has
+the same experience. When he arrives at the castle of the third sister,
+he yields to her proposals, is given the remedy for his father and a
+magical sword, and is told how to go home. On the way he rescues his
+brothers from the scaffold by waving his sword, and is robbed and
+thrown into a well by them. Thence he is rescued by the fox, which
+comes at his call, and before it disappears explains that it is the
+ghost. Meanwhile, the older brothers have cured the king by the water
+of life in a phial; so when the hero comes home he is not believed. In
+a year and a day the princess arrives there according to her promise,
+and with a little son. At a feast she proclaims the truth, cuts her
+husband into bits, sprinkles the heap of fragments with the water of
+life, and marries the handsome youth who at once arises&mdash;the
+humpback transformed.<a class="noteref" id="xd20e5901src" href=
+"#xd20e5901" name="xd20e5901src">27</a></p>
+<p>According to <i>Simrock IX.</i>, finally, the three sons of a king
+seek the bird ph&oelig;nix to cure their blind father. The two elder
+enter the castle of a beautiful maiden, and are lost; but the youngest
+resists the temptation, and takes lodging at an inn. There at night he
+is startled by a ghost, which tells him that it is the spirit of a man
+whom the host has buried in the cellar for non-payment of a score, and
+which implores his help. The youth arranges for payment of the debt and
+for proper burial, then goes his way. In the wood he meets a wolf,
+which instructs him how to find the bird ph&oelig;nix in a cage in
+<span class="pagenum">[<a id="pb141" href="#pb141" name=
+"pb141">141</a>]</span>the magical castle, and carries him thither.
+Because he fails to take the worse-looking bird according to
+instructions, he has to get a steed as swift as wind for the lord of
+the castle. Again he is disobedient when told to take the worst-looking
+horse only, and so has to get the most beautiful woman in the world for
+the lord of this castle. Again he is brought by the wolf to a castle,
+where he obediently chooses a black maiden instead of one who is
+apparently beautiful. With maiden, horse, and bird he turns home. The
+wolf in parting from him explains that it is the ghost of the dead man,
+and warns him not to buy gallows flesh. When he meets his brothers on
+their way to be hanged, however, he forgets this, and ransoms them. In
+return he is nearly murdered by them and left for dead, but is rescued
+and healed by the wolf, and so at last reaches his destination.</p>
+<p>In none of these nine stories is the burial of the dead, one of the
+two most fundamental features of our leading motive, in any way
+obscured. They are thus less difficult to treat than was the preceding
+group, in spite of the added complications introduced by the advent of
+the helpful animal. This creature should naturally take the role of the
+ghost, appear as the embodiment of the dead man&rsquo;s soul indeed;
+and with but two exceptions<a class="noteref" id="xd20e5913src" href=
+"#xd20e5913" name="xd20e5913src">28</a> it actually fulfils the part.
+In those two there has been, apparently, imperfect amalgamation, so
+that the helper is duplicated, and the motivation obscured. In
+<i>Walewein</i>, a literary version, consciously adapted to the
+requirements of a <i lang="fr">roman d&rsquo;aventure</i>, this need
+excite no wonder. The ghost does its part properly, and the fox is
+merely an additional agency in the service of the hero, acting out of
+pure kindness of heart<a class="noteref" id="xd20e5927src" href=
+"#xd20e5927" name="xd20e5927src">29</a> as far as one can see.
+<i>Lotharingian</i>, not contented with duplicating the trait,
+triplicates it. <span class="pagenum">[<a id="pb142" href="#pb142"
+name="pb142">142</a>]</span>The fox, as in the ordinary form of <i>The
+Thankful Beasts</i>, helps the hero because of a benefit received; the
+shepherd bestows magical gifts, as in a common type of <i>The Water of
+Life</i>, because of the hero&rsquo;s kindness; while the dead debtor
+remains inactive after the burial, and plays no further part in the
+narrative.</p>
+<p>As for <i>The Water of Life</i>, there are fewer complications in
+this group than in that where the thankful beast does not appear. In
+all of the variants some of the fundamental traits of the theme remain
+intact. In all save <i>Walewein</i> and <i>Brazilian</i> (which is a
+degenerate form presumably carried across the sea by Spaniards or
+Portuguese) the three brothers set out from home in quite the normal
+way. <i>Walewein</i> again lacks the water of life, which
+<i>Brazilian</i> retains. All the other versions, save <i>Tuscan</i>,
+keep this water or replace it by some other restorative agency. Two
+variants only fail to make the older brothers act treacherously towards
+the hero, these being again <i>Walewein</i> and <i>Brazilian</i>. The
+former thus lacks three of the essentials of the theme, the latter two.
+Yet since <i>Walewein</i> makes the hero win his princess by going on
+from adventure to adventure quite in the normal manner, and since
+<i>Brazilian</i> makes him obtain both water of life and princess,
+though with loss of interesting details, we are surely justified in
+placing both in this category.</p>
+<p>It is worth our while to note in this connection that all these nine
+variants come from southern Europe, directly or by derivation.<a class=
+"noteref" id="xd20e5980src" href="#xd20e5980" name=
+"xd20e5980src">30</a> Geographical proximity, though not sufficient in
+itself as a basis of classification, adds welcome confirmation to other
+proof in cases like this, where a small group of highly complicated
+tales is found to exist in neighbouring countries only. That
+<span class="pagenum">[<a id="pb143" href="#pb143" name=
+"pb143">143</a>]</span><i>Walewein</i> can be connected with this
+specialized sub-division has important bearings on the question whence
+the material for that romance was taken. In view of the limited
+territory which this form of the story has covered as a folk-tale in
+six hundred years, and the fact that France would be the centre of the
+region, it seems fair to assume that some thirteenth century French
+writer took a <i lang="de">m&auml;rchen</i> of his own land as the
+basis for his work, thus elaborating with native material the
+adventures of a Celtic hero.</p>
+<p>The question now arises as to what light the group just considered
+throws upon the variants which combine the simple theme of <i>The
+Grateful Dead</i> with <i>The Water of Life</i> or some such motive. It
+appeared, the reader will remember, that according to the elements
+foreign to the main motive they must be separated into four classes.
+Reference to these classes<a class="noteref" id="xd20e6003src" href=
+"#xd20e6003" name="xd20e6003src">31</a> will show that the variants
+with <i>The Thankful Beasts</i> are in many respects different from any
+one of them as far as the features peculiar to <i>The Water of
+Life</i>, or kindred themes, are concerned. Yet because <i>Maltese</i>
+and the brief <i>Venetian</i>, though otherwise transformed, are the
+only tales aside from these<a class="noteref" id="xd20e6019src" href=
+"#xd20e6019" name="xd20e6019src">32</a> that preserve the treachery of
+the hero&rsquo;s brothers, it is safe to class them together. Both
+<i>Maltese</i> and <i>Venetian</i> come, it will be observed, from the
+same general region as all the other members of the group.</p>
+<p>Since the elements left by subtracting <i>The Grateful Dead</i> from
+the variants of the four categories thus discovered are very diverse,
+we cannot postulate a parent form from which all four classes might
+have sprung. Indeed, the evidence thus far obtained all points to a
+separate combination of already developed themes with <i>The Grateful
+Dead</i>. The test of this will be found in <span class=
+"pagenum">[<a id="pb144" href="#pb144" name="pb144">144</a>]</span>an
+examination of those variants of those larger compounds, which have
+also traces of <i>The Water of Life</i> or some allied motive.</p>
+<p>Turning first to such versions of the combination <i>The Grateful
+Dead</i> + <i>The Poison Maiden</i>, we find eleven on our list, all of
+which have already been summarized and discussed in connection with the
+simple compound.<a class="noteref" id="xd20e6049src" href="#xd20e6049"
+name="xd20e6049src">33</a> These are <i>Esthonian II., Rumanian I.,
+Irish I., Irish II.</i>, <i>Irish III., Danish III., Norwegian II.,
+Simrock X.</i>, <i>Harz I., Jack the Giant-Killer</i>, and <i>Old
+Wives&rsquo; Tale</i>. Since we know definitely that <i>Danish III.</i>
+(the tale by Christian Andersen) was taken from <i>Norwegian II.</i>,
+it may be left out of account. Ten variants thus remain to be studied
+with reference to the subsidiary elements.</p>
+<p>In <i>Esthonian II.</i> the hero releases a princess, who goes with
+devils every night to church, by watching in the church for three
+nights with three, six, and twelve candles on successive nights. In
+<i>Rumanian I.</i> the hero wins a princess by explaining why she wears
+out twelve pairs of slippers every night; and he accomplishes this by
+the aid of his helper, who follows the lady in the form of a cat, and
+picks up the handkerchief, spoon, and ring which she drops in the house
+of the dragons. According to <i>Irish I.</i> the helper obtains for the
+hero horses of gold and silver, a sword of light, a cloak of darkness,
+and a pair of slippery shoes; he helps him keep over night a comb and a
+pair of scissors, in spite of enchantment, and finally gets the lips of
+the giant enchanter, so that the hero unspells and wins the lady of his
+quest. In <i>Irish II.</i> the hero is joined by a green man (the
+grateful dead), a gunner, a listener, a blower, and a strong man. By
+the aid of the first he gives his princess a pair of scissors, a comb,
+and the enchanter&rsquo;s head; by the aid of the others he obtains
+water from the well of the western world, and is enabled to walk over
+three miles of needles. <i>Irish III.</i> <span class="pagenum">[<a id=
+"pb145" href="#pb145" name="pb145">145</a>]</span>has a helper who
+obtains for the hero a sword, a cloak of darkness, and swift shoes,
+rescues a pair of scissors, and obtains the enchanter&rsquo;s head,
+while the hero wins a race by the aid of the shoes. According to
+<i>Norwegian II.</i> the hero and helper get a sword, a ball of yarn,
+and a hat, while the latter follows the princess and rescues a pair of
+scissors and a ball, finally obtaining the troll&rsquo;s head. In
+<i>Simrock X.</i> the helper secures three rods, a sword, and a pair of
+wings, follows the princess, and learns how to answer her riddles,
+emphasizing his knowledge by getting the wizard&rsquo;s head. <i>Harz
+I.</i> has the helper give wings and a rod to the hero, who flies with
+the princess and learns to guess her riddles, cutting off the
+monster&rsquo;s head. In <i>Jack the Giant-Killer</i> Jack obtains
+gold, a coat and cap, a sword, and a pair of slippers for his master,
+follows the princess, and secures the handkerchief and the
+demon&rsquo;s head, which are requisite to the unspelling. Finally,
+according to <i>Old Wives&rsquo; Tale</i>, the helper, while invisible,
+slays the conjuror, and so obtains the princess for his master.</p>
+<p>It will at once be recognized that all of these variants are of one
+type as far as the traits just specified are concerned. The basal
+element is the hero&rsquo;s success in winning an enchanted princess
+either by accomplishing difficult feats or answering riddles. The water
+of life, as such, appears in only one story, <i>Irish II.</i>, and
+there not as the prime goal of the hero&rsquo;s quest, but merely as
+the object of a subsidiary labour. Clearly these tales not only form a
+group by themselves, but have in combination with <i>The Grateful
+Dead</i> and <i>The Poison Maiden</i> a theme which is not properly
+<i>The Water of Life</i>. This theme is as clearly <i>The Lady and the
+Monster</i>,<a class="noteref" id="xd20e6124src" href="#xd20e6124"
+name="xd20e6124src">34</a> which is closely allied to <i>The Water of
+Life</i>, but is essentially distinct. It has already been found
+compounded with the simple form of <i>The Grateful Dead</i> in the
+somewhat <span class="pagenum">[<a id="pb146" href="#pb146" name=
+"pb146">146</a>]</span>degenerate and literary <i>Straparola
+II.</i>,<a class="noteref" id="xd20e6138src" href="#xd20e6138" name=
+"xd20e6138src">35</a> though the method by which the enchanted princess
+was won in that variant was different from that given in the present
+group.</p>
+<p>Within the group there are minor differences with reference to the
+manner of unspelling the princess, which resolve themselves either, on
+the one hand, into the hero&rsquo;s keeping or obtaining something for
+her, or, on the other, into his guessing the object of her thoughts.
+These details are not, however, of much importance for the purpose in
+hand, though they might become so if an attempt were made to sub-divide
+the group. Thus <i>Esthonian II.</i> is decidedly unusual in its
+treatment of the matter just mentioned. <i>Irish I.</i> has traces of
+the <i>Sword of Light</i><a class="noteref" id="xd20e6152src" href=
+"#xd20e6152" name="xd20e6152src">36</a> and of <i>The Two
+Friends</i>.<a class="noteref" id="xd20e6158src" href="#xd20e6158"
+name="xd20e6158src">37</a> In <i>Harz I.</i> the hero himself follows
+the princess instead of leaving the actual work of unspelling to the
+helper, as is elsewhere the case. <i>Irish II.</i>, finally, is
+peculiar not only in bringing in <i>The Water of Life</i>, as mentioned
+above, but also the motive of <i>The Skilful Companions</i>, which we
+have already met with in Sicilian and <i>Harz II.</i><a class="noteref"
+id="xd20e6176src" href="#xd20e6176" name="xd20e6176src">38</a></p>
+<p><i>Irish II.</i> is, indeed, of great importance to our study at
+this point. It is in some way a link between <i>Sicilian</i> and
+<i>Harz II.</i> and the subdivision now under discussion. Furthermore,
+the fact that <i>Straparola II.</i> has some traits of <i>The Lady and
+the Monster</i> in common with all the members of the group under
+consideration shows that it can safely be placed in the same category
+as <i>Sicilian</i> and <i>Harz II.</i> Though the feats by which the
+princess is won are somewhat different in the last-named variants from
+the feats in <i>Straparola II.</i> on the one hand and in the compound
+<i>The Grateful Dead</i> + <i>The Poison Maiden</i> + <i>The Water of
+Life</i> (<i>The Lady and the Monster</i>) on the other, there can be
+little doubt, it seems <span class="pagenum">[<a id="pb147" href=
+"#pb147" name="pb147">147</a>]</span>to me, that all of them belong
+together. <i>Irish II.</i> by the introduction of <i>The Skilful
+Companions</i> thus furnishes a clue by which the tales having the
+compound just mentioned may be classed with two varieties of the simple
+combination, and permits us to reduce the total number of categories
+with reference to <i>The Water of Life</i> from four to three.</p>
+<p>Before proceeding to a general discussion of the means by which this
+theme was brought into connection with <i>The Grateful Dead</i> and the
+comparative date of the combination or series of combinations, it is
+necessary to examine four other versions,&mdash;those which have the
+form <i>The Grateful Dead</i> + <i>The Ransomed Woman</i> + <i>The
+Water of Life</i>. Like the group just treated, all of them have been
+summarized and discussed with reference to the prime features of the
+compound.<a class="noteref" id="xd20e6249src" href="#xd20e6249" name=
+"xd20e6249src">39</a> They are <i>Bohemian, Simrock I., Simrock
+III.</i>, and <i>Simrock VII.</i></p>
+<p>The elements of these variants, apart from those due to the main
+compound, are as follows. In <i>Bohemian</i> the hero is given a flute
+and a captive princess by his helper, and escapes with them from
+prison. Later he is cast into the sea by a rival, but is rescued by the
+helper and given a wishing ring. By means of this ring he turns first
+into an eagle and afterwards into an old man, and succeeds in winning
+the princess by building and painting a church. In <i>Simrock I.</i>
+the hero is rescued by the helper after being cast overboard by a
+rival, and is given the power of obtaining his wishes. Thereby he
+paints three rooms to the liking of the princess, and is recognized by
+her. <i>Simrock III.</i> differs from this only in making the helper do
+the painting and in having one room painted instead of three. In
+<i>Simrock VII.</i>, finally, the hero releases a princess by hewing
+trees, separating grain, and choosing his mistress among three hundred
+women, all without aid. Later he is rescued <span class=
+"pagenum">[<a id="pb148" href="#pb148" name="pb148">148</a>]</span>from
+the sea and recognized by means of a ring and a handkerchief.</p>
+<p>The first three of these variants clearly show in the subsidiary
+elements just enumerated their relationship to <i>The Water of
+Life</i>. They lack the quest for some magical fountain or bird, to be
+sure, but they preserve the quest for the lady, which is an important
+factor in the <i>m&auml;rchen</i>. Of the three, <i>Bohemian</i> has
+the most extended and probably the best presentation of the details of
+the difficult courtship; and it gives the hero that power of
+metamorphosis which was noted in four variants of the type <i>The
+Grateful Dead</i> + <i>The Water of Life</i> simply. It may, therefore,
+on the basis of general and particular resemblance be classed with
+<i>Polish, Hungarian I., Rumanian II.</i>, and <i>Treu
+Heinrich</i>.<a class="noteref" id="xd20e6299src" href="#xd20e6299"
+name="xd20e6299src">40</a> Along with it, of course, go the briefer
+<i>Simrock I.</i> and <i>Simrock III.</i> There is this important
+difference between the two sets of tales, that in the simpler form the
+princess is won by the hero&rsquo;s success in bringing something from
+a distance, in the more complicated form by building and decorating.
+Yet the resemblance is sufficient to warrant the classification
+proposed.</p>
+<p>With <i>Simrock VII.</i> the case is altogether different. There the
+subsidiary elements are connected with <i>The Lady and the Monster</i>
+rather than <i>The Water of Life</i> proper, yet not with that theme as
+it appears in combination with <i>The Poison Maiden</i>,<a class=
+"noteref" id="xd20e6322src" href="#xd20e6322" name=
+"xd20e6322src">41</a> since in that group the hero disenchants the
+princess by guessing some secret, here by performing two feats of
+prowess or discrimination and by choosing the proper lady from a host
+of maidens. With <i>Straparola II.</i>, however, which has the simpler
+combination <i>The Grateful Dead</i> + <i>The Lady and the Monster</i>,
+the resemblance is very close,<a class="noteref" id="xd20e6335src"
+href="#xd20e6335" name="xd20e6335src">42</a> as both have the happily
+directed choice. The complicated <i>Simrock VII.</i> thus falls into
+the same category with reference <span class="pagenum">[<a id="pb149"
+href="#pb149" name="pb149">149</a>]</span>to this matter as
+<i>Straparola II., Sicilian</i>, and <i>Harz II.</i>, and the group
+having the form <i>The Grateful Dead</i> + <i>The Poison Maiden</i> +
+<i>The Water of Life</i> (<i>The Lady and the Monster</i>
+specifically).</p>
+<p>A summary of our three categories will be of service in discussing
+their relations to one another and to the themes with which <i>The
+Water of Life</i> or <i>The Lady and the Monster</i> are combined.</p>
+<div class="table">
+<table>
+<tr>
+<td colspan="4"><span class="sc">Class I.</span></td>
+</tr>
+<tr>
+<td class="xd20e6377"></td>
+<td><i>Polish.</i></td>
+</tr>
+<tr>
+<td></td>
+<td><i>Hungarian I.</i></td>
+</tr>
+<tr>
+<td></td>
+<td><i>Rumanian II.</i></td>
+</tr>
+<tr>
+<td></td>
+<td><i>Treu Heinrich.</i></td>
+</tr>
+<tr>
+<td></td>
+<td><i>Bohemian.</i></td>
+<td rowspan="3" class="xd20e6406"><img src="images/bracket3.gif" alt=""
+width="6" height="49"></td>
+<td rowspan="3" class="xd20e6407">(With <i>The Ransomed
+Woman</i>.)</td>
+</tr>
+<tr>
+<td></td>
+<td><i>Simrock I.</i></td>
+</tr>
+<tr>
+<td></td>
+<td><i>Simrock III.</i></td>
+</tr>
+<tr>
+<td colspan="4"><span class="sc">Class II.</span></td>
+</tr>
+<tr>
+<td></td>
+<td><i>Sicilian.</i></td>
+</tr>
+<tr>
+<td></td>
+<td><i>Harz II.</i></td>
+</tr>
+<tr>
+<td></td>
+<td><i>Straparola II.</i></td>
+</tr>
+<tr>
+<td></td>
+<td colspan="3">All recorded variants with <i>The Poison
+Maiden</i>.</td>
+</tr>
+<tr>
+<td></td>
+<td colspan="3"><i>Simrock VII.</i> (With <i>The Ransomed
+Woman</i>.)</td>
+</tr>
+<tr>
+<td colspan="4"><span class="sc">Class III.</span></td>
+</tr>
+<tr>
+<td></td>
+<td><i>Maltese.</i></td>
+</tr>
+<tr>
+<td></td>
+<td><i>Venetian.</i></td>
+</tr>
+<tr>
+<td></td>
+<td colspan="3">All variants with <i>The Thankful Beasts</i>.</td>
+</tr>
+</table>
+</div>
+<p>Class I. forms a territorially homogeneous group, all the members of
+it coming from eastern and central Europe. It is not altogether
+homogeneous in content, but preserves the theme of <i>The Water of
+Life</i> proper in a form where the hero wins a princess by means,
+among other feats, of metamorphosis. Class II. is the most widespread
+of all territorially, as its members come from all parts of Europe. It
+has instead of <i>The Water of Life</i> proper what must be regarded,
+in the present <span class="pagenum">[<a id="pb150" href="#pb150" name=
+"pb150">150</a>]</span>state of the evidence, as the closely allied
+theme of <i>The Lady and the Monster</i>. Class III., the most compact
+of all in the region that it inhabits, preserves <i>The Water of
+Life</i> better than any other group, though not without frequent
+admixture and, in many instances, the loss of some elements.</p>
+<p>It has been stated above<a class="noteref" id="xd20e6507src" href=
+"#xd20e6507" name="xd20e6507src">43</a> that it would be hard to
+imagine such various traits coming from a single type of story. This
+becomes even more evident from the tabulation just made. To suppose
+that <i>The Grateful Dead</i> first united with <i>The Water of
+Life</i>, and that this compound gave rise to the varieties, as
+enumerated, would involve us in the direst confusion. If such were the
+case, how could Class II. with its introduction of <i>The Lady and the
+Monster</i> be explained? Why, moreover, should one variant having
+<i>The Ransomed Woman</i> fall into Class II., while three others fall
+into Class I.? Such an assumption, it is clear, would be
+self-destructive.</p>
+<p>The only alternative is to suppose that <i>The Water of Life</i>
+entered into combination with simple or compound types of <i>The
+Grateful Dead</i> at more than one time and in more than one region.
+That <i>The Grateful Dead</i> united with <i>The Poison Maiden</i> and
+<i>The Ransomed Woman</i> rather early and quite independently abundant
+evidence goes to show; that <i>The Water of Life</i> is an independent
+motive and that, like at least two of the other themes, it was of
+Asiatic origin has likewise been made clear; that the latter could not
+have united with <i>The Grateful Dead</i> so early as did <i>The Poison
+Maiden</i> and <i>The Ransomed Woman</i> is proved by the discrepancies
+noted above. If it be assumed, on the contrary, that after the
+compounds <i>The Grateful Dead</i> + <i>The Poison Maiden</i> and
+<i>The Ransomed Woman</i> had arisen, both they and the simple theme in
+one or another form came into connection with one or another
+<span class="pagenum">[<a id="pb151" href="#pb151" name=
+"pb151">151</a>]</span>form of <i>The Water of Life</i> our
+difficulties are in great measure resolved.</p>
+<p>With this in mind let us consider the three categories. Sometime
+before the fourteenth century<a class="noteref" id="xd20e6569src" href=
+"#xd20e6569" name="xd20e6569src">44</a> <i>The Water of Life</i>,
+perhaps in a rather peculiar form, came into contact with <i>The
+Grateful Dead</i>, both simple and combined with <i>The Ransomed
+Woman</i>,<a class="noteref" id="xd20e6587src" href="#xd20e6587" name=
+"xd20e6587src">45</a> in eastern or central Europe. With each form it
+seems to have united, giving rise in the century named to the German
+romance of <i>Treu Heinrich</i> and the legend of Nicholas by Gobius,
+as well as, sooner or later, to the folk-tales with which it has been
+found combined in those regions within the past hundred years. The
+territorial limitation of the resulting type is a point in the favour
+of the proposed theory, though I cannot but be aware that this may be
+disturbed by a variant outside the seemingly fixed circle. Yet even so,
+the relation of the variants of Class I. to the themes concerned
+appears to be pretty definitely established. With Class III. the matter
+is even simpler. According to my view, some form of <i>The Grateful
+Dead</i>, more or less confused with one of the countless versions of
+<i>The Thankful Beasts</i> met with a very clear type of <i>The Water
+of Life</i> in southern or south-western Europe by or before the
+thirteenth century.<a class="noteref" id="xd20e6603src" href=
+"#xd20e6603" name="xd20e6603src">46</a> With this it united and gave
+rise to an Old French romance (later turned into Dutch) and to a
+considerable body of folk-tales, which have not strayed far from the
+point of departure save in one instance,<a class="noteref" id=
+"xd20e6609src" href="#xd20e6609" name="xd20e6609src">47</a> where the
+means of transmission is not difficult to ascertain. Apparently the
+thankful beast was not absolutely in solution, since in <i>Maltese</i>
+and <i>Venetian</i> the human ghost resumes its characteristic
+r&ocirc;le.<a class="noteref" id="xd20e6620src" href="#xd20e6620" name=
+"xd20e6620src">48</a> With Class <span class="pagenum">[<a id="pb152"
+href="#pb152" name="pb152">152</a>]</span>II. the case is different and
+more difficult of explanation. Here the compound has no definite
+territorial limits, and it is besides of a very complicated character.
+We have to suppose that <i>The Lady and the Monster</i>, a
+<i>m&auml;rchen</i> allied to <i>The Water of Life</i>, was afloat in
+Europe somewhat before the early sixteenth century.<a class="noteref"
+id="xd20e6637src" href="#xd20e6637" name="xd20e6637src">49</a> There it
+met and united with <i>The Grateful Dead</i>, in its simple form on the
+one hand, giving rise to three of our variants, and on the other hand
+separately with the compounds having <i>The Poison Maiden</i> and
+<i>The Ransomed Woman</i>. The former double compound must have been
+made fairly early,<a class="noteref" id="xd20e6649src" href=
+"#xd20e6649" name="xd20e6649src">50</a> since it has been found in such
+widely separated countries as Rumania and Ireland, and furnished one of
+the most important elements to the making of a sixteenth century
+English play, Peele&rsquo;s <i>Old Wives&rsquo; Tale</i>. The second of
+the double compounds is unfortunately represented on our list by a
+single folk-tale only, and may possibly be a later formation.</p>
+<p>Such, then, seems to be the relationship of <i>The Water of Life</i>
+and allied motives to the main theme of our study,&mdash;purely
+subsidiary and relatively late. The theory which has been proposed
+involves the necessity of placing the entrance of the Semitic
+<i>m&auml;rchen</i> into Europe not much earlier than the twelfth
+century, though such matters of chronology must be left somewhat to
+speculation; it shows the points of contact between the various motives
+concerned; and it avoids contradictions of space and time. Writer and
+reader may perhaps congratulate themselves on finding so clear a road
+through the maze. Should subsequent discovery of material necessitate
+modification of the views here expressed, it should be welcomed by both
+with equal pleasure. <span class="pagenum">[<a id="pb153" href="#pb153"
+name="pb153">153</a>]</span></p>
+</div>
+<div class="footnotes">
+<hr class="fnsep">
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e5270" href="#xd20e5270src" name="xd20e5270">1</a></span> The most
+adequate treatment of the motive yet published is by August
+W&uuml;nsche, <i lang="de">Die Sagen vom Lebensbaum und
+Lebenswasser</i>, 1905, pp. 90&ndash;104. This is the same study which
+had previously been printed in the <i lang="de">Zts. f. vergleichende
+Litteraturgeschichte</i>, 1899, N.F. xiii. 166&ndash;180, but is
+furnished with a new introduction and a few additional illustrations.
+Dr. W&uuml;nsche&rsquo;s monograph, thoroughgoing and conclusive as it
+is with reference to the myths of the Tree of life and the Water of
+Life, leaves much to be desired as an account of the folk-tale based on
+the latter belief. He himself says in his preface, p. iv:
+&ldquo;<span lang="de">Man sieht auch daraus, dass es sich um
+Wanderstoffe handelt, an die sich immer neue Elemente ankristallisiert
+haben.</span>&rdquo; These elements he has not studied with any degree
+of completeness. Thus, for example, he does not use Cosquin&rsquo;s
+valuable contributions in <i lang="fr">Contes populaires de
+Lorraine</i>, i. 212&ndash;222, which would have given him valuable
+assistance. The theme yet awaits definitive treatment.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e5285" href="#xd20e5285src" name="xd20e5285">2</a></span> See
+W&uuml;nsche, p. 92.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e5288" href="#xd20e5288src" name="xd20e5288">3</a></span> P.
+71.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e5291" href="#xd20e5291src" name="xd20e5291">4</a></span>
+&ldquo;The Fountain of Youth,&rdquo; <i>Journal of the American
+Oriental Society</i>, xxvi. 1st half, 19 and 55.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e5301" href="#xd20e5301src" name="xd20e5301">5</a></span> Hopkins,
+pp. 19, 42, 55, etc.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e5317" href="#xd20e5317src" name="xd20e5317">6</a></span>
+W&uuml;nsche, p. iii: &ldquo;<span lang="de">Es sind altorientalische
+Mythen, die in alle Kulturreligionen &uuml;bergangen sind. Zeit und Ort
+haben ihnen ein sehr verschiedenes Gepr&auml;ge gegeben, der
+Grundgedanke ist derselbe geblieben.</span>&rdquo;</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e5323" href="#xd20e5323src" name="xd20e5323">7</a></span> P. 71.
+See also Hopkins, p. 55.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e5351" href="#xd20e5351src" name="xd20e5351">8</a></span> <i lang=
+"fr">Contes populaires de Lorraine</i>, i. 213.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e5361" href="#xd20e5361src" name="xd20e5361">9</a></span> Pp. 90
+f.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e5376" href="#xd20e5376src" name="xd20e5376">10</a></span> See pp.
+125&ndash;127 below.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e5392" href="#xd20e5392src" name="xd20e5392">11</a></span> Pp.
+212&ndash;214. He regards the story in Wolf, <i lang=
+"de">Hausm&auml;rchen</i>, p. 230, as linking the two.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e5399" href="#xd20e5399src" name="xd20e5399">12</a></span> P. 91.
+Cosquin, it will be noted, makes the fruit an alternative of the water
+of life.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e5402" href="#xd20e5402src" name="xd20e5402">13</a></span> For
+example, &ldquo;The Baker&rsquo;s Three Daughters&rdquo; in Mrs. M.
+Carey&rsquo;s <i>Fairy Legends of the French Provinces</i>, 1887, pp.
+86 ff., unites the water of life with both the magical apples and the
+bird.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e5417" href="#xd20e5417src" name="xd20e5417">14</a></span> The
+need of such a study may be shown by stating that, while W&uuml;nsche
+has treated about thirty variants, I know at present of something like
+four times that number.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e5437" href="#xd20e5437src" name="xd20e5437">15</a></span> See p.
+118 above.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e5446" href="#xd20e5446src" name="xd20e5446">16</a></span> This
+well-known <i lang="de">m&auml;rchen</i> has been treated by various
+scholars, most recently by G. L. Kittredge, in <i>Arthur and
+Gorlagon</i> (<i>Studies and Notes in Philology and Literature</i>,
+viii.) 1903, pp. 226 f., from whom I take the liberty of transcribing
+the following references, some of which would otherwise be unknown to
+me. In note 2 to p. 226 he says: &ldquo;See Benfey, <span lang=
+"de"><i>Das M&auml;rchen von den</i> &lsquo;Menschen mit den
+wunderbaren Eigenschaften,&rsquo; <i>Ausland</i></span>, 1858, pp. 969
+ff. (<i lang="de">Kleinere Schriften</i> II. iii. 94 ff.); Wesselofsky,
+in Giovanni da Prato, <i lang="it">Il Paradiso degli Alberti</i>, 1867,
+I. ii. 238 ff.; d&rsquo;Ancona, <i lang="it">Studj di Critica e Storia
+Letteraria</i>, 1880, pp. 357&ndash;358; K&ouml;hler-Bolte, <i lang=
+"de">Ztsch. des Ver. f. Volkskunde</i>, vi. 77; K&ouml;hler, <i lang=
+"de">Kleinere Schriften</i>, i. 192 ff., 298 ff., 389&ndash;390, 431,
+544; ii. 591; Cosquin, <i lang="fr">Contes pop. de Lorraine</i>, i. 23
+ff.; Crane, <i>Italian Popular Tales</i>, p. 67; Nutt, in MacInnes,
+<i>Folk and Hero Tales</i>, pp. 445 ff.; Laistner, <i lang=
+"de">R&auml;tsel der Sphinx</i> ii. 357 ff.; Steel, <i>Tales of the
+Punjab</i>, pp. 42 ff.; Jurkschat, <i lang="de">Litauische
+M&auml;rchen</i>, pp. 29 ff.; etc.&rdquo; A peculiarly interesting
+specimen is that in Blad&eacute;, <i lang="fr">Contes pop. de la
+Gascogne</i>, 1886, iii. 12&ndash;22. See also Luzel, <i lang=
+"fr">Contes pop. de Basse-Bretagne</i>, 1887, iii. 296&ndash;311;
+Carnoy and Nicolaides, <i lang="fr">Traditions pop. de l&rsquo;Asie
+Mineure</i>, 1889, pp. 43&ndash;56; and Goldschmidt, <i lang=
+"de">Russische M&auml;rchen</i>, 1883, pp. 69&ndash;78.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e5524" href="#xd20e5524src" name="xd20e5524">17</a></span> So I
+venture to call the story of the woman, who through enchantment or her
+own bad taste is the mistress of an ogre or some other monster. She is
+rescued by a hero, who is able to solve the extraordinary riddles or to
+accomplish the apparently impossible tasks which she sets him at the
+advice of the monster, after other suitors have perished in the
+attempt. See Kittredge, <i>Arthur and Gorlagon</i>, p. 250 (note to p.
+249); Wesselofsky, <i>Arch. f. slav. Phil.</i> vi. 574. A good specimen
+tale is &ldquo;The Magic Turban&rdquo; in R. Nisbet Bain&rsquo;s
+<i>Turkish Fairy Tales</i>, 1901, pp. 102&ndash;111.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e5543" href="#xd20e5543src" name="xd20e5543">18</a></span>
+Kittredge thus summarizes the tale (<i>work cited</i>, p. 226):
+&ldquo;Three or more brothers (or comrades) are suitors for the hand of
+a beautiful girl. While her father is deliberating, the girl
+disappears. The companions undertake to recover her. One of them, by
+contemplation (or by keenness of sight), finds that she has been stolen
+by a demon (or dragon) and taken to his abode on a rock in the sea.
+Another builds a ship by his magic (or possesses a magic ship) which
+instantly transports them to the rock. Another, who is a skilful
+climber, ascends the castle and finds that the monster is asleep with
+his head in the maiden&rsquo;s lap. Another, a master thief, steals the
+girl without waking her captor. They embark, but are pursued by the
+monster. One of the companions, an unerring shot, kills the pursuer
+with an arrow. The girl is restored to her parents.&rdquo; This
+analysis would not hold for all variants, even when uncompounded
+(<i>e.g.</i> Grimm, <i lang="de">Kinder- und Hausm&auml;rchen</i>, No.
+71, &ldquo;<span lang="de">Sechse kommen durch die ganze
+Welt</span>&rdquo;) but a better could scarcely be made without a
+systematic study of the type. As Kittredge notes, the companions are
+not at all constant in number and function.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e5672" href="#xd20e5672src" name="xd20e5672">19</a></span>
+<i>Hungarian I., Rumanian II., Straparola II., Sicilian</i>, and
+<i>Treu Heinrich</i>.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e5698" href="#xd20e5698src" name="xd20e5698">20</a></span> Thus
+<i>Hungarian I.</i> and <i>Rumanian II.</i> with <i>Polish,
+Sicilian</i> with <i>Harz II.</i></p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e5726" href="#xd20e5726src" name="xd20e5726">21</a></span>
+Possibly a trace of some such story as <i>The Quest of the Sword of
+Light</i> discussed by Kittredge, <i>Arthur and Gorlagon</i>, pp. 214
+ff.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e5754" href="#xd20e5754src" name="xd20e5754">22</a></span> Since
+twelve brothers set out to win twelve sisters, there is probably a
+union here with the widespread tale of <i>The Brothers and
+Sisters</i>.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e5772" href="#xd20e5772src" name="xd20e5772">23</a></span> The
+ship that will travel equally well on land and water is seemingly a
+common trait in forms of <i>The Skilful Companions</i>. See the variant
+cited from Blad&eacute; on p. 125, note 3. It occurs in a curious tale
+from Mauritius, given by Baissac, <i lang="fr">Le Folk-lore de
+l&rsquo;&Icirc;le-Maurice</i>, 1888, p. 78.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e5791" href="#xd20e5791src" name="xd20e5791">24</a></span> For
+examples of stories in which a king&rsquo;s son liberates one or more
+prisoners, and has the service returned in an emergency, see Child,
+<i>English and Scottish Popular Ballads</i>, v. 42&ndash;48.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e5844" href="#xd20e5844src" name="xd20e5844">25</a></span> See
+Jonckbloet, ii. 131 ff.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e5847" href="#xd20e5847src" name="xd20e5847">26</a></span> Paris,
+<i lang="fr">Hist. litt. de la France</i>, xxx. 82.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e5901" href="#xd20e5901src" name="xd20e5901">27</a></span> The
+only instance known to me where such transformation occurs with
+reference to the hero.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e5913" href="#xd20e5913src" name="xd20e5913">28</a></span>
+<i>Walewein</i> and <i>Lotharingian</i>.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e5927" href="#xd20e5927src" name="xd20e5927">29</a></span> Like
+the wolf in <i>Guillaume de Palerne</i>, which is likewise a
+transformed prince.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e5980" href="#xd20e5980src" name="xd20e5980">30</a></span>
+<i>Lotharingian</i> comes from a region farther north than any other,
+since the Dutch romance is merely a translation from Old French.
+<i>Simrock IX.</i> is from Tyrol.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e6003" href="#xd20e6003src" name="xd20e6003">31</a></span> See pp.
+133&ndash;135.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e6019" href="#xd20e6019src" name="xd20e6019">32</a></span> I
+include all the tales treated in this chapter.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e6049" href="#xd20e6049src" name="xd20e6049">33</a></span> See pp.
+58&ndash;73.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e6124" href="#xd20e6124src" name="xd20e6124">34</a></span> See p.
+126, note 1.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e6138" href="#xd20e6138src" name="xd20e6138">35</a></span> See p.
+134.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e6152" href="#xd20e6152src" name="xd20e6152">36</a></span> See p.
+133, note 2.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e6158" href="#xd20e6158src" name="xd20e6158">37</a></span> See pp.
+92 ff. above, and pp. 156&ndash;158 below.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e6176" href="#xd20e6176src" name="xd20e6176">38</a></span> With
+the form <i>The Grateful Dead</i> + <i>The Water of Life</i>
+simply.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e6249" href="#xd20e6249src" name="xd20e6249">39</a></span> Pp. 107
+f., 111&ndash;115.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e6299" href="#xd20e6299src" name="xd20e6299">40</a></span> See pp.
+133 f.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e6322" href="#xd20e6322src" name="xd20e6322">41</a></span> See pp.
+145&ndash;147.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e6335" href="#xd20e6335src" name="xd20e6335">42</a></span> See pp.
+146 f.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e6507" href="#xd20e6507src" name="xd20e6507">43</a></span> P.
+143.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e6569" href="#xd20e6569src" name="xd20e6569">44</a></span> The
+date of <i lang="de">Treu Heinrich</i>. This gives the date <i>a
+quo</i>.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e6587" href="#xd20e6587src" name="xd20e6587">45</a></span> The
+compound existed before the fourteenth century certainly. See pp. 117
+f.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e6603" href="#xd20e6603src" name="xd20e6603">46</a></span> The
+date is here determined by the existence of <i>Walewein</i>.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e6609" href="#xd20e6609src" name="xd20e6609">47</a></span>
+<i>Brazilian.</i></p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e6620" href="#xd20e6620src" name="xd20e6620">48</a></span>
+<i>Venetian</i> has, however, united with other material, which may
+account for this in the one case.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e6637" href="#xd20e6637src" name="xd20e6637">49</a></span> The
+date of Straparola, one of whose stories belongs to this class.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e6649" href="#xd20e6649src" name="xd20e6649">50</a></span> The
+compound <i>The Grateful Dead</i> + <i>The Poison Maiden</i> had been
+in existence since the end of the first century, as <i>Tobit</i>
+proves.</p>
+</div>
+</div>
+<div id="ch7" class="div1 chapter"><span class="pagenum">[<a href=
+"#toc">Contents</a>]</span>
+<div class="divHead">
+<h2 class="label">Chapter VII.</h2>
+<h2 class="main">The Relations of <i>The Grateful Dead</i> to <i>The
+Spendthrift Knight, The Two Friends</i>, and <i>The Thankful
+Beasts</i>.</h2>
+</div>
+<div class="divBody">
+<p class="first">We have met at various points in our study with tales
+in which the motive of the hero&rsquo;s fateful journey was his
+impoverishment through extravagance; we have seen that many variants
+make the division of a child part of the agreement between the ghost
+and the hero; and we have noted the appearance of the ghost in the form
+of a beast in a large number of instances. The bearing of these
+phenomena we shall do well to investigate before proceeding to general
+conclusions. Occurring as they do in versions which have been assigned
+on other accounts to different categories, are they of sufficient
+importance to disturb the classification already proposed? Furthermore,
+what cause can be found for their introduction? Are they in reality
+sporadic, or are they the result of some determinable factor in the
+history of the cycle?</p>
+<p>Eleven variants, namely, <i>Richars, Oliver, Lope de Vega</i>,
+<i>Dianese, Old Swedish, Icelandic I., Icelandic II., Rittertriuwe</i>,
+<i>Treu Heinrich</i>, and <i>Sir Amadas</i>, have more or less clearly
+expressed the motive of a knight who has exhausted his patrimony and
+goes out to recruit his fortunes by winning a princess in a tourney.
+The figure of such a knight or adventurer is not an uncommon one in the
+fiction of Europe, and scarcely requires illustration. <span class=
+"pagenum">[<a id="pb154" href="#pb154" name="pb154">154</a>]</span>Of
+the variants just named all except <i>Oliver</i>, <i>Lope de Vega</i>,
+and <i>Old Swedish</i> actually state that the hero sets out from home
+on account of his poverty. In the two former the motive of the
+incestuous stepmother is introduced in place of this, and in <i>Old
+Swedish</i> the trait is obscured without any substitution, implying
+that the hero is led merely by ambition to undertake the tourney. On
+the other hand, the tourney occurs in all save <i>Icelandic I.</i> and
+<i>II.</i>, which are the only folk-tales in the list. The second of
+these, moreover, makes the hero a merchant instead of a knight; but
+since the two come from the same island and are in other respects
+rather similar,<a class="noteref" id="xd20e6727src" href="#xd20e6727"
+name="xd20e6727src">1</a> this is perhaps not very significant.</p>
+<p>Looking at the matter from another point of view, we find that
+<i>Richars, Lion de Bourges, Dianese, Old Swedish, Rittertriuwe</i>,
+and <i>Sir Amadas</i> form a group by themselves,<a class="noteref" id=
+"xd20e6738src" href="#xd20e6738" name="xd20e6738src">2</a> and are
+uncompounded with any one of the themes with which <i>The Grateful
+Dead</i> is most frequently allied. <i>Oliver</i> and <i>Lope de
+Vega</i> are treated under the compound with <i>The Ransomed Woman</i>,
+where on account of the rescue of the hero by the ghost they probably
+belong;<a class="noteref" id="xd20e6754src" href="#xd20e6754" name=
+"xd20e6754src">3</a> and <i>Icelandic I.</i> and <i>II.</i> are clearly
+of that type. <i>Treu Heinrich</i><a class="noteref" id="xd20e6766src"
+href="#xd20e6766" name="xd20e6766src">4</a> shows the combination of
+the central theme with <i>The Water of Life</i>, and can in the nature
+of the case have no direct connection with the other romance stories
+under consideration, even though it belongs to a class in which <i>The
+Ransomed Woman</i> sometimes appears.<a class="noteref" id=
+"xd20e6775src" href="#xd20e6775" name="xd20e6775src">5</a> In view of
+these discrepancies of position with reference to compounds which are
+clearly established, we are certainly not justified in assuming that
+<i>The Spendthrift Knight</i> has had anything more than a superficial
+relationship to <i>The Grateful Dead</i>. To make it a basis of
+classification or to attach any <span class="pagenum">[<a id="pb155"
+href="#pb155" name="pb155">155</a>]</span>considerable weight to its
+appearance here and there would be contrary to the only safe method of
+procedure, which is to follow the evidence of events in sequence rather
+than isolated traits. The very fact that none of the compounds with
+<i>The Poison Maiden</i> contains any such motive as this of the knight
+and the tourney shows that it must be comparatively late and really an
+interloper in the family.</p>
+<p>As to the way by which it entered the cycle, one must conclude that
+it was afloat in Europe before the thirteenth century,<a class=
+"noteref" id="xd20e6792src" href="#xd20e6792" name="xd20e6792src">6</a>
+and furnished a very natural opening for a tale in which a youth goes
+into the world to seek adventure or profit. Were a lady to be won by
+the help of the ghost, it would magnify the hero&rsquo;s part, if he
+were given an opportunity to take some very direct share in the wooing.
+So in the group of which <i>Richars</i> and <i>Sir Amadas</i> are
+members the new theme supplied the means of winning a lady, which would
+otherwise be lacking. In <i>Oliver</i> and <i>Lope de Vega</i> it has
+perhaps supplanted the ransom of a maiden, which is the trait to be
+expected, if they are rightly placed among the variants of the type
+<i>The Grateful Dead</i> + <i>The Ransomed Woman</i>. It will be noted
+that in the two Icelandic tales, which conform closely to the type, the
+tourney does not appear. There seems to be reason, therefore, for
+supposing that the new material touched our central theme at least
+twice, combining with the prototype of the <i>Amadas</i> group and of
+the Icelandic folk-stories. The authors of <i>Oliver</i> and <i>Treu
+Heinrich</i> may have adopted it consciously, and so these variants
+should be left out of account.</p>
+<p>Before leaving the matter, however, it must be noted that in
+<i>Tobit</i> the hero leaves home on account of the poverty of his
+father to seek the help of a relative. The ever-recurring possibility
+of a recollection of <i>Tobit</i> <span class="pagenum">[<a id="pb156"
+href="#pb156" name="pb156">156</a>]</span>on the part of the European
+story-tellers<a class="noteref" id="xd20e6836src" href="#xd20e6836"
+name="xd20e6836src">7</a> should not be forgotten. To argue that the
+suggestion of adapting <i>The Spendthrift Knight</i> was due to a
+conscious or unconscious recollection of the Apocrypha would be laying
+too much stress upon what can at best be nothing more than conjecture,
+but there can be no harm in the surmise that such may have been the
+case.</p>
+<p>The matter of the division of his child or children by the hero to
+fulfil the bargain made with his helper must next be discussed. This
+occurs in twenty-five of the variants which we have considered, namely:
+<i>Lithuanian II., Transylvanian, Lope de Vega, Oliver, Jean de Calais
+I.-X., Basque II., Gaelic, Irish I., Breton I., III.</i>, and
+<i>VII.</i>, <i>Simrock I., II.</i>, and <i>VIII., Sir Amadas</i>, and
+<i>Factor&rsquo;s Garland</i>. With reference to one group where the
+trait appears<a class="noteref" id="xd20e6860src" href="#xd20e6860"
+name="xd20e6860src">8</a> I have already spoken at some length of
+<i>The Two Friends</i>, and I have referred to the introduction of the
+children as they have appeared in scattered variants. I now wish to
+call the reader&rsquo;s attention to the general aspects of the
+question. What relation has the use of this trait in versions of <i>The
+Grateful Dead</i> to the theme which I call <i>The Two Friends</i>?</p>
+<p>It must first be noted that the motive as it appears in <i>Amis and
+Amiloun</i> requires<a class="noteref" id="xd20e6877src" href=
+"#xd20e6877" name="xd20e6877src">9</a> that the hero slay his children
+for the healing of his foster-brother and sworn friend. Now of the
+twenty-five variants of <i>The Grateful Dead</i> just named only
+<i>Oliver</i> and <i>Lope de Vega</i> have this factor,&mdash;the
+others merely state that the helper asked the hero to fulfil his
+bargain by giving up his only child,<a class="noteref" id=
+"xd20e6890src" href="#xd20e6890" name="xd20e6890src">10</a> or giving
+up one of his two children,<a class="noteref" id="xd20e6899src" href=
+"#xd20e6899" name="xd20e6899src">11</a> or dividing his only
+child,<a class="noteref" id="xd20e6905src" href="#xd20e6905" name=
+"xd20e6905src">12</a> or dividing his three children.<a class="noteref"
+id="xd20e6923src" href="#xd20e6923" name="xd20e6923src">13</a>
+<span class="pagenum">[<a id="pb157" href="#pb157" name=
+"pb157">157</a>]</span>The query at once suggests itself as to whether
+the simple division of the child or children as part of the
+hero&rsquo;s possessions gave rise to the introduction of the whole
+theme of <i>The Two Friends</i> in <i>Oliver</i> and <i>Lope de
+Vega</i>, or whether the twenty-two folk-tales have merely an echo of
+the theme as there found. To put the question is almost equivalent to
+answering it. One sees at once that the former is the case. <i>Lope de
+Vega</i> derives directly from <i>Oliver</i>,<a class="noteref" id=
+"xd20e6947src" href="#xd20e6947" name="xd20e6947src">14</a> and to the
+author of that romance must be due the combination of the two themes
+there presented. Reference to the earlier discussion of the
+variant<a class="noteref" id="xd20e6950src" href="#xd20e6950" name=
+"xd20e6950src">15</a> will show that he was a conscious adapter of his
+material.</p>
+<p>Yet it by no means follows that the suggestion for the combination
+was not present in the version of <i>The Grateful Dead</i>, which was
+used in making <i>Oliver</i>. Indeed, it seems probable that this
+source or prototype had the division of the child in somewhat the form
+in which it appears in so many tales. That such was the case is likely
+from the fact that of the twenty-two folk variants which refer to the
+child all but two are of the type <i>The Grateful Dead</i> + <i>The
+Ransomed Woman</i>, to which <i>Oliver</i> is approximated. Considering
+the alterations which the theme was likely to suffer at the hands of a
+writer who was more or less consciously combining various material in a
+romance, the wonder is that the type was not more changed than it seems
+to have been. In point of fact, the position of <i>Oliver</i> and its
+literary successors as examples of the compound comes out more
+clearly<a class="noteref" id="xd20e6974src" href="#xd20e6974" name=
+"xd20e6974src">16</a> through this examination of their relationship to
+<i>The Two Friends</i>.</p>
+<p>As to the introduction of the child, the trait by means of which,
+according to my theory, the actual combination of motives came about,
+the two folk-tales of the type <i>The Grateful Dead</i> + <i>The Poison
+Maiden</i> as well as <i>Sir <span class="pagenum">[<a id="pb158" href=
+"#pb158" name="pb158">158</a>]</span>Amadas</i>, are of great
+importance. Since the great majority of the variants which have the
+child belong clearly to the compound type with <i>The Ransomed
+Woman</i>, it is only by reference to these three that one can say with
+assurance that the modified trait indicates no vital connection with
+<i>The Two Friends</i>. Yet with these in mind there can be little
+doubt about the matter. The story-tellers have simply extended the
+division of the hero&rsquo;s possessions from property and wife to
+child, a process perhaps made easier by the existence of such stories
+as <i>The Child Vowed to the Devil</i><a class="noteref" id=
+"xd20e7002src" href="#xd20e7002" name="xd20e7002src">17</a> and some
+forms of the <i>Souhaits Saint Martin</i>.<a class="noteref" id=
+"xd20e7011src" href="#xd20e7011" name="xd20e7011src">18</a> This might
+have happened to any particular variant with equal facility. At the
+same time, the fact that the change was made in only three cases
+outside the group, which has <i>The Ransomed Woman</i> in combination,
+gives that family additional solidarity.</p>
+<p>In <i>Oliver, Lope de Vega</i>, and <i>Sir Amadas</i> the motive of
+<i>The Spendthrift Knight</i> appears together with the change or
+combination just referred to. At first sight, it might appear that
+there was some essential connection between these two elements foreign
+to the main theme. Such does not seem to be the case, however, when the
+matter is further considered. At any rate, I am unable to discover any
+such link, and am inclined to ascribe the simultaneous appearance of
+these two factors to chance pure and simple. Neither one is more than a
+rather late and comparatively unimportant phenomenon as far as <i>The
+Grateful Dead</i> is concerned.</p>
+<p>Not infrequently in the course of this study attention has been
+called to the substitution of a beast for the helping friend of the
+hero, and in a few cases to the transference of the ghost&rsquo;s
+entire r&ocirc;le to an animal. While considering matters of greater
+importance, it <span class="pagenum">[<a id="pb159" href="#pb159" name=
+"pb159">159</a>]</span>seemed best to ignore this in order to avoid
+unnecessary confusion. The matter is of considerable importance,
+however, and must here be considered. The question that concerns us is
+whether the appearance of the beast is of any real moment in the
+development of the theme.</p>
+<p>It is sufficiently clear that the well-known stories of grateful
+animals and ungrateful men, which were first traced by Benfey,<a class=
+"noteref" id="xd20e7041src" href="#xd20e7041" name=
+"xd20e7041src">19</a> have general outlines different from that of
+<i>The Grateful Dead</i>. Benfey&rsquo;s contention, however, that
+&ldquo;<span lang="de">konnte der Gedanke von der Dankbarkeit der
+Thiere schon tief genug auch im Occident einwurzeln, um auch in andere
+M&auml;rchen einzudringen und vielleicht selbst sich in Bildung von
+verwandten zur Anschauung zu bringen</span>&rdquo;<a class="noteref"
+id="xd20e7052src" href="#xd20e7052" name="xd20e7052src">20</a> should
+be kept in mind. This statement is truer than his later remark<a class=
+"noteref" id="xd20e7055src" href="#xd20e7055" name=
+"xd20e7055src">21</a> that fairies and other superhuman creations of
+fancy are substituted for animals, instancing our theme as such a case.
+To argue relationship from the entrance of either helpful beasts,
+fairies, or ghosts would be dangerous unless the stories in question
+had the same motive, since they are so frequently found in
+folk-literature. Indeed, as I have already remarked,<a class="noteref"
+id="xd20e7059src" href="#xd20e7059" name="xd20e7059src">22</a> one is
+scarcely called upon to explain the intrusion of thankful or helpful
+animals at any given point, in view of the fact that the device is
+almost universally known. Yet if it does not require justification, it
+may well be of service in the grouping of particular variants.</p>
+<p>It is certainly worthy of notice that in eighteen forms of <i>The
+Grateful Dead</i> a beast appears. That these are of several different
+compound types would show, if it were not clear from what has been said
+above, that the appearance of an animal furnishes of itself no evidence
+of any actual amalgamation of narrative themes. It is rather a case
+where one stock figure of imagination&rsquo;s realm is substituted for
+another. The better-known character is perhaps more likely to replace
+the less-known <span class="pagenum">[<a id="pb160" href="#pb160" name=
+"pb160">160</a>]</span>than <i>vice versa</i>, but the latter event may
+happen if the obscurer figure will serve to enliven the tale.</p>
+<p>Of the twenty variants in our cycle which have a thankful beast,
+<i>Jewish</i> has the simple theme; <i>Servian IV.</i> the combination
+with <i>The Poison Maiden</i>; <i>Jean de Calais II., VII.</i>, and
+<i>X., Simrock II., III., V.</i>, and <i>VIII.</i>, and
+<i>Oldenburgian</i> the combination with <i>The Ransomed Woman</i>; and
+<i>Walewein, Lotharingian, Tuscan, Brazilian, Basque I.</i>, <i>Breton
+IV., V.</i>, and <i>VI.</i>, and <i>Simrock IX.</i> the combination
+with <i>The Water of Life</i>.</p>
+<p>Now in Jewish<a class="noteref" id="xd20e7117src" href="#xd20e7117"
+name="xd20e7117src">23</a> the hero is saved from shipwreck<a class=
+"noteref" id="xd20e7120src" href="#xd20e7120" name=
+"xd20e7120src">24</a> by a stone, carried home by an eagle, and there
+met by a white-clad man, who explains the earlier appearances. This is
+mere reinforcement of the tale by triplication, and implies nothing
+more than a certain vigour of imagination on the part of the
+story-teller. In <i>Servian IV.</i>,<a class="noteref" id=
+"xd20e7138src" href="#xd20e7138" name="xd20e7138src">25</a> where the
+hero spares a fish which he has caught, there appears, on the contrary,
+to be actual combination with <i>The Thankful Beasts</i> as a motive.
+The fish comes on the scene in human form, and fulfils the part of the
+grateful dead till the very end, when it leaps back into its element.
+As for the variants of the compound type with <i>The Ransomed Woman</i>
+there is considerable diversity, yet all of them have merely
+substitution, not combination. So in <i>Jean de Calais II., VII.</i>
+and <i>X.</i>,<a class="noteref" id="xd20e7154src" href="#xd20e7154"
+name="xd20e7154src">26</a> which are closely allied with other members
+of the group so named, the beast appears, but in one case as a white
+bird, in the second as a fox, and in the third as a crow. That this is
+anything more than a substitution due to the story-teller&rsquo;s
+individuality cannot be admitted, though knowledge of <i>The Thankful
+Beasts</i> as a motive is not barred out. <i>Simrock II.</i> and
+<i>VIII.</i><a class="noteref" id="xd20e7166src" href="#xd20e7166"
+name="xd20e7166src">27</a> are likewise nearly related to one another
+and to <i>Jean de <span class="pagenum">[<a id="pb161" href="#pb161"
+name="pb161">161</a>]</span>Calais</i>, and they have the same
+adventitious substitution. <i>Simrock V.</i> and <i>Oldenburgian</i>
+are a similar pair,<a class="noteref" id="xd20e7180src" href=
+"#xd20e7180" name="xd20e7180src">28</a> while <i>Simrock
+III.</i>,<a class="noteref" id="xd20e7187src" href="#xd20e7187" name=
+"xd20e7187src">29</a> which is otherwise allied to <i>Bohemian</i>,
+cannot be shown to have any vital connection with <i>The Thankful
+Beasts</i> as a motive. Of all these tales it can be said that they
+show some influence from such a theme without actual combination.
+Finally, all the variants of the type <i>The Grateful Dead</i> + <i>The
+Water of Life</i>, which have the animal substituted,<a class="noteref"
+id="xd20e7203src" href="#xd20e7203" name="xd20e7203src">30</a> belong
+to a well-defined and centralized group<a class="noteref" id=
+"xd20e7206src" href="#xd20e7206" name="xd20e7206src">31</a> which has
+had independent existence for centuries. Here the entrance of the beast
+is of considerable importance to the classification and development of
+the theme.</p>
+<p>Of the part which <i>The Thankful Beasts</i> as a motive has played
+in connection with <i>The Grateful Dead</i> it must be said that, on
+the whole, it has been of very secondary importance. It illustrates, as
+do <i>The Spendthrift Knight</i> and <i>The Two Friends</i>, how one
+current theme may touch and even influence another at several different
+points without becoming embodied with it. This trait or that may be
+absorbed as the motives meet, yet the two waves may go their way
+without mingling. <span class="pagenum">[<a id="pb162" href="#pb162"
+name="pb162">162</a>]</span></p>
+</div>
+<div class="footnotes">
+<hr class="fnsep">
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e6727" href="#xd20e6727src" name="xd20e6727">1</a></span> See pp.
+89 f.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e6738" href="#xd20e6738src" name="xd20e6738">2</a></span> See pp.
+33&ndash;40.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e6754" href="#xd20e6754src" name="xd20e6754">3</a></span> See pp.
+92&ndash;96.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e6766" href="#xd20e6766src" name="xd20e6766">4</a></span> See pp.
+131&ndash;134.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e6775" href="#xd20e6775src" name="xd20e6775">5</a></span> P.
+149.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e6792" href="#xd20e6792src" name="xd20e6792">6</a></span> The date
+of <i>Richars</i>.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e6836" href="#xd20e6836src" name="xd20e6836">7</a></span> See pp.
+50, 58.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e6860" href="#xd20e6860src" name="xd20e6860">8</a></span> See pp.
+92&ndash;111.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e6877" href="#xd20e6877src" name="xd20e6877">9</a></span> See p.
+92.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e6890" href="#xd20e6890src" name="xd20e6890">10</a></span> As in
+<i>Lithuanian II., Breton VII., Simrock I.</i>, and <i>Factor&rsquo;s
+Garland</i>.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e6899" href="#xd20e6899src" name="xd20e6899">11</a></span> As in
+<i>Transylvanian</i>.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e6905" href="#xd20e6905src" name="xd20e6905">12</a></span> As in
+<i>Jean de Calais I.-X., Basque II., Irish I., Breton I.</i> and
+<i>III.</i>, <i>Simrock II.</i> and <i>VIII.</i>, and <i>Sir
+Amadas</i>.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e6923" href="#xd20e6923src" name="xd20e6923">13</a></span> As in
+<i>Gaelic</i>.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e6947" href="#xd20e6947src" name="xd20e6947">14</a></span> See p.
+95.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e6950" href="#xd20e6950src" name="xd20e6950">15</a></span> See pp.
+93 f.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e6974" href="#xd20e6974src" name="xd20e6974">16</a></span> See p.
+94.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e7002" href="#xd20e7002src" name="xd20e7002">17</a></span> See
+references in <i>Publ. Mod. Lang. Ass.</i> xx. 545.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e7011" href="#xd20e7011src" name="xd20e7011">18</a></span> See my
+article in <i>Publ. Mod. Lang. Ass.</i> xix. 427, 430&ndash;432.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e7041" href="#xd20e7041src" name="xd20e7041">19</a></span>
+<i>Pantschatantra</i>, i. &sect;71.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e7052" href="#xd20e7052src" name="xd20e7052">20</a></span> i.
+207.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e7055" href="#xd20e7055src" name="xd20e7055">21</a></span> i.
+219.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e7059" href="#xd20e7059src" name="xd20e7059">22</a></span> Pp. 126
+f.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e7117" href="#xd20e7117src" name="xd20e7117">23</a></span> See p.
+27.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e7120" href="#xd20e7120src" name="xd20e7120">24</a></span> So in
+<i>Polish</i> of the type <i>The Grateful Dead</i> + <i>The Water of
+Life</i> the ghost appears as a plank. See p. 128.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e7138" href="#xd20e7138src" name="xd20e7138">25</a></span> See p.
+57.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e7154" href="#xd20e7154src" name="xd20e7154">26</a></span> See pp.
+100&ndash;102, 104 f.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e7166" href="#xd20e7166src" name="xd20e7166">27</a></span> See pp.
+108 ff.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e7180" href="#xd20e7180src" name="xd20e7180">28</a></span> See pp.
+115 f.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e7187" href="#xd20e7187src" name="xd20e7187">29</a></span> See pp.
+112 f.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e7203" href="#xd20e7203src" name="xd20e7203">30</a></span> See pp.
+135 ff.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e7206" href="#xd20e7206src" name="xd20e7206">31</a></span> See
+also p. 151.</p>
+</div>
+</div>
+<div id="ch8" class="div1 chapter"><span class="pagenum">[<a href=
+"#toc">Contents</a>]</span>
+<div class="divHead">
+<h2 class="label">Chapter VIII.</h2>
+<h2 class="main">Conclusion.</h2>
+</div>
+<div class="divBody">
+<p class="first">In considering the general development and relations
+of <i>The Grateful Dead</i>, to which we must now turn, it is proper to
+inquire first of all as to its origin. Hitherto the existence of the
+story-theme as such has been taken well nigh for granted, though the
+discussion of variants in simple form necessitated some
+reference<a class="noteref" id="xd20e7234src" href="#xd20e7234" name=
+"xd20e7234src">1</a> to the point of separation between the <i lang=
+"de">m&auml;rchen</i> and whatever beliefs or social customs lie
+beyond. Now that the tale has been followed through its various
+modifications and has been proved by a systematic study of its forms to
+be, if I may use the expression, a living organism, the debateable land
+outside can be entered with measurable security.</p>
+<p>There can be no doubt that <i>The Grateful Dead</i> as a theme is
+based upon beliefs about the sacred duty of burial and upon the customs
+incident to withholding burial for the sake of revenge or recompense.
+To study these phenomena in detail is not necessary to the scheme of
+this book, but belongs rather to the province of primitive religion and
+law. It is sufficient for our purpose to show the nature and extent of
+such observances and beliefs for the sake of the light which they may
+throw on the genesis of the tale itself.</p>
+<p>The belief that no obligation is more binding on man than that he
+pay proper respect to the dead is as old as civilization itself.
+Indeed, it probably antedates what <span class="pagenum">[<a id="pb163"
+href="#pb163" name="pb163">163</a>]</span>we ordinarily call
+civilization, since otherwise it could not well be found so widely
+distributed over the earth in historical times. It evidently rests upon
+the notion that the soul, when separated from the body, could find no
+repose.<a class="noteref" id="xd20e7249src" href="#xd20e7249" name=
+"xd20e7249src">2</a> Herodotus tells<a class="noteref" id=
+"xd20e7255src" href="#xd20e7255" name="xd20e7255src">3</a> of the
+Egyptian law, which permitted a man to give his father&rsquo;s body in
+pledge, with the proviso that if he failed to repay the loan neither he
+nor any of his kin could be buried at all. The story, also related by
+Herodotus,<a class="noteref" id="xd20e7258src" href="#xd20e7258" name=
+"xd20e7258src">4</a> of Rampsinit and the thief which turns on the
+latter&rsquo;s successful attempt to rescue his brother&rsquo;s body,
+illustrates again the value that the Egyptians set upon burial. Their
+notion seems to have been that the more honour paid the dead, the more
+bearable would be their lot, though it was regarded as unenviable at
+best.<a class="noteref" id="xd20e7261src" href="#xd20e7261" name=
+"xd20e7261src">5</a> Among the Magi of Persia, though both burial and
+burning were prohibited because of the sanctity of earth and fire, the
+bodies of the dead were cared for according to the strictest of codes,
+being left to the sun and air on elevated structures.<a class="noteref"
+id="xd20e7271src" href="#xd20e7271" name="xd20e7271src">6</a> In India
+the <i>Rig-Veda</i><a class="noteref" id="xd20e7278src" href=
+"#xd20e7278" name="xd20e7278src">7</a> bears witness to similar
+carefulness in the performance of this sacred duty.</p>
+<p>In classical times belief in the necessity of proper burial was
+widespread. Patroclus, it will be remembered, appears to his friend
+Achilles, and admonishes him that he should not neglect the dead, at
+the same time giving a dire picture of the state of the
+unburied.<a class="noteref" id="xd20e7283src" href="#xd20e7283" name=
+"xd20e7283src">8</a> Pausanias speaks<a class="noteref" id=
+"xd20e7288src" href="#xd20e7288" name="xd20e7288src">9</a> of the
+conduct of Lysander as reprehensible in not burying the bodies of
+Philocles and the four thousand slain at Aegospotami, saying that the
+Athenians did as <span class="pagenum">[<a id="pb164" href="#pb164"
+name="pb164">164</a>]</span>much for the Medes after Marathon, and even
+Xerxes for the Lacedaemonians after Thermopylae. The story told by
+Cicero<a class="noteref" id="xd20e7293src" href="#xd20e7293" name=
+"xd20e7293src">10</a> of Simonides gives definite proof of the concrete
+nature of the reverential feeling among both Greeks and Romans.
+Suetonius in his life of Caligula relates that when the emperor&rsquo;s
+body was left half burned and unburied, ghosts filled the palace and
+garden.</p>
+<p>An example of the mediaeval belief is found in the Middle High
+German <i>Kudrun</i>, written at the end of the twelfth century or the
+beginning of the thirteenth.</p>
+<div lang="de" class="lgouter">
+<p class="line">&ldquo;Daz h&acirc;st wol ger&acirc;ten,&rdquo; sprach
+der von Sturmlant.</p>
+<p class="line">&ldquo;j&acirc; sol man verkoufen ir ros und ir
+gewant,</p>
+<p class="line">die d&acirc; ligent t&ocirc;te, daz man der armen
+diete</p>
+<p class="line">n&acirc;ch ir l&icirc;bes ende von ir guote disen
+frumen biete.&rdquo;</p>
+<p class="line xd20e7310">D&ocirc; sprach der degen &Icirc;rolt:
+&ldquo;sol man ouch die begraben,</p>
+<p class="line">die uns den schaden t&acirc;ten, od sol man si die
+raben</p>
+<p class="line">und die wilden wolve &ucirc;f dem w&eacute;rde
+l&acirc;zen niezen?&rdquo;</p>
+<p class="line">d&ocirc; rieten daz die w&icirc;sen, daz sie der einen
+ligen niht enliezen.<a class="noteref" id="xd20e7318src" href=
+"#xd20e7318" name="xd20e7318src">11</a></p>
+</div>
+<p class="first">The <i>Annamite</i> tale cited in the third
+chapter<a class="noteref" id="xd20e7325src" href="#xd20e7325" name=
+"xd20e7325src">12</a> and <i>Servian VI.</i>, likewise summarized in
+connection with variants having the story-theme in simple
+form,<a class="noteref" id="xd20e7331src" href="#xd20e7331" name=
+"xd20e7331src">13</a> bear witness to the effect that the widespread
+belief has had upon folk-tales now in circulation. The connection of
+these two tales with the <i>m&auml;rchen</i> as such is so vague that
+they serve the end of illustrating its growth from popular belief
+rather than the relationship of one form to another. So also the story
+from Brittany, printed by S&eacute;billot,<a class="noteref" id=
+"xd20e7338src" href="#xd20e7338" name="xd20e7338src">14</a> which tells
+how a ghost came to workmen in a mill demanding Christian interment for
+its body then buried under the foundations, serves the same end, though
+no reward is mentioned. Sometimes the neglect of burial by a person
+brings unpleasant results to him, as is witnessed by a tale from
+Guernsey.<a class="noteref" id="xd20e7343src" href="#xd20e7343" name=
+"xd20e7343src">15</a> A fisherman neglected <span class=
+"pagenum">[<a id="pb165" href="#pb165" name="pb165">165</a>]</span>to
+bury a body which he encountered on the coast, and, when he reached his
+home, found the ghost awaiting him. An Indian tale illustrates the
+belief that the dead become vampires when funeral rites are not
+performed.<a class="noteref" id="xd20e7351src" href="#xd20e7351" name=
+"xd20e7351src">16</a></p>
+<p>In most versions of <i>The Grateful Dead</i> a corpse is left
+unburied either because creditors remain unpaid or the surviving
+relatives cannot pay for Christian burial. From sixteenth century
+Scotland we have evidence that the latter trait is based on actual
+custom. Sir David Lyndesaye, in <i>The Monarche</i>, while describing
+the exactions of the clergy, says:</p>
+<div class="lgouter">
+<p class="line">Quhen he hes all, than, vnder his cure,</p>
+<p class="line">And Father and Mother boith ar dede,</p>
+<p class="line">Beg mon the babis, without remede:</p>
+<p class="line">They hauld the Corps at the kirk style;</p>
+<p class="line">And thare it moste remane ane quhyle,</p>
+<p class="line">Tyll thay gett sufficient souerte</p>
+<p class="line">For thare kirk rycht and dewite.<a class="noteref" id=
+"xd20e7380src" href="#xd20e7380" name="xd20e7380src">17</a></p>
+</div>
+<p class="first">This evidence for the widespread belief in the pious
+duty of burial and for the custom of withholding burial in cases where
+the dead man was poor, though it might easily be increased in bulk,
+makes very clear at least two matters. The tale of <i>The Grateful
+Dead</i> might have arisen almost anywhere and in almost any age since
+the time of the Egyptians. Again, when once it had been formed, it was
+likely to be reinforced or changed by the beliefs and customs prevalent
+in the lands to which it came.</p>
+<p>The first matter at once suggests the question as to whether, after
+all, the <i lang="de">m&auml;rchen</i> has not been more than once
+discovered by the imagination of story-tellers,&mdash;whether it has
+not sprung up again and again in different parts of the world like
+different botanical species, <span class="pagenum">[<a id="pb166" href=
+"#pb166" name="pb166">166</a>]</span>instead of being a single plant
+which has propagated itself through many centuries. In spite of the
+evident possibility that such sporadic development might have taken
+place, I cannot believe that it happened so. If we had to do with some
+vaguely outlined myth in which only the underlying idea was the same in
+the several groups of variants, and if this vague tale were narrated
+among peoples of absolutely no kinship to one another, say by the
+Indians of North America and the Zulus, one could have no reasonable
+doubt that similar conditions had produced similar tales. Such stories
+exist in numbers sufficient to render untenable the old hypothesis of
+Oriental origins in anything like the form in which it was held by
+Benfey or even Cosquin.</p>
+<p>In cases like that of <i>The Grateful Dead</i>, however, the matter
+is entirely different. The theme is comparatively a complicated one,
+and it is found only in lands whose inhabitants are connected either by
+blood or by social and political intercourse.<a class="noteref" id=
+"xd20e7400src" href="#xd20e7400" name="xd20e7400src">18</a> It has
+preserved its integrity for nearly a score of centuries, though
+suffering many changes of details, and a variety of combinations with
+other themes. To my mind such an involved relationship as that worked
+out in the preceding chapters proves conclusively that the story is
+one, that the connection between variants is more than fortuitous.
+Inductive logic makes the belief inevitable. Any other theory would
+involve us in a bewildering net of contradictions, from which escape
+could be found only in the avowal that nothing whatever can be known
+about narrative development.</p>
+<p>If the seemingly inevitable conclusion be accepted that <i>The
+Grateful Dead</i> is an organism with a life history of its own, the
+question at once suggests itself as to when and where it came into
+being. As to its <span class="pagenum">[<a id="pb167" href="#pb167"
+name="pb167">167</a>]</span>ultimate origin, however, only a very
+imperfect answer can be given. Surmise and theory are all that can aid
+us here. Liebrecht was of the opinion that the story was of European
+rather than Oriental origin,<a class="noteref" id="xd20e7412src" href=
+"#xd20e7412" name="xd20e7412src">19</a> even though he did not accept
+Simrock&rsquo;s theory that it was Germanic. Notwithstanding the fact
+that most variants are European, this hypothesis seems to me very
+improbable. <i>Tobit</i>, the earliest variant which we
+possess,<a class="noteref" id="xd20e7421src" href="#xd20e7421" name=
+"xd20e7421src">20</a> is distinctly Semitic in origin and colouring.
+Other versions from Asia, like <i>Jewish, Armenian</i>, and
+<i>Siberian</i>, though modern folk-tales, add weight to the evidence
+of the apocryphal story, especially since the one last named comes from
+a somewhat remote region where European narratives could not without
+difficulty have much direct influence. Of course it is possible to
+suppose that the theme came to the Semites from the West, and was by
+them disseminated in Asia;<a class="noteref" id="xd20e7434src" href=
+"#xd20e7434" name="xd20e7434src">21</a> but the early date of
+<i>Tobit</i> renders it unlikely that such was the case. Certainly it
+is more reasonable from the evidence at hand to believe in the Oriental
+origin of the <i>m&auml;rchen</i>. As to the particular region of Asia
+where it was probably first related, nothing can be said with security.
+Yet since there is no evidence that it has ever been known in India,
+Western Asia, and perhaps the region inhabited by the Semites, may be
+considered, at least tentatively, its first home.</p>
+<p>The age of the theme cannot definitely be measured. It is possible,
+however, to say that it must have existed at least as early as the
+beginning of our era. <i>Tobit</i> is of assistance again here. As the
+book is believed to have been written during the reign of Hadrian
+(76&ndash;138 <span class="sc">A.D.</span>) and as it has the motive in
+a compound form, which is unlikely to have arisen immediately after the
+<span class="pagenum">[<a id="pb168" href="#pb168" name=
+"pb168">168</a>]</span>simple story was first set afloat, there is
+little danger of over-statement in saying that the latter must have
+been known at least as early as the first part of first century
+<span class="sc">A.D.</span>, or more probably before the birth of
+Christ. Any statement beyond this would rest on idle speculation.</p>
+<p>After <i>The Grateful Dead</i> was once established as a narrative,
+its development can be traced with some degree of precision, though not
+without many gaps here and there. Its history is largely a matter of
+combinations with originally independent themes, with an occasional
+landmark in the form of a literary version. The most notable compounds
+into which it has entered are those with <i>The Poison Maiden, The
+Ransomed Woman</i>, and certain types connected with <i>The Water of
+Life</i>. That it entered into other minor compounds at various stages
+gives evidence that it retained its independence long after the first
+union took place, even though examples of the simple type are so hard
+to find and in some cases of such doubtful character.</p>
+<p>Probably the first combination of the theme was with <i>The Poison
+Maiden</i>, which the valuable evidence of <i>Tobit</i> enables us to
+date as taking place as early as the middle of the first century and in
+western Asia. <i>The Poison Maiden</i> probably came originally from
+India by way of Persia,<a class="noteref" id="xd20e7483src" href=
+"#xd20e7483" name="xd20e7483src">22</a> and was certainly widely
+distributed. Among the Semites it would naturally first meet any tale
+which had other than Indian origin, so that the existence of
+<i>Tobit</i> at so early a date is only what one would expect, looking
+at the matter in this retrospective fashion. The amalgamation of these
+two themes, when once they had come into the same region, was natural.
+They had the necessary point of contact in the treatment of the
+hero&rsquo;s wife by a helpful friend, who played an important part in
+each. In <i>The Poison Maiden</i> she <span class="pagenum">[<a id=
+"pb169" href="#pb169" name="pb169">169</a>]</span>received short
+shrift, being possessed of a poisonous glance or bite, or of snakes
+ready to destroy the man who married her.<a class="noteref" id=
+"xd20e7495src" href="#xd20e7495" name="xd20e7495src">23</a> In <i>The
+Grateful Dead</i> she was innocent, but had to be divided to satisfy
+the claims of a being who had helped her husband.<a class="noteref" id=
+"xd20e7501src" href="#xd20e7501" name="xd20e7501src">24</a> The part of
+the friend was less well motivated in <i>The Poison Maiden</i> than in
+<i>The Grateful Dead</i>, so that it was natural for the themes to
+unite at a common point and produce a compound at once more complete
+and more thrilling than were the simpler forms. This combination must
+have been made not by a conscious literary worker, for, had it been,
+<i>Tobit</i> would surely stand less independent of the later versions
+than is actually the case, but by the tellers of folk-tales, in a
+manner quite unconscious and altogether unstudied. The stories combined
+of themselves, so to say.</p>
+<p>From Semitic lands, if it was indeed there made, the compound seems
+to have travelled into Europe as well as into other parts of
+Asia.<a class="noteref" id="xd20e7516src" href="#xd20e7516" name=
+"xd20e7516src">25</a> It has spread during the intervening centuries
+throughout the length and breadth of Europe, always remaining a
+genuinely popular tale. As far as my knowledge goes, it did not appear
+in literature from the time when the Hebrew book of <i>Tobit</i> was
+written till Peele&rsquo;s <i>Old Wives&rsquo; Tale</i> was presented
+some fifteen centuries later on the English stage. In the nineteenth
+century it again appeared to the reading public in the version which
+the Dane Andersen made from a Norse folk-tale. Yet the story in all
+versions of the compound extant is unmistakably the same, though it has
+suffered more changes in detail than would be worth while to enumerate
+here, <span class="pagenum">[<a id="pb170" href="#pb170" name=
+"pb170">170</a>]</span>since they have already been noted in the
+chapter dealing with the type. The most important modification which it
+sustained was due to its meeting <i>The Lady and the Monster</i> and
+absorbing elements of that tale. How early this took place it is
+impossible to say, since George Peele&rsquo;s play is the only literary
+monument that helps to fix any date. A considerable stretch of time
+must, however, be allowed for the passage of a folk-tale from the
+extreme east of Europe to England. That the secondary combination was
+indeed made in eastern Europe admits of definite proof. All the known
+variants of <i>The Grateful Dead</i> + <i>The Poison Maiden</i> from
+the west have <i>The Lady and the Monster</i> as well, while three
+Slavic east-European versions<a class="noteref" id="xd20e7545src" href=
+"#xd20e7545" name="xd20e7545src">26</a> are of this type. It follows
+that the compound must have been formed in the east and carried to the
+west, since otherwise the distribution should be precisely the opposite
+of that which obtains. Moreover, had the compound been made in Asia, it
+is improbable that it would have left such a comparatively feeble trace
+in the eastern part of the continent of Europe and later have conquered
+all the west. Other combinations, primary and secondary, have also
+arisen; but, if the collection of variants hitherto made is at all
+adequate, they are of inconsiderable importance.</p>
+<p>Meanwhile, the simple theme of <i>The Grateful Dead</i> passed into
+Europe by other paths. Once over the border, it met a tale with which
+it readily combined, producing a type not less influential than the one
+just mentioned. This new motive was <i>The Ransomed Woman</i>, the
+origin of which is at present quite unknown. Though it is seemingly
+Oriental in character, all versions yet unearthed come from Europe, so
+that its <i>provenance</i> must be left in uncertainty. At all events,
+it was known in eastern Europe, and it was there in all probability
+that <span class="pagenum">[<a id="pb171" href="#pb171" name=
+"pb171">171</a>]</span>it became amalgamated with <i>The Grateful
+Dead</i>. How early this took place cannot be stated, but long enough
+before the fourteenth century to allow the passage of the compound type
+to France by that time, when it was retold by Gobius with a good deal
+of mutilation in his <i>Scala Celi</i>.<a class="noteref" id=
+"xd20e7572src" href="#xd20e7572" name="xd20e7572src">27</a> The points
+of contact, which led to the combination, have already been discussed
+in the chapter dealing with the type.<a class="noteref" id=
+"xd20e7575src" href="#xd20e7575" name="xd20e7575src">28</a> Suffice it
+to say at this point that they were, in brief, the journey of the hero,
+his rescue, and the wife whom he gained at the end of the story. As in
+the case of <i>The Poison Maiden</i>, the compound seems to have arisen
+quite naturally by means of these correspondences, with the end of
+making a more romantic and satisfactory tale. That it took place quite
+unconsciously seems clear, but that the result was successful is proved
+by the solidarity of the type thus produced, though it has subsequently
+been carried into every part of Europe. The relationship of versions,
+between thirty and forty in number, is unmistakable.</p>
+<p>That the simple motive of <i>The Grateful Dead</i> was not exhausted
+by the two remarkable combinations just treated, that it retained its
+individuality and independence, is shown by the various minor
+combinations discussed in the third chapter. It is altogether probable
+that other examples of such simple compounds as those containing <i>The
+Swan-Maiden, Puss in Boots</i>, and a story like that told of Pope
+Gregory<a class="noteref" id="xd20e7589src" href="#xd20e7589" name=
+"xd20e7589src">29</a> are in existence, and may be found by later
+study. One can speak only with reference to material at command. Very
+likely other combinations than those treated here are in existence and
+may also appear, either in sporadic cases or in groups. But, the reader
+may ask, if the motive is found in so many compounds, both with and
+without <i>The Poison Maiden</i> and <i>The Ransomed Woman</i>, why
+does it not occur <span class="pagenum">[<a id="pb172" href="#pb172"
+name="pb172">172</a>]</span>more frequently, at least in
+folk-literature, without combination? To this I should reply that the
+story is an ancient one, which has many points of correspondence with
+other themes. By reason of these traits it has absorbed, or has been
+absorbed by, these other tales, until now it is difficult to find
+examples of the simple form. A thousand years ago, or some such matter,
+they may, indeed, have been frequently retold by the firesides of
+Europe, though now they are practically unknown. The constant tendency
+of folk-tales to change from simplicity to complexity would in time
+cause the pure theme to be generally forgotten. Nevertheless, its
+existence could be proved, even though no example still remained, for
+the various independent compounds would be inexplicable on any other
+theory. In the case of <i>The Grateful Dead</i>, the tales, to which it
+has been joined, have been so interwoven with its substance that it is
+quite impossible to believe, for example, that the combination with
+<i>The Ransomed Woman</i> proceeded from that with <i>The Poison
+Maiden</i>.</p>
+<p>But these simple compounds with a single foreign theme do not
+complete the tale. When once they were formed, they in turn had each a
+history of its own, with infinite possibilities of absorbing traits
+from other stories or even entire themes. In the case of the latter, a
+reason could always be found in such points of contact as I have
+already mentioned, or so I believe, if the material were sufficient for
+proper comparison. In this way arose the complicated types treated in
+chapter six, where the manner of combination is readily seen.<a class=
+"noteref" id="xd20e7612src" href="#xd20e7612" name=
+"xd20e7612src">30</a> Sometimes, it is probable, subtraction has taken
+place as well as addition, but apparently only when it has not involved
+the disentangling of various traits. For example, many variants have
+been noted where one of the two most striking features of our central
+theme, the burial <span class="pagenum">[<a id="pb173" href="#pb173"
+name="pb173">173</a>]</span>of the dead debtor, has disappeared; yet in
+every case the rest of the plot has remained unimpaired. The more
+complicated the variant, the better able is the investigator to place
+its kinship to other variants, provided that he has the requisite
+material and the patience to follow up the clues that every such
+labyrinth affords.</p>
+<p>The most striking facts of general import to the study of
+folk-narrative that have developed in the course of this prolonged
+consideration of <i>The Grateful Dead</i> may be briefly summarized in
+conclusion. It has been shown once again that the story has an organic
+life of its own, whether it comes from the East or the West, whether it
+be founded upon some fact of social custom or belief, or on the
+imaginings of a moralist of antiquity.<a class="noteref" id=
+"xd20e7623src" href="#xd20e7623" name="xd20e7623src">31</a> Once
+started, it will go its way through divers lands and ages, yet retain
+unaltered the essential features of its plot. Call it story-skeleton,
+or better, living organism, it always keeps its structural integrity,
+no matter whether told as a pious legend or a <i lang="fr">conte
+&agrave; rire</i>. Of no less importance than this is the fact that
+whatever serious changes take place in its form are not fortuitous,
+mere whimsical alterations due to the fancy of story-tellers, but are
+due to capabilities of expansion or combination in the plot itself.
+Whenever two themes with points of resemblance, or contact come into
+the same region, they are in the long run pretty certain to unite, each
+retaining its individuality, but merging in the other. This principle
+is well illustrated in the history of <i>The Grateful Dead</i>. The
+marriages of stories seem never to be merely for convenience, except in
+the hands of conscious writers, but to be the result of attraction and
+real compatibility. That, I take it, is why and how narratives
+develop.</p>
+<p>Were it necessary to justify such studies as the present,
+<span class="pagenum">[<a id="pb174" href="#pb174" name=
+"pb174">174</a>]</span>one might add that, apart from helping to the
+settlement of such more general questions as those just mentioned, they
+throw light on the sources of particular literary works, better than
+does the haphazard search for parallels, and they often enable the
+student to see the relations between the literatures of neighbouring
+countries more clearly than he would be able to do without the
+perspective gained by a comparative consideration of a single theme in
+many lands. In ways like these the author hopes that this history of
+<i>The Grateful Dead</i> may be serviceable.</p>
+<p class="xd20e227"><span class="sc">The End.</span> <span class=
+"pagenum">[<a id="pb175" href="#pb175" name="pb175">175</a>]</span></p>
+</div>
+<div class="footnotes">
+<hr class="fnsep">
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e7234" href="#xd20e7234src" name="xd20e7234">1</a></span> See pp.
+28 f.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e7249" href="#xd20e7249src" name="xd20e7249">2</a></span> See the
+comment of von der Leyen, <i>Arch. j. d. St. d. n. Spr.</i> cxiv.
+12.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e7255" href="#xd20e7255src" name="xd20e7255">3</a></span> ii.
+136.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e7258" href="#xd20e7258src" name="xd20e7258">4</a></span> ii. 121.
+The story, however, belongs to the domain of general literature.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e7261" href="#xd20e7261src" name="xd20e7261">5</a></span> See A.
+Wiedemann, <i lang="de">Die Toten und ihre Reiche im Glauben der alten
+Aegypter</i>, p. 21 (<i lang="de">Der alte Orient</i>, ii, 1900).</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e7271" href="#xd20e7271src" name="xd20e7271">6</a></span>
+<i>Zend-Avesta</i>, Vend&icirc;d&acirc;d, chaps, v. xii.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e7278" href="#xd20e7278src" name="xd20e7278">7</a></span> x. 18.
+1.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e7283" href="#xd20e7283src" name="xd20e7283">8</a></span>
+<i>Iliad</i>, xxiii. 71 ff.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e7288" href="#xd20e7288src" name="xd20e7288">9</a></span> ix.
+32.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e7293" href="#xd20e7293src" name="xd20e7293">10</a></span> See pp.
+26 f.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e7318" href="#xd20e7318src" name="xd20e7318">11</a></span> Ed.
+Bartsch, xviii. st. 910 and 911.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e7325" href="#xd20e7325src" name="xd20e7325">12</a></span> P.
+27.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e7331" href="#xd20e7331src" name="xd20e7331">13</a></span> P.
+28.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e7338" href="#xd20e7338src" name="xd20e7338">14</a></span>
+<i lang="fr">Traditions et superstitions de la Haute-Bretagne</i>,
+1882, i. 238 f.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e7343" href="#xd20e7343src" name="xd20e7343">15</a></span>
+MacCulloch, <i>Guernsey Folk Lore</i>, 1903, pp. 283 f.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e7351" href="#xd20e7351src" name="xd20e7351">16</a></span> See W.
+Crooke in <i>Folk-Lore</i>, xiii. 280&ndash;283.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e7380" href="#xd20e7380src" name="xd20e7380">17</a></span> Book
+iii. w. 4726 ff. of the whole poem (2nd ed. J. Small, 1883, E. E. T. S.
+orig. ser. 11, p. 153).</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e7400" href="#xd20e7400src" name="xd20e7400">18</a></span>
+<i>Annamite</i> is an exception, but it cannot be regarded as having
+any organic connection with the cycle.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e7412" href="#xd20e7412src" name="xd20e7412">19</a></span> See
+<i lang="de">Heidelberger Jahrb&uuml;cher</i>, 1868, p. 449.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e7421" href="#xd20e7421src" name="xd20e7421">20</a></span> Ruling
+out <i>Simonides</i>, of course, as not clearly belonging to the
+cycle.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e7434" href="#xd20e7434src" name="xd20e7434">21</a></span>
+<i>Siberian</i>, it will be remembered, is of the same type as
+<i>Tobit</i>.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e7483" href="#xd20e7483src" name="xd20e7483">22</a></span> See
+Hertz, pp. 151&ndash;155.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e7495" href="#xd20e7495src" name="xd20e7495">23</a></span> For
+examples, see Hertz, pp. 106&ndash;115.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e7501" href="#xd20e7501src" name="xd20e7501">24</a></span> It is
+not clear whether she was actually divided in the primitive forms, or
+merely threatened. In either case the union would take place as
+stated.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e7516" href="#xd20e7516src" name="xd20e7516">25</a></span>
+<i>Armenian</i> and <i>Siberian</i> give adequate evidence as to the
+truth of the latter statement, though more Asiatic variants of this
+type are to be desired.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e7545" href="#xd20e7545src" name="xd20e7545">26</a></span>
+<i>Servian III., Esthonian II.</i>, and <i>Rumanian I.</i></p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e7572" href="#xd20e7572src" name="xd20e7572">27</a></span> See p.
+82.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e7575" href="#xd20e7575src" name="xd20e7575">28</a></span> See pp.
+116 f.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e7589" href="#xd20e7589src" name="xd20e7589">29</a></span> See pp.
+40 f.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e7612" href="#xd20e7612src" name="xd20e7612">30</a></span> See pp.
+125&ndash;127, 151 f.</p>
+<p class="footnote"><span class="label"><a class="noteref" id=
+"xd20e7623" href="#xd20e7623src" name="xd20e7623">31</a></span> See the
+author&rsquo;s study, &ldquo;Forerunners, Congeners, and Derivatives of
+the Eustace Legend&rdquo; in <i>Publ. Mod. Lang. Ass.</i> xix.
+335&ndash;448.</p>
+</div>
+</div>
+</div>
+<div class="back">
+<div id="index" class="div1 index"><span class="pagenum">[<a href=
+"#toc">Contents</a>]</span>
+<div class="divHead">
+<h2 class="main">Index.</h2>
+</div>
+<div class="divBody">
+<p class="first">In order to avoid duplication, variants of <i>The
+Grateful Dead</i> are cited according to the names given them in
+Chapter II., references to which are printed in italics.</p>
+<div class="div2 letter"><span class="pagenum">[<a href=
+"#toc">Contents</a>]</span>
+<div class="divHead">
+<h3 class="main">A</h3>
+</div>
+<div class="divBody">
+<p class="first">Agreement to divide possessions, <a href="#pb30"
+class="pageref">30</a>, <a href="#pb34" class=
+"pageref">34</a>&ndash;37, <a href="#pb47" class="pageref">47</a>,
+<a href="#pb49" class="pageref">49</a>, <a href="#pb52" class=
+"pageref">52</a>, <a href="#pb53" class="pageref">53</a>, <a href=
+"#pb62" class="pageref">62</a>, <a href="#pb65" class="pageref">65</a>,
+<a href="#pb72" class="pageref">72</a>, <a href="#pb77" class=
+"pageref">77</a>&ndash;79, <a href="#pb84" class="pageref">84</a>,
+<a href="#pb86" class="pageref">86</a>, <a href="#pb87" class=
+"pageref">87</a>, <a href="#pb93" class="pageref">93</a>, <a href=
+"#pb95" class="pageref">95</a>, <a href="#pb97" class=
+"pageref">97</a>&ndash;101, <a href="#pb103" class=
+"pageref">103</a>&ndash;105, <a href="#pb107" class=
+"pageref">107</a>&ndash;110, <a href="#pb131" class=
+"pageref">131</a>.</p>
+<p><i>Amis and Amiloun</i>, <a href="#pb39" class="pageref">39</a>,
+<a href="#pb64" class="pageref">64</a>, <a href="#pb92" class=
+"pageref">92</a>, <a href="#pb156" class="pageref">156</a>.</p>
+<p>Andersen, H. C., <a href="#pb66" class="pageref">66</a>, <a href=
+"#pb68" class="pageref">68</a>, <a href="#pb144" class=
+"pageref">144</a>, <a href="#pb169" class="pageref">169</a>.</p>
+<p><i>Annamite, <a href="#pb8" class="pageref">8</a></i>, <a href=
+"#pb27" class="pageref">27</a> f., <a href="#pb49" class=
+"pageref">49</a>, <a href="#pb164" class="pageref">164</a>, <a href=
+"#pb166" class="pageref">166</a>.</p>
+<p><i>Armenian, <a href="#pb8" class="pageref">8</a></i>, <a href=
+"#pb45" class="pageref">45</a>, <a href="#pb47" class="pageref">47</a>,
+<a href="#pb56" class="pageref">56</a>, <a href="#pb57" class=
+"pageref">57</a>, <a href="#pb64" class="pageref">64</a>, <a href=
+"#pb73" class="pageref">73</a>, <a href="#pb74" class="pageref">74</a>,
+<a href="#pb167" class="pageref">167</a>, <a href="#pb169" class=
+"pageref">169</a>.</p>
+</div>
+</div>
+<div class="div2 letter"><span class="pagenum">[<a href=
+"#toc">Contents</a>]</span>
+<div class="divHead">
+<h3 class="main">B</h3>
+</div>
+<div class="divBody">
+<p class="first"><i>Basque I., <a href="#pb19" class=
+"pageref">19</a></i>, <a href="#pb135" class="pageref">135</a>,
+<a href="#pb137" class="pageref">137</a> f., <a href="#pb160" class=
+"pageref">160</a>.</p>
+<p><i>Basque II., <a href="#pb19" class="pageref">19</a></i>, <a href=
+"#pb105" class="pageref">105</a> f., <a href="#pb108" class=
+"pageref">108</a>, <a href="#pb110" class="pageref">110</a> f.,
+<a href="#pb156" class="pageref">156</a>.</p>
+<p>Beer-Hofmann, R., <a href="#pb43" class="pageref">43</a>.</p>
+<p>Benfey, Th., <a href="#pb2" class="pageref">2</a>, <a href="#pb44"
+class="pageref">44</a>, <a href="#pb159" class="pageref">159</a>,
+<a href="#pb166" class="pageref">166</a>.</p>
+<p><i>Bohemian, <a href="#pb11" class="pageref">11</a></i>, <a href=
+"#pb91" class="pageref">91</a>, <a href="#pb111" class=
+"pageref">111</a> f., <a href="#pb113" class="pageref">113</a> f.,
+<a href="#pb147" class="pageref">147</a> f., <a href="#pb149" class=
+"pageref">149</a>, <a href="#pb161" class="pageref">161</a>.</p>
+<p><i>Brazilian, <a href="#pb18" class="pageref">18</a></i>, <a href=
+"#pb135" class="pageref">135</a>, <a href="#pb137" class=
+"pageref">137</a>, <a href="#pb142" class="pageref">142</a>, <a href=
+"#pb151" class="pageref">151</a>, <a href="#pb160" class=
+"pageref">160</a>.</p>
+<p><i>Breton I., <a href="#pb19" class="pageref">19</a></i>, <a href=
+"#pb46" class="pageref">46</a>, <a href="#pb61" class="pageref">61</a>,
+<a href="#pb65" class="pageref">65</a>, <a href="#pb96" class=
+"pageref">96</a>, <a href="#pb156" class="pageref">156</a>.</p>
+<p><i>Breton II., <a href="#pb19" class="pageref">19</a></i>, <a href=
+"#pb40" class="pageref">40</a> f.</p>
+<p><i>Breton III., <a href="#pb20" class="pageref">20</a></i>, <a href=
+"#pb77" class="pageref">77</a>, <a href="#pb86" class="pageref">86</a>
+f., <a href="#pb91" class="pageref">91</a>, <a href="#pb96" class=
+"pageref">96</a>, <a href="#pb156" class="pageref">156</a>.</p>
+<p><i>Breton IV., <a href="#pb20" class="pageref">20</a></i>, <a href=
+"#pb135" class="pageref">135</a>, <a href="#pb138" class=
+"pageref">138</a>, <a href="#pb160" class="pageref">160</a>.</p>
+<p><i>Breton V., <a href="#pb20" class="pageref">20</a></i>, <a href=
+"#pb135" class="pageref">135</a>, <a href="#pb138" class=
+"pageref">138</a> f., <a href="#pb160" class="pageref">160</a>.</p>
+<p><i>Breton VI., <a href="#pb20" class="pageref">20</a></i>, <a href=
+"#pb135" class="pageref">135</a>, <a href="#pb139" class=
+"pageref">139</a> f., <a href="#pb160" class="pageref">160</a>.</p>
+<p><i>Breton VII., <a href="#pb20" class="pageref">20</a></i>, <a href=
+"#pb104" class="pageref">104</a>, <a href="#pb106" class=
+"pageref">106</a> f., <a href="#pb156" class="pageref">156</a>.</p>
+<p>Brotherhood sworn on cross or sword, <a href="#pb57" class=
+"pageref">57</a>, <a href="#pb60" class="pageref">60</a>, <a href=
+"#pb61" class="pageref">61</a>.</p>
+<p><i>Brothers and Sisters, The</i>, <a href="#pb134" class=
+"pageref">134</a>.</p>
+<p><i>Bulgarian, <a href="#pb11" class="pageref">11</a></i>, <a href=
+"#pb46" class="pageref">46</a>, <a href="#pb58" class="pageref">58</a>,
+<a href="#pb73" class="pageref">73</a> f.</p>
+</div>
+</div>
+<div class="div2 letter"><span class="pagenum">[<a href=
+"#toc">Contents</a>]</span>
+<div class="divHead">
+<h3 class="main">C</h3>
+</div>
+<div class="divBody">
+<p class="first"><i>Calderon, <a href="#pb13" class=
+"pageref">13</a></i>, <a href="#pb92" class="pageref">92</a>, <a href=
+"#pb95" class="pageref">95</a> f., <a href="#pb109" class=
+"pageref">109</a>.</p>
+<p><i>Catalan, <a href="#pb12" class="pageref">12</a> f.</i>, <a href=
+"#pb77" class="pageref">77</a>, <a href="#pb80" class="pageref">80</a>
+f., <a href="#pb88" class="pageref">88</a>, <a href="#pb116" class=
+"pageref">116</a>.</p>
+<p>Chaucer, <a href="#pb27" class="pageref">27</a>, <a href="#pb36"
+class="pageref">36</a>.</p>
+<p><i>Child Vowed to the Devil, The</i>, <a href="#pb158" class=
+"pageref">158</a>.</p>
+<p>Cicero, <a href="#pb26" class="pageref">26</a>, <a href="#pb164"
+class="pageref">164</a>.</p>
+<p>Cosquin, E., <a href="#pb3" class="pageref">3</a>, <a href="#pb4"
+class="pageref">4</a>, <a href="#pb121" class="pageref">121</a>,
+<a href="#pb123" class="pageref">123</a> f., <a href="#pb166" class=
+"pageref">166</a>.</p>
+<p>Corpse buried under foundations, <a href="#pb164" class=
+"pageref">164</a>.</p>
+<p>Corpse held for debt, <a href="#pb33" class=
+"pageref">33</a>&ndash;37, <a href="#pb41" class=
+"pageref">41</a>&ndash;43, <a href="#pb47" class="pageref">47</a>,
+<a href="#pb52" class="pageref">52</a>, <a href="#pb55" class=
+"pageref">55</a>, <a href="#pb56" class="pageref">56</a>, <a href=
+"#pb60" class="pageref">60</a>, <a href="#pb62" class="pageref">62</a>,
+<a href="#pb63" class="pageref">63</a>, <a href="#pb68" class=
+"pageref">68</a>&ndash;70, <a href="#pb78" class=
+"pageref">78</a>&ndash;80, <a href="#pb85" class="pageref">85</a>,
+<a href="#pb86" class="pageref">86</a>, <a href="#pb88" class=
+"pageref">88</a>&ndash;92, <a href="#pb95" class="pageref">95</a>,
+<a href="#pb97" class="pageref">97</a>, <a href="#pb98" class=
+"pageref">98</a>, <a href="#pb100" class="pageref">100</a>, <a href=
+"#pb102" class="pageref">102</a>&ndash;106, <a href="#pb108" class=
+"pageref">108</a>, <a href="#pb109" class="pageref">109</a>, <a href=
+"#pb112" class="pageref">112</a>, <a href="#pb114" class=
+"pageref">114</a>, <a href="#pb115" class="pageref">115</a>, <a href=
+"#pb127" class="pageref">127</a>, <a href="#pb128" class=
+"pageref">128</a>, <a href="#pb130" class="pageref">130</a>, <a href=
+"#pb132" class="pageref">132</a>, <a href="#pb136" class=
+"pageref">136</a>&ndash;138, <a href="#pb140" class=
+"pageref">140</a>.</p>
+</div>
+</div>
+<div class="div2 letter"><span class="pagenum">[<a href=
+"#toc">Contents</a>]</span>
+<div class="divHead">
+<h3 class="main">D</h3>
+</div>
+<div class="divBody">
+<p class="first">Danger indicated by colour of water in vial, <a href=
+"#pb92" class="pageref">92</a> f.</p>
+<p><i>Danish I., <a href="#pb20" class="pageref">20</a> f.</i>,
+<a href="#pb41" class="pageref">41</a>.</p>
+<p><i>Danish II., <a href="#pb21" class="pageref">21</a></i>, <a href=
+"#pb41" class="pageref">41</a> f.</p>
+<p><i>Danish III., <a href="#pb21" class="pageref">21</a></i>, <a href=
+"#pb46" class="pageref">46</a>, <a href="#pb66" class=
+"pageref">66</a>&ndash;68, <a href="#pb73" class="pageref">73</a>,
+<a href="#pb74" class="pageref">74</a>, <a href="#pb144" class=
+"pageref">144</a>.</p>
+<p><i>Dianese, <a href="#pb17" class="pageref">17</a></i>, <a href=
+"#pb33" class="pageref">33</a>, <a href="#pb35" class="pageref">35</a>,
+<a href="#pb37" class="pageref">37</a> f., <a href="#pb109" class=
+"pageref">109</a>, <a href="#pb153" class="pageref">153</a> f.</p>
+<p>Disenchantment by decapitation, <a href="#pb111" class=
+"pageref">111</a>&ndash;113.</p>
+<p>Dutz, H., <a href="#pb5" class="pageref">5</a>, <a href="#pb59"
+class="pageref">59</a>, <a href="#pb72" class="pageref">72</a>.</p>
+</div>
+</div>
+<div class="div2 letter"><span class="pagenum">[<a href=
+"#toc">Contents</a>]</span>
+<div class="divHead">
+<h3 class="main">E</h3>
+</div>
+<div class="divBody">
+<p class="first"><i>Esthonian I., <a href="#pb12" class=
+"pageref">12</a></i>, <a href="#pb32" class="pageref">32</a>, <a href=
+"#pb74" class="pageref">74</a>.</p>
+<p><i>Esthonian II., <a href="#pb12" class="pageref">12</a></i>,
+<a href="#pb46" class="pageref">46</a>, <a href="#pb58" class=
+"pageref">58</a> f., <a href="#pb61" class="pageref">61</a>, <a href=
+"#pb64" class="pageref">64</a>, <a href="#pb68" class="pageref">68</a>,
+<a href="#pb74" class="pageref">74</a>, <a href="#pb144" class=
+"pageref">144</a>, <a href="#pb146" class="pageref">146</a>, <a href=
+"#pb170" class="pageref">170</a>.</p>
+</div>
+</div>
+<div class="div2 letter"><span class="pagenum">[<a href=
+"#toc">Contents</a>]</span>
+<div class="divHead">
+<h3 class="main">F</h3>
+</div>
+<div class="divBody">
+<p class="first"><i>Factor&rsquo;s Garland, <a href="#pb24" class=
+"pageref">24</a> f.</i>, <a href="#pb110" class="pageref">110</a> f.,
+<a href="#pb156" class="pageref">156</a>.</p>
+<p><i>Fair Penitent, <a href="#pb25" class="pageref">25</a></i>,
+<a href="#pb43" class="pageref">43</a>.</p>
+<p><i>Fatal Dowry, <a href="#pb25" class="pageref">25</a></i>, <a href=
+"#pb43" class="pageref">43</a>.</p>
+<p><i>Finnish, <a href="#pb12" class="pageref">12</a></i>, <a href=
+"#pb46" class="pageref">46</a>, <a href="#pb59" class="pageref">59</a>
+f., <a href="#pb74" class="pageref">74</a>.</p>
+<p><i>Fountain of Youth, The</i>, <a href="#pb119" class=
+"pageref">119</a> f.</p>
+</div>
+</div>
+<div class="div2 letter"><span class="pagenum">[<a href=
+"#toc">Contents</a>]</span>
+<div class="divHead">
+<h3 class="main">G</h3>
+</div>
+<div class="divBody">
+<p class="first"><i>Gaelic, <a href="#pb19" class="pageref">19</a></i>,
+<a href="#pb77" class="pageref">77</a>, <a href="#pb85" class=
+"pageref">85</a> f., <a href="#pb87" class="pageref">87</a>, <a href=
+"#pb91" class="pageref">91</a>, <a href="#pb96" class="pageref">96</a>,
+<a href="#pb105" class="pageref">105</a> f., <a href="#pb110" class=
+"pageref">110</a> f., <a href="#pb156" class="pageref">156</a>.</p>
+<p><i>Gasconian, <a href="#pb17" class="pageref">17</a></i>, <a href=
+"#pb77" class="pageref">77</a>, <a href="#pb83" class="pageref">83</a>
+f., <a href="#pb118" class="pageref">118</a>.</p>
+<p><i lang="de">Gerhard, Der gute</i>, <a href="#pb1" class=
+"pageref">1</a>, <a href="#pb2" class="pageref">2</a>, <a href="#pb76"
+class="pageref">76</a>.</p>
+<p>Ghost uneasy in grave, <a href="#pb32" class="pageref">32</a>,
+<a href="#pb49" class="pageref">49</a>, <a href="#pb89" class=
+"pageref">89</a>.</p>
+<p><i>Golden Bird, The</i>, <a href="#pb3" class="pageref">3</a>,
+<a href="#pb124" class="pageref">124</a>.</p>
+<p><i>Greek, <a href="#pb9" class="pageref">9</a></i>, <a href="#pb29"
+class="pageref">29</a> f., <a href="#pb49" class="pageref">49</a>.</p>
+<p>Grimm brothers, <a href="#pb32" class="pageref">32</a>.</p>
+<p>Groome, F. H., <a href="#pb5" class="pageref">5</a>.</p>
+<p><i>Guillaume de Palerne</i>, <a href="#pb141" class=
+"pageref">141</a>.</p>
+<p>Gummere, F. B., <a href="#pb72" class="pageref">72</a>.</p>
+<p><i>Gypsy, <a href="#pb8" class="pageref">8</a></i>, <a href="#pb45"
+class="pageref">45</a>, <a href="#pb47" class="pageref">47</a> f.,
+<a href="#pb56" class="pageref">56</a>, <a href="#pb57" class=
+"pageref">57</a>, <a href="#pb64" class="pageref">64</a>, <a href=
+"#pb73" class="pageref">73</a>, <a href="#pb74" class=
+"pageref">74</a>.</p>
+</div>
+</div>
+<div class="div2 letter"><span class="pagenum">[<a href=
+"#toc">Contents</a>]</span>
+<div class="divHead">
+<h3 class="main">H</h3>
+</div>
+<div class="divBody">
+<p class="first"><i>Harz I., <a href="#pb23" class=
+"pageref">23</a></i>, <a href="#pb46" class="pageref">46</a>, <a href=
+"#pb69" class="pageref">69</a> f., <a href="#pb74" class=
+"pageref">74</a>, <a href="#pb144" class="pageref">144</a>, <a href=
+"#pb145" class="pageref">145</a> f.</p>
+<p><i>Harz II., <a href="#pb23" class="pageref">23</a></i>, <a href=
+"#pb127" class="pageref">127</a>, <a href="#pb132" class=
+"pageref">132</a>, <a href="#pb134" class="pageref">134</a>, <a href=
+"#pb146" class="pageref">146</a>, <a href="#pb149" class=
+"pageref">149</a>.</p>
+<p>Herodotus, <a href="#pb163" class="pageref">163</a>.</p>
+<p>Hertz, W., <a href="#pb44" class="pageref">44</a>.</p>
+<p>Hippe, M., <a href="#pb3" class="pageref">3</a>&ndash;5, <a href=
+"#pb44" class="pageref">44</a>, <a href="#pb56" class="pageref">56</a>,
+<a href="#pb75" class="pageref">75</a>&ndash;77, <a href="#pb81" class=
+"pageref">81</a>, <a href="#pb88" class="pageref">88</a>, <a href=
+"#pb118" class="pageref">118</a>.</p>
+<p>Holkot, Robert, <a href="#pb27" class="pageref">27</a>.</p>
+<p>Hopkins, E. W., <a href="#pb119" class="pageref">119</a> f.
+<span class="pagenum">[<a id="pb176" href="#pb176" name=
+"pb176">176</a>]</span></p>
+<p><i>Hungarian I., <a href="#pb12" class="pageref">12</a></i>,
+<a href="#pb127" class="pageref">127</a>, <a href="#pb128" class=
+"pageref">128</a><a id="xd20e8687" name="xd20e8687"></a> f., <a href=
+"#pb133" class="pageref">133</a>, <a href="#pb148" class=
+"pageref">148</a>, <a href="#pb149" class="pageref">149</a>.</p>
+<p><i>Hungarian II., <a href="#pb12" class="pageref">12</a></i>,
+<a href="#pb77" class="pageref">77</a>, <a href="#pb78" class=
+"pageref">78</a> f., <a href="#pb109" class="pageref">109</a>.</p>
+</div>
+</div>
+<div class="div2 letter"><span class="pagenum">[<a href=
+"#toc">Contents</a>]</span>
+<div class="divHead">
+<h3 class="main">I</h3>
+</div>
+<div class="divBody">
+<p class="first"><i>Icelandic I., <a href="#pb21" class=
+"pageref">21</a></i>, <a href="#pb49" class="pageref">49</a>, <a href=
+"#pb77" class="pageref">77</a>, <a href="#pb89" class="pageref">89</a>
+f., <a href="#pb153" class="pageref">153</a>&ndash;155.</p>
+<p><i>Icelandic II., <a href="#pb21" class="pageref">21</a></i>,
+<a href="#pb77" class="pageref">77</a>, <a href="#pb89" class=
+"pageref">89</a> f., <a href="#pb91" class="pageref">91</a>, <a href=
+"#pb153" class="pageref">153</a>&ndash;155.</p>
+<p><i>Iliad</i>, <a href="#pb163" class="pageref">163</a>.</p>
+<p>Incestuous step-mother, <a href="#pb92" class=
+"pageref">92</a>&ndash;94.</p>
+<p><i>Irish I., <a href="#pb19" class="pageref">19</a></i>, <a href=
+"#pb46" class="pageref">46</a>, <a href="#pb62" class="pageref">62</a>,
+<a href="#pb64" class="pageref">64</a>, <a href="#pb68" class=
+"pageref">68</a>&ndash;71, <a href="#pb73" class="pageref">73</a>,
+<a href="#pb74" class="pageref">74</a>, <a href="#pb96" class=
+"pageref">96</a>, <a href="#pb144" class="pageref">144</a>, <a href=
+"#pb146" class="pageref">146</a>, <a href="#pb156" class=
+"pageref">156</a>.</p>
+<p><i>Irish II., <a href="#pb19" class="pageref">19</a></i>, <a href=
+"#pb46" class="pageref">46</a>, <a href="#pb62" class=
+"pageref">62</a>&ndash;65, <a href="#pb68" class="pageref">68</a>,
+<a href="#pb69" class="pageref">69</a>, <a href="#pb73" class=
+"pageref">73</a>, <a href="#pb74" class="pageref">74</a>, <a href=
+"#pb144" class="pageref">144</a>&ndash;147.</p>
+<p><i>Irish III., <a href="#pb19" class="pageref">19</a></i>, <a href=
+"#pb46" class="pageref">46</a>, <a href="#pb63" class=
+"pageref">63</a>&ndash;65, <a href="#pb68" class="pageref">68</a>,
+<a href="#pb73" class="pageref">73</a>, <a href="#pb144" class=
+"pageref">144</a>.</p>
+<p><i>Istrian, <a href="#pb18" class="pageref">18</a></i>, <a href=
+"#pb77" class="pageref">77</a>, <a href="#pb85" class=
+"pageref">85</a>.</p>
+</div>
+</div>
+<div class="div2 letter"><span class="pagenum">[<a href=
+"#toc">Contents</a>]</span>
+<div class="divHead">
+<h3 class="main">J</h3>
+</div>
+<div class="divBody">
+<p class="first"><i>Jack the Giant-Killer</i>, <a href="#pb5" class=
+"pageref">5</a>, <i>24</i>, <a href="#pb46" class="pageref">46</a>,
+<a href="#pb70" class="pageref">70</a> f., <a href="#pb73" class=
+"pageref">73</a>, <a href="#pb110" class="pageref">110</a>, <a href=
+"#pb144" class="pageref">144</a>, <a href="#pb145" class=
+"pageref">145</a>.</p>
+<p><i>Jean de Calais</i>, <a href="#pb97" class="pageref">97</a>,
+<a href="#pb106" class="pageref">106</a>, <a href="#pb112" class=
+"pageref">112</a>, <a href="#pb156" class="pageref">156</a>, <a href=
+"#pb160" class="pageref">160</a> f.</p>
+<p><i>Jean de Calais I., <a href="#pb16" class="pageref">16</a></i>,
+<a href="#pb97" class="pageref">97</a> f., <a href="#pb101" class=
+"pageref">101</a>, <a href="#pb103" class="pageref">103</a>.</p>
+<p><i>Jean de Calais II., <a href="#pb16" class="pageref">16</a></i>,
+<a href="#pb100" class="pageref">100</a>&ndash;102, <a href="#pb104"
+class="pageref">104</a>, <a href="#pb109" class="pageref">109</a>,
+<a href="#pb113" class="pageref">113</a>, <a href="#pb115" class=
+"pageref">115</a>, <a href="#pb160" class="pageref">160</a>.</p>
+<p><i>Jean de Calais III., <a href="#pb16" class="pageref">16</a></i>,
+<a href="#pb98" class="pageref">98</a> f., <a href="#pb101" class=
+"pageref">101</a>, <a href="#pb108" class="pageref">108</a>.</p>
+<p><i>Jean de Calais IV., <a href="#pb16" class="pageref">16</a></i>,
+<a href="#pb98" class="pageref">98</a> f., <a href="#pb101" class=
+"pageref">101</a>, <a href="#pb108" class="pageref">108</a>.</p>
+<p><i>Jean de Calais V., <a href="#pb16" class="pageref">16</a></i>,
+<a href="#pb98" class="pageref">98</a> f., <a href="#pb101" class=
+"pageref">101</a>, <a href="#pb108" class="pageref">108</a>, <a href=
+"#pb109" class="pageref">109</a>.</p>
+<p><i>Jean de Calais VI., <a href="#pb17" class="pageref">17</a></i>,
+<a href="#pb99" class="pageref">99</a>, <a href="#pb101" class=
+"pageref">101</a> f., <a href="#pb103" class="pageref">103</a>.</p>
+<p><i>Jean de Calais VII., <a href="#pb17" class="pageref">17</a></i>,
+<a href="#pb100" class="pageref">100</a> f., <a href="#pb105" class=
+"pageref">105</a>, <a href="#pb109" class="pageref">109</a>, <a href=
+"#pb113" class="pageref">113</a>, <a href="#pb115" class=
+"pageref">115</a>, <a href="#pb160" class="pageref">160</a>.</p>
+<p><i>Jean de Calais VIII., <a href="#pb17" class="pageref">17</a></i>,
+<a href="#pb102" class="pageref">102</a> f., <a href="#pb109" class=
+"pageref">109</a>.</p>
+<p><i>Jean de Calais IX., <a href="#pb17" class="pageref">17</a></i>,
+<a href="#pb103" class="pageref">103</a> f., <a href="#pb107" class=
+"pageref">107</a>, <a href="#pb108" class="pageref">108</a>.</p>
+<p><i>Jean de Calais X., <a href="#pb17" class="pageref">17</a></i>,
+<a href="#pb101" class="pageref">101</a>, <a href="#pb104" class=
+"pageref">104</a> f., <a href="#pb108" class=
+"pageref">108</a><span class="corr" id="xd20e9101" title=
+"Source: .">,</span> <a href="#pb113" class="pageref">113</a>, <a href=
+"#pb115" class="pageref">115</a>, <a href="#pb160" class=
+"pageref">160</a>.</p>
+<p><i>Jewish, <a href="#pb8" class="pageref">8</a></i>, <a href="#pb27"
+class="pageref">27</a>&ndash;29, <a href="#pb101" class=
+"pageref">101</a>, <a href="#pb117" class="pageref">117</a>, <a href=
+"#pb160" class="pageref">160</a>, <a href="#pb167" class=
+"pageref">167</a>.</p>
+</div>
+</div>
+<div class="div2 letter"><span class="pagenum">[<a href=
+"#toc">Contents</a>]</span>
+<div class="divHead">
+<h3 class="main">K</h3>
+</div>
+<div class="divBody">
+<p class="first">Key in head of fish, <a href="#pb41" class=
+"pageref">41</a><span class="corr" id="xd20e9142" title=
+"Not in source">.</span></p>
+<p>King&rsquo;s son liberates prisoner and has service returned,
+<a href="#pb129" class="pageref">129</a>, <a href="#pb134" class=
+"pageref">134</a>.</p>
+<p>Kittredge, G. L., <a href="#pb113" class="pageref">113</a>, <a href=
+"#pb125" class="pageref">125</a>, <a href="#pb133" class=
+"pageref">133</a>.</p>
+<p>K&ouml;hler, R., <a href="#pb2" class="pageref">2</a>, <a href=
+"#pb41" class="pageref">41</a>.</p>
+<p><i>Kudrun</i>, <a href="#pb164" class="pageref">164</a>.</p>
+</div>
+</div>
+<div class="div2 letter"><span class="pagenum">[<a href=
+"#toc">Contents</a>]</span>
+<div class="divHead">
+<h3 class="main">L</h3>
+</div>
+<div class="divBody">
+<p class="first"><i>Lady and the Monster, The</i>, <a href="#pb64"
+class="pageref">64</a>, <a href="#pb126" class="pageref">126</a> f.,
+<a href="#pb134" class="pageref">134</a>, <a href="#pb145" class=
+"pageref">145</a>&ndash;152, <a href="#pb170" class=
+"pageref">170</a>.</p>
+<p>Liebrecht, F., <a href="#pb3" class="pageref">3</a>, <a href=
+"#pb167" class="pageref">167</a>.</p>
+<p><i>Lion de Bourges</i>, <a href="#pb5" class="pageref">5</a>,
+<a href="#pb14" class="pageref">14</a> f., <a href="#pb33" class=
+"pageref">33</a>, <a href="#pb34" class="pageref">34</a>, <a href=
+"#pb37" class="pageref">37</a>&ndash;39, <a href="#pb154" class=
+"pageref">154</a>.</p>
+<p><i>Lithuanian I., <a href="#pb11" class="pageref">11</a></i>,
+<a href="#pb77" class="pageref">77</a>, <a href="#pb78" class=
+"pageref">78</a> f.</p>
+<p><i>Lithuanian II., <a href="#pb11" class="pageref">11</a></i>,
+<a href="#pb97" class="pageref">97</a>, <a href="#pb98" class=
+"pageref">98</a>, <a href="#pb106" class="pageref">106</a>&ndash;108,
+<a href="#pb156" class="pageref">156</a>.</p>
+<p><i>Lope de Vega, <a href="#pb13" class="pageref">13</a></i>,
+<a href="#pb92" class="pageref">92</a>, <a href="#pb94" class=
+"pageref">94</a> f., <a href="#pb96" class="pageref">96</a>, <a href=
+"#pb109" class="pageref">109</a>, <a href="#pb153" class=
+"pageref">153</a>&ndash;158.</p>
+<p><i>Lotharingian, <a href="#pb17" class="pageref">17</a></i>,
+<a href="#pb135" class="pageref">135</a>, <a href="#pb136" class=
+"pageref">136</a>, <a href="#pb141" class="pageref">141</a> f.,
+<a href="#pb160" class="pageref">160</a>.</p>
+<p>Lyndesaye, Sir D., <a href="#pb165" class="pageref">165</a>.</p>
+</div>
+</div>
+<div class="div2 letter"><span class="pagenum">[<a href=
+"#toc">Contents</a>]</span>
+<div class="divHead">
+<h3 class="main">M</h3>
+</div>
+<div class="divBody">
+<p class="first"><i>Maltese, <a href="#pb9" class="pageref">9</a></i>,
+<a href="#pb127" class="pageref">127</a> f., <a href="#pb134" class=
+"pageref">134</a>, <a href="#pb143" class="pageref">143</a>, <a href=
+"#pb149" class="pageref">149</a>.</p>
+<p>Massinger, Philip, <a href="#pb43" class="pageref">43</a>.</p>
+<p>Men&eacute;ndez y Pelayo, <a href="#pb82" class=
+"pageref">82</a>.</p>
+<p>Metamorphosis, <a href="#pb111" class="pageref">111</a>, <a href=
+"#pb128" class="pageref">128</a>&ndash;130, <a href="#pb132" class=
+"pageref">132</a>.</p>
+</div>
+</div>
+<div class="div2 letter"><span class="pagenum">[<a href=
+"#toc">Contents</a>]</span>
+<div class="divHead">
+<h3 class="main">N</h3>
+</div>
+<div class="divBody">
+<p class="first"><i>Nicholas, <a href="#pb14" class=
+"pageref">14</a></i>, <a href="#pb77" class="pageref">77</a>, <a href=
+"#pb82" class="pageref">82</a> f., <a href="#pb87" class=
+"pageref">87</a>, <a href="#pb151" class="pageref">151</a>.</p>
+<p><i>Norwegian<a id="xd20e9374" name="xd20e9374"></a> I., <a href=
+"#pb21" class="pageref">21</a></i>, <a href="#pb77" class=
+"pageref">77</a>, <a href="#pb88" class="pageref">88</a> f., <a href=
+"#pb108" class="pageref">108</a>, <a href="#pb109" class=
+"pageref">109</a>.</p>
+<p><i>Norwegian II., <a href="#pb21" class="pageref">21</a></i>,
+<a href="#pb46" class="pageref">46</a>, <a href="#pb66" class=
+"pageref">66</a>, <a href="#pb69" class="pageref">69</a> f., <a href=
+"#pb74" class="pageref">74</a>, <a href="#pb144" class=
+"pageref">144</a>, <a href="#pb145" class="pageref">145</a>.</p>
+</div>
+</div>
+<div class="div2 letter"><span class="pagenum">[<a href=
+"#toc">Contents</a>]</span>
+<div class="divHead">
+<h3 class="main">O</h3>
+</div>
+<div class="divBody">
+<p class="first"><i>Oldenburgian, <a href="#pb23" class=
+"pageref">23</a></i>, <a href="#pb115" class="pageref">115</a> f.,
+<a href="#pb160" class="pageref">160</a> f.</p>
+<p><i>Old <span class="corr" id="xd20e9436" title=
+"Source: Swediash">Swedish</span>, <a href="#pb20" class=
+"pageref">20</a></i>, <a href="#pb33" class="pageref">33</a>, <a href=
+"#pb35" class="pageref">35</a> f., <a href="#pb37" class=
+"pageref">37</a> f., <a href="#pb109" class="pageref">109</a>, <a href=
+"#pb153" class="pageref">153</a> f.</p>
+<p><i>Old Wives&rsquo; Tale</i>, <a href="#pb5" class="pageref">5</a>,
+<i>25</i>, <a href="#pb46" class="pageref">46</a>, <a href="#pb71"
+class="pageref">71</a>&ndash;73, <a href="#pb74" class=
+"pageref">74</a>, <a href="#pb109" class="pageref">109</a>, <a href=
+"#pb144" class="pageref">144</a>, <a href="#pb145" class=
+"pageref">145</a>, <a href="#pb152" class="pageref">152</a>, <a href=
+"#pb169" class="pageref">169</a>.</p>
+<p><i>Oliver, <a href="#pb15" class="pageref">15</a></i>, <a href=
+"#pb49" class="pageref">49</a>, <a href="#pb82" class="pageref">82</a>,
+<a href="#pb92" class="pageref">92</a>&ndash;94, <a href="#pb96" class=
+"pageref">96</a>, <a href="#pb109" class="pageref">109</a>, <a href=
+"#pb118" class="pageref">118</a>, <a href="#pb153" class=
+"pageref">153</a>&ndash;158.</p>
+</div>
+</div>
+<div class="div2 letter"><span class="pagenum">[<a href=
+"#toc">Contents</a>]</span>
+<div class="divHead">
+<h3 class="main">P</h3>
+</div>
+<div class="divBody">
+<p class="first">Parable of old and new keys, <a href="#pb103" class=
+"pageref">103</a>, <a href="#pb107" class="pageref">107</a>.</p>
+<p>Pausanias, <a href="#pb163" class="pageref">163</a>.</p>
+<p>Peele, Geo., <a href="#pb5" class="pageref">5</a>, <a href="#pb71"
+class="pageref">71</a>, <a href="#pb73" class="pageref">73</a>,
+<a href="#pb152" class="pageref">152</a>, <a href="#pb169" class=
+"pageref">169</a> f.</p>
+<p>Perseus and Andromeda, <a href="#pb107" class="pageref">107</a>.</p>
+<p>Petersen, Miss, <a href="#pb27" class="pageref">27</a>.</p>
+<p><i>Poison Maiden, The</i>, <a href="#pb26" class="pageref">26</a>,
+<a href="#pb44" class="pageref">44</a>&ndash;75, <a href="#pb117"
+class="pageref">117</a> f., <a href="#pb125" class="pageref">125</a>,
+<a href="#pb127" class="pageref">127</a>, <a href="#pb134" class=
+"pageref">134</a>, <a href="#pb144" class="pageref">144</a>&ndash;147,
+<a href="#pb149" class="pageref">149</a>&ndash;152, <a href="#pb155"
+class="pageref">155</a>, <a href="#pb157" class="pageref">157</a>,
+<a href="#pb160" class="pageref">160</a>, <a href="#pb168" class=
+"pageref">168</a>&ndash;170, <a href="#pb171" class="pageref">171</a>
+f.</p>
+<p><i>Polish, <a href="#pb11" class="pageref">11</a></i>, <a href=
+"#pb127" class="pageref">127</a>, <a href="#pb128" class=
+"pageref">128</a>, <a href="#pb133" class="pageref">133</a>, <a href=
+"#pb148" class="pageref">148</a>, <a href="#pb149" class=
+"pageref">149</a>, <a href="#pb160" class="pageref">160</a>.</p>
+<p><i>Possessed Woman, The.</i> See <i>Poison Maiden</i>.</p>
+<p>Possessions offered in return for favours, <a href="#pb34" class=
+"pageref">34</a>, <a href="#pb46" class="pageref">46</a>.</p>
+<p><i>Puss in Boots</i>, <a href="#pb41" class="pageref">41</a> f.,
+<a href="#pb62" class="pageref">62</a>, <a href="#pb70" class=
+"pageref">70</a>, <a href="#pb171" class="pageref">171</a>.</p>
+</div>
+</div>
+<div class="div2 letter"><span class="pagenum">[<a href=
+"#toc">Contents</a>]</span>
+<div class="divHead">
+<h3 class="main">Q</h3>
+</div>
+<div class="divBody">
+<p class="first"><i>Quest of the Sword of Light, The</i>, <a href=
+"#pb133" class="pageref">133</a>, <a href="#pb146" class=
+"pageref">146</a>.</p>
+</div>
+</div>
+<div class="div2 letter"><span class="pagenum">[<a href=
+"#toc">Contents</a>]</span>
+<div class="divHead">
+<h3 class="main">R</h3>
+</div>
+<div class="divBody">
+<p class="first">Rampsinit, <a href="#pb163" class=
+"pageref">163</a>.</p>
+<p><i>Ransomed Woman, The</i>, <a href="#pb4" class="pageref">4</a>,
+<a href="#pb26" class="pageref">26</a>, <a href="#pb76" class=
+"pageref">76</a>&ndash;118, <a href="#pb125" class="pageref">125</a>,
+<a href="#pb127" class="pageref">127</a>, <a href="#pb134" class=
+"pageref">134</a>, <a href="#pb147" class="pageref">147</a>&ndash;152,
+<a href="#pb154" class="pageref">154</a>, <a href="#pb157" class=
+"pageref">157</a>, <a href="#pb160" class="pageref">160</a>, <a href=
+"#pb168" class="pageref">168</a>, <a href="#pb170" class=
+"pageref">170</a> f., <a href="#pb172" class="pageref">172</a>.</p>
+<p>Rescue by ghost, <a href="#pb27" class="pageref">27</a>, <a href=
+"#pb46" class="pageref">46</a>, <a href="#pb47" class="pageref">47</a>,
+<a href="#pb50" class="pageref">50</a>&ndash;53, <a href="#pb55" class=
+"pageref">55</a>&ndash;58, <a href="#pb77" class=
+"pageref">77</a>&ndash;80, <a href="#pb86" class=
+"pageref">86</a>&ndash;91, <a href="#pb96" class=
+"pageref">96</a>&ndash;106, <a href="#pb108" class=
+"pageref">108</a>&ndash;111, <a href="#pb113" class=
+"pageref">113</a>&ndash;115, <a href="#pb128" class=
+"pageref">128</a>&ndash;130, <a href="#pb136" class=
+"pageref">136</a>&ndash;141.</p>
+<p><i>Richars, <a href="#pb14" class="pageref">14</a></i>, <a href=
+"#pb33" class="pageref">33</a> f., <a href="#pb37" class=
+"pageref">37</a>&ndash;39, <a href="#pb153" class=
+"pageref">153</a>&ndash;155.</p>
+<p><i>Rig-Veda</i>, <a href="#pb163" class="pageref">163</a>.</p>
+<p>Ring in beaker, <a href="#pb29" class="pageref">29</a>, <a href=
+"#pb79" class="pageref">79</a>, <a href="#pb110" class=
+"pageref">110</a>, <a href="#pb115" class="pageref">115</a>.</p>
+<p><i>Rittertriuwe, <a href="#pb22" class="pageref">22</a></i>,
+<a href="#pb33" class="pageref">33</a>, <a href="#pb36" class=
+"pageref">36</a>&ndash;39, <a href="#pb153" class="pageref">153</a>
+f.</p>
+<p>Rival suitors, one kind and one unkind, <a href="#pb29" class=
+"pageref">29</a>&ndash;31.</p>
+<p>Rowe, Nicholas, <a href="#pb43" class="pageref">43</a>.</p>
+<p><i>Rumanian I., <a href="#pb12" class="pageref">12</a></i>, <a href=
+"#pb46" class="pageref">46</a>, <a href="#pb49" class="pageref">49</a>,
+<a href="#pb60" class="pageref">60</a> f., <a href="#pb64" class=
+"pageref">64</a>, <a href="#pb68" class="pageref">68</a>, <a href=
+"#pb144" class="pageref">144</a>, <a href="#pb170" class=
+"pageref">170</a>.</p>
+<p><i>Rumanian II., <a href="#pb12" class="pageref">12</a></i>,
+<a href="#pb127" class="pageref">127</a>, <a href="#pb129" class=
+"pageref">129</a>, <a href="#pb133" class="pageref">133</a>, <a href=
+"#pb148" class="pageref">148</a>, <a href="#pb149" class=
+"pageref">149</a>.</p>
+<p><i>Russian I., <a href="#pb9" class="pageref">9</a></i>, <a href=
+"#pb45" class="pageref">45</a>, <a href="#pb48" class="pageref">48</a>
+f., <a href="#pb51" class="pageref">51</a> f., <a href="#pb73" class=
+"pageref">73</a>, <a href="#pb89" class="pageref">89</a><span class=
+"corr" id="xd20e9902" title="Source: ,">.</span></p>
+<p><i>Russian II., <a href="#pb9" class="pageref">9</a></i>, <a href=
+"#pb46" class="pageref">46</a>, <a href="#pb49" class="pageref">49</a>
+f., <a href="#pb51" class="pageref">51</a> f., <a href="#pb54" class=
+"pageref">54</a>, <a href="#pb55" class="pageref">55</a>, <a href=
+"#pb73" class="pageref">73</a>, <a href="#pb74" class="pageref">74</a>,
+<a href="#pb78" class="pageref">78</a>.</p>
+<p><i>Russian III., <a href="#pb9" class="pageref">9</a></i>, <a href=
+"#pb46" class="pageref">46</a>, <a href="#pb50" class=
+"pageref">50</a>&ndash;52, <a href="#pb73" class="pageref">73</a>.
+<span class="pagenum">[<a id="pb177" href="#pb177" name=
+"pb177">177</a>]</span></p>
+<p><i>Russian IV., <a href="#pb9" class="pageref">9</a></i>, <a href=
+"#pb46" class="pageref">46</a>, <a href="#pb51" class="pageref">51</a>
+f., <a href="#pb73" class="pageref">73</a>, <a href="#pb74" class=
+"pageref">74</a>.</p>
+<p><i>Russian V., <a href="#pb10" class="pageref">10</a></i>, <a href=
+"#pb52" class="pageref">52</a>, <a href="#pb73" class=
+"pageref">73</a>&ndash;75.</p>
+<p><i>Russian VI., <a href="#pb10" class="pageref">10</a></i>, <a href=
+"#pb52" class="pageref">52</a>&ndash;54, <a href="#pb73" class=
+"pageref">73</a>&ndash;75.</p>
+</div>
+</div>
+<div class="div2 letter"><span class="pagenum">[<a href=
+"#toc">Contents</a>]</span>
+<div class="divHead">
+<h3 class="main">S</h3>
+</div>
+<div class="divBody">
+<p class="first"><i>Scala Celi</i>, by Gobius, <a href="#pb76" class=
+"pageref">76</a>, <a href="#pb82" class="pageref">82</a>, <a href=
+"#pb171" class="pageref">171</a>.</p>
+<p>Schaeffer, <a href="#pb95" class="pageref">95</a>.</p>
+<p>Sepp, <a href="#pb3" class="pageref">3</a>.</p>
+<p><i>Servian I., <a href="#pb10" class="pageref">10</a></i>, <a href=
+"#pb77" class="pageref">77</a> f., <a href="#pb91" class=
+"pageref">91</a>.</p>
+<p><i>Servian II., <a href="#pb10" class="pageref">10</a></i>, <a href=
+"#pb46" class="pageref">46</a>, <a href="#pb55" class="pageref">55</a>,
+<a href="#pb73" class="pageref">73</a>, <a href="#pb74" class=
+"pageref">74</a>.</p>
+<p><i>Servian III., <a href="#pb10" class="pageref">10</a></i>,
+<a href="#pb46" class="pageref">46</a>, <a href="#pb56" class=
+"pageref">56</a>, <a href="#pb73" class="pageref">73</a>, <a href=
+"#pb74" class="pageref">74</a>, <a href="#pb170" class=
+"pageref">170</a>.</p>
+<p><i>Servian IV., <a href="#pb10" class="pageref">10</a></i>, <a href=
+"#pb46" class="pageref">46</a>, <a href="#pb57" class="pageref">57</a>,
+<a href="#pb73" class="pageref">73</a>, <a href="#pb74" class=
+"pageref">74</a>, <a href="#pb101" class="pageref">101</a>, <a href=
+"#pb160" class="pageref">160</a>.</p>
+<p><i>Servian V., <a href="#pb10" class="pageref">10</a></i>, <a href=
+"#pb31" class="pageref">31</a> f., <a href="#pb114" class=
+"pageref">114</a>.</p>
+<p><i>Servian VI., <a href="#pb11" class="pageref">11</a></i>, <a href=
+"#pb28" class="pageref">28</a>, <a href="#pb164" class=
+"pageref">164</a>.</p>
+<p>Ship that will travel on land, <a href="#pb130" class=
+"pageref">130</a>.</p>
+<p><i>Siberian, <a href="#pb8" class="pageref">8</a></i>, <a href=
+"#pb45" class="pageref">45</a>, <a href="#pb48" class="pageref">48</a>,
+<a href="#pb54" class="pageref">54</a>, <a href="#pb73" class=
+"pageref">73</a>, <a href="#pb74" class="pageref">74</a>, <a href=
+"#pb167" class="pageref">167</a>.</p>
+<p><i>Sicilian, <a href="#pb18" class="pageref">18</a></i>, <a href=
+"#pb127" class="pageref">127</a>, <a href="#pb130" class=
+"pageref">130</a> f., <a href="#pb133" class="pageref">133</a>,
+<a href="#pb134" class="pageref">134</a>, <a href="#pb146" class=
+"pageref">146</a>, <a href="#pb149" class="pageref">149</a>.</p>
+<p><i>Simonides, <a href="#pb8" class="pageref">8</a></i>, <a href=
+"#pb26" class="pageref">26</a>, <a href="#pb28" class="pageref">28</a>
+f., <a href="#pb117" class="pageref">117</a>, <a href="#pb164" class=
+"pageref">164</a>, <a href="#pb167" class="pageref">167</a>, <a href=
+"#pb169" class="pageref">169</a>.</p>
+<p>Simrock, K., <a href="#pb1" class="pageref">1</a>, <a href="#pb2"
+class="pageref">2</a>, <a href="#pb76" class="pageref">76</a>, <a href=
+"#pb167" class="pageref">167</a>.</p>
+<p><i>Simrock I., <a href="#pb22" class="pageref">22</a></i>, <a href=
+"#pb107" class="pageref">107</a> f., <a href="#pb112" class=
+"pageref">112</a>&ndash;114, <a href="#pb116" class="pageref">116</a>,
+<a href="#pb147" class="pageref">147</a>&ndash;149, <a href="#pb156"
+class="pageref">156</a>.</p>
+<p><i>Simrock II., <a href="#pb22" class="pageref">22</a></i>, <a href=
+"#pb108" class="pageref">108</a> f., <a href="#pb113" class=
+"pageref">113</a>, <a href="#pb115" class="pageref">115</a>, <a href=
+"#pb156" class="pageref">156</a>, <a href="#pb160" class=
+"pageref">160</a>.</p>
+<p><i>Simrock III., <a href="#pb22" class="pageref">22</a></i>,
+<a href="#pb112" class="pageref">112</a> f., <a href="#pb114" class=
+"pageref">114</a>, <a href="#pb115" class="pageref">115</a>, <a href=
+"#pb147" class="pageref">147</a> f., <a href="#pb149" class=
+"pageref">149</a>, <a href="#pb160" class="pageref">160</a> f.</p>
+<p><i>Simrock IV., <a href="#pb22" class="pageref">22</a></i>, <a href=
+"#pb50" class="pageref">50</a>, <a href="#pb54" class="pageref">54</a>,
+<a href="#pb77" class="pageref">77</a>, <a href="#pb90" class=
+"pageref">90</a> f.</p>
+<p><i>Simrock V., <a href="#pb22" class="pageref">22</a></i>, <a href=
+"#pb115" class="pageref">115</a> f., <a href="#pb160" class=
+"pageref">160</a> f.</p>
+<p><i>Simrock VI., <a href="#pb23" class="pageref">23</a></i>, <a href=
+"#pb77" class="pageref">77</a>, <a href="#pb91" class=
+"pageref">91</a>.</p>
+<p><i>Simrock VII., <a href="#pb23" class="pageref">23</a></i>,
+<a href="#pb91" class="pageref">91</a>, <a href="#pb114" class=
+"pageref">114</a>&ndash;116, <a href="#pb147" class=
+"pageref">147</a>&ndash;149.</p>
+<p><i>Simrock VIII., <a href="#pb23" class="pageref">23</a></i>,
+<a href="#pb109" class="pageref">109</a>&ndash;111, <a href="#pb113"
+class="pageref">113</a>, <a href="#pb115" class="pageref">115</a>,
+<a href="#pb156" class="pageref">156</a>, <a href="#pb160" class=
+"pageref">160</a>.</p>
+<p><i>Simrock IX., <a href="#pb23" class="pageref">23</a></i>, <a href=
+"#pb135" class="pageref">135</a>, <a href="#pb140" class=
+"pageref">140</a>&ndash;142, <a href="#pb160" class=
+"pageref">160</a>.</p>
+<p><i>Simrock X., <a href="#pb23" class="pageref">23</a></i>, <a href=
+"#pb46" class="pageref">46</a>, <a href="#pb68" class=
+"pageref">68</a>&ndash;70, <a href="#pb144" class="pageref">144</a>,
+<a href="#pb145" class="pageref">145</a>.</p>
+<p><i>Sir Amadas</i>, <a href="#pb2" class="pageref">2</a>, <i>23
+f.</i>, <a href="#pb33" class="pageref">33</a>, <a href="#pb37" class=
+"pageref">37</a>&ndash;39, <a href="#pb96" class="pageref">96</a>,
+<a href="#pb153" class="pageref">153</a>&ndash;158.</p>
+<p><i>Sir Degarre</i>, <a href="#pb34" class="pageref">34</a>.</p>
+<p><i>Skilful Companions, The</i>, <a href="#pb125" class=
+"pageref">125</a>&ndash;127, <a href="#pb134" class="pageref">134</a>,
+<a href="#pb147" class="pageref">147</a>.</p>
+<p><i>Souhaits Saint Martin</i>, <a href="#pb158" class=
+"pageref">158</a>.</p>
+<p><i>Spanish</i>, <a href="#pb13" class="pageref">13</a>, <a href=
+"#pb77" class="pageref">77</a>, <a href="#pb80" class="pageref">80</a>
+f., <a href="#pb86" class="pageref">86</a>, <a href="#pb88" class=
+"pageref">88</a>, <a href="#pb116" class="pageref">116</a>.</p>
+<p><i>Spendthrift Knight, The</i>, <a href="#pb33" class=
+"pageref">33</a>, <a href="#pb39" class="pageref">39</a>, <a href=
+"#pb153" class="pageref">153</a>&ndash;156, <a href="#pb161" class=
+"pageref">161</a>.</p>
+<p><i>Stellante Costantina, <a href="#pb17" class="pageref">17</a>
+f.</i></p>
+<p>Stephens, Geo., <a href="#pb2" class="pageref">2</a>, <a href=
+"#pb43" class="pageref">43</a>, <a href="#pb44" class="pageref">44</a>,
+<a href="#pb76" class="pageref">76</a>.</p>
+<p><i>Straparola I., <a href="#pb18" class="pageref">18</a></i>,
+<a href="#pb77" class="pageref">77</a>, <a href="#pb84" class=
+"pageref">84</a>, <a href="#pb118" class="pageref">118</a>.</p>
+<p><i>Straparola II., <a href="#pb18" class="pageref">18</a></i>,
+<a href="#pb127" class="pageref">127</a>, <a href="#pb129" class=
+"pageref">129</a> f., <a href="#pb133" class="pageref">133</a>,
+<a href="#pb134" class="pageref">134</a>, <a href="#pb146" class=
+"pageref">146</a>, <a href="#pb148" class="pageref">148</a> f.,
+<a href="#pb152" class="pageref">152</a>.</p>
+<p>Suetonius, <a href="#pb164" class="pageref">164</a>.</p>
+<p><i>Swan-Maiden, The</i>, <a href="#pb32" class="pageref">32</a>,
+<a href="#pb114" class="pageref">114</a>, <a href="#pb171" class=
+"pageref">171</a>.</p>
+<p><i>Swedish, <a href="#pb20" class="pageref">20</a></i>, <a href=
+"#pb77" class="pageref">77</a>, <a href="#pb87" class="pageref">87</a>
+f., <a href="#pb89" class="pageref">89</a>.</p>
+</div>
+</div>
+<div class="div2 letter"><span class="pagenum">[<a href=
+"#toc">Contents</a>]</span>
+<div class="divHead">
+<h3 class="main">T</h3>
+</div>
+<div class="divBody">
+<p class="first">Test of fidelity by division of wife, <a href="#pb30"
+class="pageref">30</a>, <a href="#pb36" class="pageref">36</a>,
+<a href="#pb37" class="pageref">37</a>, <a href="#pb56" class=
+"pageref">56</a>, <a href="#pb57" class="pageref">57</a>, <a href=
+"#pb72" class="pageref">72</a>, <a href="#pb80" class="pageref">80</a>,
+<a href="#pb84" class="pageref">84</a>, <a href="#pb85" class=
+"pageref">85</a>, <a href="#pb93" class="pageref">93</a>, <a href=
+"#pb95" class="pageref">95</a>, <a href="#pb131" class=
+"pageref">131</a>.</p>
+<p>Test of fidelity by division of child or children, <a href="#pb37"
+class="pageref">37</a>, <a href="#pb62" class="pageref">62</a>,
+<a href="#pb80" class="pageref">80</a>, <a href="#pb86" class=
+"pageref">86</a>, <a href="#pb87" class="pageref">87</a>, <a href=
+"#pb93" class="pageref">93</a>, <a href="#pb97" class=
+"pageref">97</a>&ndash;101, <a href="#pb103" class=
+"pageref">103</a>&ndash;105, <a href="#pb107" class=
+"pageref">107</a>&ndash;109.</p>
+<p>Test of fidelity by division of property, <a href="#pb93" class=
+"pageref">93</a>.</p>
+<p>Test of fidelity by choice between wife and property, <a href=
+"#pb34" class="pageref">34</a>&ndash;36.</p>
+<p>Test of friendship by apple, <a href="#pb55" class=
+"pageref">55</a>.</p>
+<p><i>Thankful Beasts</i>, <a href="#pb2" class="pageref">2</a>,
+<a href="#pb27" class="pageref">27</a>, <a href="#pb57" class=
+"pageref">57</a>, <a href="#pb101" class="pageref">101</a>, <a href=
+"#pb113" class="pageref">113</a>, <a href="#pb116" class=
+"pageref">116</a>, <a href="#pb118" class="pageref">118</a>, <a href=
+"#pb126" class="pageref">126</a>, <a href="#pb135" class=
+"pageref">135</a>&ndash;143, <a href="#pb149" class="pageref">149</a>,
+<a href="#pb151" class="pageref">151</a>, <a href="#pb158" class=
+"pageref">158</a>&ndash;161.</p>
+<p><i>Tobit</i>, <a href="#pb5" class="pageref">5</a>, <a href="#pb7"
+class="pageref">7</a>, <a href="#pb45" class="pageref">45</a>&ndash;47,
+<a href="#pb50" class="pageref">50</a>, <a href="#pb54" class=
+"pageref">54</a>, <a href="#pb58" class="pageref">58</a>, <a href=
+"#pb73" class="pageref">73</a>, <a href="#pb74" class="pageref">74</a>,
+<a href="#pb78" class="pageref">78</a>, <a href="#pb152" class=
+"pageref">152</a>, <a href="#pb155" class="pageref">155</a> f.,
+<a href="#pb167" class="pageref">167</a>&ndash;169.</p>
+<p>Tourney for hand of lady, <a href="#pb33" class=
+"pageref">33</a>&ndash;37, <a href="#pb93" class="pageref">93</a>,
+<a href="#pb94" class="pageref">94</a>, <a href="#pb131" class=
+"pageref">131</a>.</p>
+<p><i>Trancoso, <a href="#pb14" class="pageref">14</a></i>, <a href=
+"#pb77" class="pageref">77</a>, <a href="#pb81" class="pageref">81</a>
+f., <a href="#pb118" class="pageref">118</a>.</p>
+<p><i>Transylvanian, <a href="#pb12" class="pageref">12</a></i>,
+<a href="#pb77" class="pageref">77</a>, <a href="#pb79" class=
+"pageref">79</a> f., <a href="#pb84" class="pageref">84</a>, <a href=
+"#pb86" class="pageref">86</a>, <a href="#pb91" class="pageref">91</a>,
+<a href="#pb96" class="pageref">96</a>, <a href="#pb109" class=
+"pageref">109</a>, <a href="#pb118" class="pageref">118</a>, <a href=
+"#pb156" class="pageref">156</a>.</p>
+<p><i>Tree of Life, The</i>, <a href="#pb120" class=
+"pageref">120</a>.</p>
+<p><i>Trentall of St. Gregory</i>, <a href="#pb40" class=
+"pageref">40</a>, <a href="#pb171" class="pageref">171</a>.</p>
+<p><i>Treu Heinrich, <a href="#pb22" class="pageref">22</a></i>,
+<a href="#pb127" class="pageref">127</a>, <a href="#pb131" class=
+"pageref">131</a> f., <a href="#pb133" class="pageref">133</a>,
+<a href="#pb148" class="pageref">148</a>, <a href="#pb149" class=
+"pageref">149</a>, <a href="#pb151" class="pageref">151</a>, <a href=
+"#pb153" class="pageref">153</a>&ndash;155.</p>
+<p><i>Tuscan, <a href="#pb18" class="pageref">18</a></i>, <a href=
+"#pb135" class="pageref">135</a>, <a href="#pb137" class=
+"pageref">137</a> f., <a href="#pb142" class="pageref">142</a>,
+<a href="#pb160" class="pageref">160</a>.</p>
+<p><i>Two Friends, The</i>, <a href="#pb86" class="pageref">86</a>,
+<a href="#pb91" class="pageref">91</a>&ndash;97, <a href="#pb118"
+class="pageref">118</a>, <a href="#pb146" class="pageref">146</a>,
+<a href="#pb156" class="pageref">156</a>&ndash;158, <a href="#pb161"
+class="pageref">161</a>.</p>
+</div>
+</div>
+<div class="div2 letter"><span class="pagenum">[<a href=
+"#toc">Contents</a>]</span>
+<div class="divHead">
+<h3 class="main">V</h3>
+</div>
+<div class="divBody">
+<p class="first">Valerius Maximus, <a href="#pb26" class=
+"pageref">26</a> f.</p>
+<p>Vampires, <a href="#pb52" class="pageref">52</a>&ndash;54, <a href=
+"#pb61" class="pageref">61</a>, <a href="#pb88" class="pageref">88</a>,
+<a href="#pb165" class="pageref">165</a>.</p>
+<p><i>Venetian, <a href="#pb18" class="pageref">18</a></i>, <a href=
+"#pb127" class="pageref">127</a>, <a href="#pb130" class=
+"pageref">130</a>, <a href="#pb134" class="pageref">134</a>, <a href=
+"#pb143" class="pageref">143</a>, <a href="#pb149" class=
+"pageref">149</a>, <a href="#pb151" class="pageref">151</a>.</p>
+</div>
+</div>
+<div class="div2 letter"><span class="pagenum">[<a href=
+"#toc">Contents</a>]</span>
+<div class="divHead">
+<h3 class="main">W</h3>
+</div>
+<div class="divBody">
+<p class="first"><i>Walewein, <a href="#pb17" class=
+"pageref">17</a></i>, <a href="#pb49" class="pageref">49</a>, <a href=
+"#pb135" class="pageref">135</a>, <a href="#pb141" class=
+"pageref">141</a>&ndash;143, <a href="#pb151" class="pageref">151</a>,
+<a href="#pb160" class="pageref">160</a>.</p>
+<p>Warning by ghost, <a href="#pb26" class="pageref">26</a>.</p>
+<p><i>Water of Life, The</i>, <a href="#pb3" class="pageref">3</a>,
+<a href="#pb4" class="pageref">4</a>, <a href="#pb26" class=
+"pageref">26</a>, <a href="#pb33" class="pageref">33</a>, <a href=
+"#pb56" class="pageref">56</a>, <a href="#pb64" class="pageref">64</a>,
+<a href="#pb68" class="pageref">68</a>, <a href="#pb69" class=
+"pageref">69</a>, <a href="#pb73" class="pageref">73</a>, <a href=
+"#pb108" class="pageref">108</a>, <a href="#pb112" class=
+"pageref">112</a>, <a href="#pb113" class="pageref">113</a>, <a href=
+"#pb118" class="pageref">118</a>, <a href="#pb119" class=
+"pageref">119</a>&ndash;152, <a href="#pb154" class="pageref">154</a>,
+<a href="#pb160" class="pageref">160</a> f., <a href="#pb168" class=
+"pageref">168</a>.</p>
+<p>Webster, W., <a href="#pb105" class="pageref">105</a>.</p>
+<p>Wilhelmi, H., <a href="#pb5" class="pageref">5</a>, <a href="#pb38"
+class="pageref">38</a>.</p>
+<p>Woman divided (or threatened with division), <a href="#pb30" class=
+"pageref">30</a>, <a href="#pb37" class="pageref">37</a>, <a href=
+"#pb47" class="pageref">47</a>, <a href="#pb48" class="pageref">48</a>,
+<a href="#pb50" class="pageref">50</a>, <a href="#pb52" class=
+"pageref">52</a>, <a href="#pb53" class="pageref">53</a>, <a href=
+"#pb57" class="pageref">57</a>&ndash;59, <a href="#pb79" class=
+"pageref">79</a>, <a href="#pb80" class="pageref">80</a>, <a href=
+"#pb84" class="pageref">84</a>, <a href="#pb85" class=
+"pageref">85</a>.</p>
+<p>W&uuml;nsche, A., <a href="#pb119" class=
+"pageref">119</a>&ndash;124.</p>
+<p class="xd20e217">Glasgow: Printed at the University Press by Robert
+Maclehose and Co. Ltd.</p>
+</div>
+</div>
+</div>
+</div>
+<div class="transcribernote">
+<h2 class="main">Colophon</h2>
+<h3 class="main">Availability</h3>
+<p class="first">This eBook is for the use of anyone anywhere at no
+cost and with almost no restrictions whatsoever. You may copy it, give
+it away or re-use it under the terms of the <a class="exlink xd20e41"
+title="External link" href="http://www.gutenberg.org/license" rel=
+"license">Project Gutenberg License</a> included with this eBook or
+online at <a class="exlink xd20e41" title="External link" href=
+"http://www.gutenberg.org/" rel="home">www.gutenberg.org</a>.</p>
+<p>This eBook is produced by the Online Distributed Proofreading Team
+at <a class="exlink xd20e41" title="External link" href=
+"http://www.pgdp.net/">www.pgdp.net</a>.</p>
+<p>Scans of this book are available from the Internet Archive (copy
+<a class="exlink xd20e41" title="External link" href=
+"http://archive.org/details/cu31924008967782">1</a>, <a class=
+"exlink xd20e41" title="External link" href=
+"http://archive.org/details/gratefuldeadhis00gerogoog">2</a>, <a class=
+"exlink xd20e41" title="External link" href=
+"http://archive.org/details/gratefuldeadhist00gerorich">3</a>,
+<a class="exlink xd20e41" title="External link" href=
+"http://archive.org/details/gratefuldeadhist00gerouoft">4</a>).</p>
+<p>Related Library of Congress catalog page: <a class="catlink" href=
+"http://lccn.loc.gov/09006001">09006001</a>.</p>
+<p>Related Open Library catalog page (for source): <a class="catlink"
+href="http://openlibrary.org/books/OL20600103M">OL20600103M</a>.</p>
+<p>Related Open Library catalog page (for work): <a class="catlink"
+href="http://openlibrary.org/works/OL13173638W">OL13173638W</a>.</p>
+<p>Related WorldCat catalog page: <a class="catlink" href=
+"http://www.worldcat.org/oclc/71121849">71121849</a>.</p>
+<h3 class="main">Encoding</h3>
+<p class="first"></p>
+<h3 class="main">Revision History</h3>
+<ul>
+<li>2012-04-06 Started.</li>
+</ul>
+<h3 class="main">External References</h3>
+<p>This Project Gutenberg eBook contains external references. These
+links may not work for you.</p>
+<h3 class="main">Corrections</h3>
+<p>The following corrections have been applied to the text:</p>
+<table class="correctiontable" summary=
+"Overview of corrections applied to the text.">
+<tr>
+<th>Page</th>
+<th>Source</th>
+<th>Correction</th>
+</tr>
+<tr>
+<td class="width20"><a class="pageref" href="#xd20e508">4</a></td>
+<td class="width40 bottom">Schimf</td>
+<td class="width40 bottom">Schimpf</td>
+</tr>
+<tr>
+<td class="width20"><a class="pageref" href="#xd20e581">7</a>,
+<a class="pageref" href="#xd20e2131">22</a>, <a class="pageref" href=
+"#xd20e3200">50</a>, <a class="pageref" href="#xd20e9902">176</a></td>
+<td class="width40 bottom">,</td>
+<td class="width40 bottom">.</td>
+</tr>
+<tr>
+<td class="width20"><a class="pageref" href="#xd20e695">8</a></td>
+<td class="width40 bottom">Sapientie</td>
+<td class="width40 bottom">Sapientiae</td>
+</tr>
+<tr>
+<td class="width20"><a class="pageref" href="#xd20e872">10</a>,
+<a class="pageref" href="#xd20e1448">16</a>, <a class="pageref" href=
+"#xd20e9142">176</a></td>
+<td class="width40 bottom">[<i>Not in source</i>]</td>
+<td class="width40 bottom">.</td>
+</tr>
+<tr>
+<td class="width20"><a class="pageref" href="#xd20e980">11</a></td>
+<td class="width40 bottom">Oc.</td>
+<td class="width40 bottom">Or.</td>
+</tr>
+<tr>
+<td class="width20"><a class="pageref" href="#xd20e1104">12</a>,
+<a class="pageref" href="#xd20e2042">21</a>, <a class="pageref" href=
+"#xd20e2332">24</a>, <a class="pageref" href="#xd20e9101">176</a></td>
+<td class="width40 bottom">.</td>
+<td class="width40 bottom">,</td>
+</tr>
+<tr>
+<td class="width20"><a class="pageref" href="#xd20e1814">19</a></td>
+<td class="width40 bottom">ed.</td>
+<td class="width40 bottom">&eacute;d.</td>
+</tr>
+<tr>
+<td class="width20"><a class="pageref" href="#xd20e2033">21</a></td>
+<td class="width40 bottom">&AElig;fint&yacute;ri</td>
+<td class="width40 bottom">&aelig;fint&yacute;ri</td>
+</tr>
+<tr>
+<td class="width20"><a class="pageref" href="#xd20e2337">24</a></td>
+<td class="width40 bottom">Factors&rsquo;</td>
+<td class="width40 bottom">Factor&rsquo;s</td>
+</tr>
+<tr>
+<td class="width20"><a class="pageref" href="#xd20e2442">27</a></td>
+<td class="width40 bottom">nguyen</td>
+<td class="width40 bottom">nguy&ecirc;n</td>
+</tr>
+<tr>
+<td class="width20"><a class="pageref" href="#xd20e2521">30</a>,
+<a class="pageref" href="#xd20e3026">44</a>, <a class="pageref" href=
+"#xd20e4078">79</a></td>
+<td class="width40 bottom">recognised</td>
+<td class="width40 bottom">recognized</td>
+</tr>
+<tr>
+<td class="width20"><a class="pageref" href="#xd20e2537">31</a>,
+<a class="pageref" href="#xd20e3135">47</a></td>
+<td class="width40 bottom">summarise</td>
+<td class="width40 bottom">summarize</td>
+</tr>
+<tr>
+<td class="width20"><a class="pageref" href="#xd20e2981">43</a></td>
+<td class="width40 bottom">Charalois</td>
+<td class="width40 bottom">Charolais</td>
+</tr>
+<tr>
+<td class="width20"><a class="pageref" href="#xd20e3658">67</a></td>
+<td class="width40 bottom">Princess</td>
+<td class="width40 bottom">princess</td>
+</tr>
+<tr>
+<td class="width20"><a class="pageref" href="#xd20e4112">80</a></td>
+<td class="width40 bottom">recognise</td>
+<td class="width40 bottom">recognize</td>
+</tr>
+<tr>
+<td class="width20"><a class="pageref" href="#xd20e4274">89</a></td>
+<td class="width40 bottom">apppear</td>
+<td class="width40 bottom">appear</td>
+</tr>
+<tr>
+<td class="width20"><a class="pageref" href="#xd20e4765">104</a></td>
+<td class="width40 bottom">Wallon</td>
+<td class="width40 bottom">Walloon</td>
+</tr>
+<tr>
+<td class="width20"><a class="pageref" href="#xd20e8687">176</a>,
+<a class="pageref" href="#xd20e9374">176</a></td>
+<td class="width40 bottom">,</td>
+<td class="width40 bottom">[<i>Deleted</i>]</td>
+</tr>
+<tr>
+<td class="width20"><a class="pageref" href="#xd20e9436">176</a></td>
+<td class="width40 bottom">Swediash</td>
+<td class="width40 bottom">Swedish</td>
+</tr>
+</table>
+</div>
+</div>
+
+
+
+
+
+
+
+<pre>
+
+
+
+
+
+End of Project Gutenberg's The Grateful Dead, by Gordon Hall Gerould
+
+*** END OF THIS PROJECT GUTENBERG EBOOK THE GRATEFUL DEAD ***
+
+***** This file should be named 39408-h.htm or 39408-h.zip *****
+This and all associated files of various formats will be found in:
+        http://www.gutenberg.org/3/9/4/0/39408/
+
+Produced by Jeroen Hellingman and the Online Distributed
+Proofreading Team at http://www.pgdp.net/ for Project
+Gutenberg (This file was produced from images generously
+made available by The Internet Archive/American Libraries.)
+
+
+Updated editions will replace the previous one--the old editions
+will be renamed.
+
+Creating the works from public domain print editions means that no
+one owns a United States copyright in these works, so the Foundation
+(and you!) can copy and distribute it in the United States without
+permission and without paying copyright royalties.  Special rules,
+set forth in the General Terms of Use part of this license, apply to
+copying and distributing Project Gutenberg-tm electronic works to
+protect the PROJECT GUTENBERG-tm concept and trademark.  Project
+Gutenberg is a registered trademark, and may not be used if you
+charge for the eBooks, unless you receive specific permission.  If you
+do not charge anything for copies of this eBook, complying with the
+rules is very easy.  You may use this eBook for nearly any purpose
+such as creation of derivative works, reports, performances and
+research.  They may be modified and printed and given away--you may do
+practically ANYTHING with public domain eBooks.  Redistribution is
+subject to the trademark license, especially commercial
+redistribution.
+
+
+
+*** START: FULL LICENSE ***
+
+THE FULL PROJECT GUTENBERG LICENSE
+PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
+
+To protect the Project Gutenberg-tm mission of promoting the free
+distribution of electronic works, by using or distributing this work
+(or any other work associated in any way with the phrase "Project
+Gutenberg"), you agree to comply with all the terms of the Full Project
+Gutenberg-tm License (available with this file or online at
+http://gutenberg.org/license).
+
+
+Section 1.  General Terms of Use and Redistributing Project Gutenberg-tm
+electronic works
+
+1.A.  By reading or using any part of this Project Gutenberg-tm
+electronic work, you indicate that you have read, understand, agree to
+and accept all the terms of this license and intellectual property
+(trademark/copyright) agreement.  If you do not agree to abide by all
+the terms of this agreement, you must cease using and return or destroy
+all copies of Project Gutenberg-tm electronic works in your possession.
+If you paid a fee for obtaining a copy of or access to a Project
+Gutenberg-tm electronic work and you do not agree to be bound by the
+terms of this agreement, you may obtain a refund from the person or
+entity to whom you paid the fee as set forth in paragraph 1.E.8.
+
+1.B.  "Project Gutenberg" is a registered trademark.  It may only be
+used on or associated in any way with an electronic work by people who
+agree to be bound by the terms of this agreement.  There are a few
+things that you can do with most Project Gutenberg-tm electronic works
+even without complying with the full terms of this agreement.  See
+paragraph 1.C below.  There are a lot of things you can do with Project
+Gutenberg-tm electronic works if you follow the terms of this agreement
+and help preserve free future access to Project Gutenberg-tm electronic
+works.  See paragraph 1.E below.
+
+1.C.  The Project Gutenberg Literary Archive Foundation ("the Foundation"
+or PGLAF), owns a compilation copyright in the collection of Project
+Gutenberg-tm electronic works.  Nearly all the individual works in the
+collection are in the public domain in the United States.  If an
+individual work is in the public domain in the United States and you are
+located in the United States, we do not claim a right to prevent you from
+copying, distributing, performing, displaying or creating derivative
+works based on the work as long as all references to Project Gutenberg
+are removed.  Of course, we hope that you will support the Project
+Gutenberg-tm mission of promoting free access to electronic works by
+freely sharing Project Gutenberg-tm works in compliance with the terms of
+this agreement for keeping the Project Gutenberg-tm name associated with
+the work.  You can easily comply with the terms of this agreement by
+keeping this work in the same format with its attached full Project
+Gutenberg-tm License when you share it without charge with others.
+
+1.D.  The copyright laws of the place where you are located also govern
+what you can do with this work.  Copyright laws in most countries are in
+a constant state of change.  If you are outside the United States, check
+the laws of your country in addition to the terms of this agreement
+before downloading, copying, displaying, performing, distributing or
+creating derivative works based on this work or any other Project
+Gutenberg-tm work.  The Foundation makes no representations concerning
+the copyright status of any work in any country outside the United
+States.
+
+1.E.  Unless you have removed all references to Project Gutenberg:
+
+1.E.1.  The following sentence, with active links to, or other immediate
+access to, the full Project Gutenberg-tm License must appear prominently
+whenever any copy of a Project Gutenberg-tm work (any work on which the
+phrase "Project Gutenberg" appears, or with which the phrase "Project
+Gutenberg" is associated) is accessed, displayed, performed, viewed,
+copied or distributed:
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org/license
+
+1.E.2.  If an individual Project Gutenberg-tm electronic work is derived
+from the public domain (does not contain a notice indicating that it is
+posted with permission of the copyright holder), the work can be copied
+and distributed to anyone in the United States without paying any fees
+or charges.  If you are redistributing or providing access to a work
+with the phrase "Project Gutenberg" associated with or appearing on the
+work, you must comply either with the requirements of paragraphs 1.E.1
+through 1.E.7 or obtain permission for the use of the work and the
+Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
+1.E.9.
+
+1.E.3.  If an individual Project Gutenberg-tm electronic work is posted
+with the permission of the copyright holder, your use and distribution
+must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
+terms imposed by the copyright holder.  Additional terms will be linked
+to the Project Gutenberg-tm License for all works posted with the
+permission of the copyright holder found at the beginning of this work.
+
+1.E.4.  Do not unlink or detach or remove the full Project Gutenberg-tm
+License terms from this work, or any files containing a part of this
+work or any other work associated with Project Gutenberg-tm.
+
+1.E.5.  Do not copy, display, perform, distribute or redistribute this
+electronic work, or any part of this electronic work, without
+prominently displaying the sentence set forth in paragraph 1.E.1 with
+active links or immediate access to the full terms of the Project
+Gutenberg-tm License.
+
+1.E.6.  You may convert to and distribute this work in any binary,
+compressed, marked up, nonproprietary or proprietary form, including any
+word processing or hypertext form.  However, if you provide access to or
+distribute copies of a Project Gutenberg-tm work in a format other than
+"Plain Vanilla ASCII" or other format used in the official version
+posted on the official Project Gutenberg-tm web site (www.gutenberg.org),
+you must, at no additional cost, fee or expense to the user, provide a
+copy, a means of exporting a copy, or a means of obtaining a copy upon
+request, of the work in its original "Plain Vanilla ASCII" or other
+form.  Any alternate format must include the full Project Gutenberg-tm
+License as specified in paragraph 1.E.1.
+
+1.E.7.  Do not charge a fee for access to, viewing, displaying,
+performing, copying or distributing any Project Gutenberg-tm works
+unless you comply with paragraph 1.E.8 or 1.E.9.
+
+1.E.8.  You may charge a reasonable fee for copies of or providing
+access to or distributing Project Gutenberg-tm electronic works provided
+that
+
+- You pay a royalty fee of 20% of the gross profits you derive from
+     the use of Project Gutenberg-tm works calculated using the method
+     you already use to calculate your applicable taxes.  The fee is
+     owed to the owner of the Project Gutenberg-tm trademark, but he
+     has agreed to donate royalties under this paragraph to the
+     Project Gutenberg Literary Archive Foundation.  Royalty payments
+     must be paid within 60 days following each date on which you
+     prepare (or are legally required to prepare) your periodic tax
+     returns.  Royalty payments should be clearly marked as such and
+     sent to the Project Gutenberg Literary Archive Foundation at the
+     address specified in Section 4, "Information about donations to
+     the Project Gutenberg Literary Archive Foundation."
+
+- You provide a full refund of any money paid by a user who notifies
+     you in writing (or by e-mail) within 30 days of receipt that s/he
+     does not agree to the terms of the full Project Gutenberg-tm
+     License.  You must require such a user to return or
+     destroy all copies of the works possessed in a physical medium
+     and discontinue all use of and all access to other copies of
+     Project Gutenberg-tm works.
+
+- You provide, in accordance with paragraph 1.F.3, a full refund of any
+     money paid for a work or a replacement copy, if a defect in the
+     electronic work is discovered and reported to you within 90 days
+     of receipt of the work.
+
+- You comply with all other terms of this agreement for free
+     distribution of Project Gutenberg-tm works.
+
+1.E.9.  If you wish to charge a fee or distribute a Project Gutenberg-tm
+electronic work or group of works on different terms than are set
+forth in this agreement, you must obtain permission in writing from
+both the Project Gutenberg Literary Archive Foundation and Michael
+Hart, the owner of the Project Gutenberg-tm trademark.  Contact the
+Foundation as set forth in Section 3 below.
+
+1.F.
+
+1.F.1.  Project Gutenberg volunteers and employees expend considerable
+effort to identify, do copyright research on, transcribe and proofread
+public domain works in creating the Project Gutenberg-tm
+collection.  Despite these efforts, Project Gutenberg-tm electronic
+works, and the medium on which they may be stored, may contain
+"Defects," such as, but not limited to, incomplete, inaccurate or
+corrupt data, transcription errors, a copyright or other intellectual
+property infringement, a defective or damaged disk or other medium, a
+computer virus, or computer codes that damage or cannot be read by
+your equipment.
+
+1.F.2.  LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
+of Replacement or Refund" described in paragraph 1.F.3, the Project
+Gutenberg Literary Archive Foundation, the owner of the Project
+Gutenberg-tm trademark, and any other party distributing a Project
+Gutenberg-tm electronic work under this agreement, disclaim all
+liability to you for damages, costs and expenses, including legal
+fees.  YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
+LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
+PROVIDED IN PARAGRAPH 1.F.3.  YOU AGREE THAT THE FOUNDATION, THE
+TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
+LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
+INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
+DAMAGE.
+
+1.F.3.  LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
+defect in this electronic work within 90 days of receiving it, you can
+receive a refund of the money (if any) you paid for it by sending a
+written explanation to the person you received the work from.  If you
+received the work on a physical medium, you must return the medium with
+your written explanation.  The person or entity that provided you with
+the defective work may elect to provide a replacement copy in lieu of a
+refund.  If you received the work electronically, the person or entity
+providing it to you may choose to give you a second opportunity to
+receive the work electronically in lieu of a refund.  If the second copy
+is also defective, you may demand a refund in writing without further
+opportunities to fix the problem.
+
+1.F.4.  Except for the limited right of replacement or refund set forth
+in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER
+WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
+WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.
+
+1.F.5.  Some states do not allow disclaimers of certain implied
+warranties or the exclusion or limitation of certain types of damages.
+If any disclaimer or limitation set forth in this agreement violates the
+law of the state applicable to this agreement, the agreement shall be
+interpreted to make the maximum disclaimer or limitation permitted by
+the applicable state law.  The invalidity or unenforceability of any
+provision of this agreement shall not void the remaining provisions.
+
+1.F.6.  INDEMNITY - You agree to indemnify and hold the Foundation, the
+trademark owner, any agent or employee of the Foundation, anyone
+providing copies of Project Gutenberg-tm electronic works in accordance
+with this agreement, and any volunteers associated with the production,
+promotion and distribution of Project Gutenberg-tm electronic works,
+harmless from all liability, costs and expenses, including legal fees,
+that arise directly or indirectly from any of the following which you do
+or cause to occur: (a) distribution of this or any Project Gutenberg-tm
+work, (b) alteration, modification, or additions or deletions to any
+Project Gutenberg-tm work, and (c) any Defect you cause.
+
+
+Section  2.  Information about the Mission of Project Gutenberg-tm
+
+Project Gutenberg-tm is synonymous with the free distribution of
+electronic works in formats readable by the widest variety of computers
+including obsolete, old, middle-aged and new computers.  It exists
+because of the efforts of hundreds of volunteers and donations from
+people in all walks of life.
+
+Volunteers and financial support to provide volunteers with the
+assistance they need, are critical to reaching Project Gutenberg-tm's
+goals and ensuring that the Project Gutenberg-tm collection will
+remain freely available for generations to come.  In 2001, the Project
+Gutenberg Literary Archive Foundation was created to provide a secure
+and permanent future for Project Gutenberg-tm and future generations.
+To learn more about the Project Gutenberg Literary Archive Foundation
+and how your efforts and donations can help, see Sections 3 and 4
+and the Foundation web page at http://www.pglaf.org.
+
+
+Section 3.  Information about the Project Gutenberg Literary Archive
+Foundation
+
+The Project Gutenberg Literary Archive Foundation is a non profit
+501(c)(3) educational corporation organized under the laws of the
+state of Mississippi and granted tax exempt status by the Internal
+Revenue Service.  The Foundation's EIN or federal tax identification
+number is 64-6221541.  Its 501(c)(3) letter is posted at
+http://pglaf.org/fundraising.  Contributions to the Project Gutenberg
+Literary Archive Foundation are tax deductible to the full extent
+permitted by U.S. federal laws and your state's laws.
+
+The Foundation's principal office is located at 4557 Melan Dr. S.
+Fairbanks, AK, 99712., but its volunteers and employees are scattered
+throughout numerous locations.  Its business office is located at
+809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
+business@pglaf.org.  Email contact links and up to date contact
+information can be found at the Foundation's web site and official
+page at http://pglaf.org
+
+For additional contact information:
+     Dr. Gregory B. Newby
+     Chief Executive and Director
+     gbnewby@pglaf.org
+
+
+Section 4.  Information about Donations to the Project Gutenberg
+Literary Archive Foundation
+
+Project Gutenberg-tm depends upon and cannot survive without wide
+spread public support and donations to carry out its mission of
+increasing the number of public domain and licensed works that can be
+freely distributed in machine readable form accessible by the widest
+array of equipment including outdated equipment.  Many small donations
+($1 to $5,000) are particularly important to maintaining tax exempt
+status with the IRS.
+
+The Foundation is committed to complying with the laws regulating
+charities and charitable donations in all 50 states of the United
+States.  Compliance requirements are not uniform and it takes a
+considerable effort, much paperwork and many fees to meet and keep up
+with these requirements.  We do not solicit donations in locations
+where we have not received written confirmation of compliance.  To
+SEND DONATIONS or determine the status of compliance for any
+particular state visit http://pglaf.org
+
+While we cannot and do not solicit contributions from states where we
+have not met the solicitation requirements, we know of no prohibition
+against accepting unsolicited donations from donors in such states who
+approach us with offers to donate.
+
+International donations are gratefully accepted, but we cannot make
+any statements concerning tax treatment of donations received from
+outside the United States.  U.S. laws alone swamp our small staff.
+
+Please check the Project Gutenberg Web pages for current donation
+methods and addresses.  Donations are accepted in a number of other
+ways including checks, online payments and credit card donations.
+To donate, please visit: http://pglaf.org/donate
+
+
+Section 5.  General Information About Project Gutenberg-tm electronic
+works.
+
+Professor Michael S. Hart is the originator of the Project Gutenberg-tm
+concept of a library of electronic works that could be freely shared
+with anyone.  For thirty years, he produced and distributed Project
+Gutenberg-tm eBooks with only a loose network of volunteer support.
+
+
+Project Gutenberg-tm eBooks are often created from several printed
+editions, all of which are confirmed as Public Domain in the U.S.
+unless a copyright notice is included.  Thus, we do not necessarily
+keep eBooks in compliance with any particular paper edition.
+
+
+Most people start at our Web site which has the main PG search facility:
+
+     http://www.gutenberg.org
+
+This Web site includes information about Project Gutenberg-tm,
+including how to make donations to the Project Gutenberg Literary
+Archive Foundation, how to help produce our new eBooks, and how to
+subscribe to our email newsletter to hear about new eBooks.
+
+
+</pre>
+
+</body>
+</html>
diff --git a/39408-h/images/book.png b/39408-h/images/book.png
new file mode 100644
index 0000000..8c9ee4f
--- /dev/null
+++ b/39408-h/images/book.png
diff --git a/39408-h/images/bracket3.gif b/39408-h/images/bracket3.gif
new file mode 100644
index 0000000..523ec65
--- /dev/null
+++ b/39408-h/images/bracket3.gif
diff --git a/39408-h/images/card.png b/39408-h/images/card.png
new file mode 100644
index 0000000..1ffbe1a
--- /dev/null
+++ b/39408-h/images/card.png
diff --git a/39408-h/images/external.png b/39408-h/images/external.png
new file mode 100644
index 0000000..ba4f205
--- /dev/null
+++ b/39408-h/images/external.png
diff --git a/39408-h/images/logo.jpg b/39408-h/images/logo.jpg
new file mode 100644
index 0000000..e0e06be
--- /dev/null
+++ b/39408-h/images/logo.jpg
diff --git a/39408-h/images/titlepage-series.gif b/39408-h/images/titlepage-series.gif
new file mode 100644
index 0000000..fa09459
--- /dev/null
+++ b/39408-h/images/titlepage-series.gif
diff --git a/39408-h/images/titlepage.gif b/39408-h/images/titlepage.gif
new file mode 100644
index 0000000..0694a89
--- /dev/null
+++ b/39408-h/images/titlepage.gif
diff --git a/39408.txt b/39408.txt
new file mode 100644
index 0000000..d9f8361
--- /dev/null
+++ b/39408.txt
@@ -0,0 +1,6687 @@
+The Project Gutenberg EBook of The Grateful Dead, by Gordon Hall Gerould
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org/license
+
+
+Title: The Grateful Dead
+       The History of a Folk Story
+
+Author: Gordon Hall Gerould
+
+Release Date: April 9, 2012 [EBook #39408]
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK THE GRATEFUL DEAD ***
+
+
+
+
+Produced by Jeroen Hellingman and the Online Distributed
+Proofreading Team at http://www.pgdp.net/ for Project
+Gutenberg (This file was produced from images generously
+made available by The Internet Archive/American Libraries.)
+
+
+
+
+
+
+
+
+                         The Folk-Lore Society
+                      For Collecting and Printing
+                   Relics of Popular Antiquities, &c.
+                             Established in
+                         The Year MDCCCLXXVIII.
+
+                              Publications
+                                   Of
+                         The Folk-lore Society
+
+                                  LX.
+
+                                 [1907]
+
+
+
+
+
+
+
+                           THE GRATEFUL DEAD
+                      The History of a Folk Story
+
+                                   By
+                          GORDON HALL GEROULD
+                            B. Litt. (Oxon.)
+              Preceptor in English in Princeton University
+
+                 Published for the Folk-Lore Society by
+                      David Nutt, 57--59 Long Acre
+                                 London
+
+                                  1908
+
+
+
+
+
+
+
+                                   To
+                         Professor A. S. Napier
+                      In gratitude and friendship
+
+
+
+
+
+
+
+TABLE OF CONTENTS
+
+
+    Chap.                                                          Page
+          Introduction                                               ix
+       I. A Review                                                    1
+      II. Bibliography                                                7
+     III. Tales with the Simple Theme and Miscellaneous
+          Combinations                                               26
+      IV. The Grateful Dead and The Poison Maiden                    44
+       V. The Grateful Dead and The Ransomed Woman                   76
+      VI. The Grateful Dead and The Water of Life or Kindred
+          Themes                                                    119
+     VII. The Relations of The Grateful Dead to The Spendthrift
+          Knight, The Two Friends, and The Thankful Beasts          153
+    VIII. Conclusion                                                162
+          Index                                                     175
+
+
+
+
+
+
+
+INTRODUCTION.
+
+
+The combination of narrative themes is so frequent a phenomenon
+in folk and formal literature that one almost forgets to wonder at
+it. Yet in point of fact the reason for it and the means by which it
+is accomplished are mysteries past our present comprehension. If we
+could learn how and where popular tales unite, if we could formulate
+any general principle of union or severance, we should be well on
+the way to an understanding of the riddle which has hitherto baffled
+all students of narrative, namely, the diffusion of stories. We have
+theories enough; our immediate need is for more studies of individual
+themes, careful and, if it must be, elaborate discussions of many
+well-known cycles. Happily, these are accumulating and give promise
+of much useful knowledge at no distant day.
+
+One principle has become clear. Since motives are so frequently found
+in combination, it is essential that the complex types be analyzed
+and arranged, with an eye kept single nevertheless to the master-theme
+under discussion. Collectors, both primary and subsidiary, have done
+such valiant service that the treasures at our command are amply
+sufficient for such studies, so extensive, indeed, that the task of
+going through them thoroughly has become too great for the unassisted
+student. It cannot be too strongly urged that a single theme in its
+various types and compounds must be made predominant in any useful
+comparative study. This is true when the sources and analogues of
+any literary work are treated; it is even truer when the bare motive
+is discussed.
+
+The Grateful Dead furnishes an apt illustration of the necessity of
+such handling. It appears in a variety of different combinations,
+almost never alone. Indeed, it is so widespread a tale, and its
+combinations are so various, that there is the utmost difficulty in
+determining just what may properly be regarded the original kernel
+of it, the simple theme to which other motives were joined. Various
+opinions, as we shall see, have been held with reference to this
+matter, most of them justified perhaps by the materials in the hands
+of the scholars holding them, but none quite adequate in view of later
+evidence. The true way to solve the riddle appears to be this: we must
+ask the question,--what is the residuum when the tale is stripped
+of elements not common to a very great majority of the versions
+belonging to the cycle? What is left amounts to the following,--the
+story reduced to its lowest terms, I take it.
+
+A man finds a corpse lying unburied, and out of pure philanthropy
+procures interment for it at great personal inconvenience. Later he is
+met by the ghost of the dead man, who in many cases promises him help
+on condition of receiving, in return, half of whatever he gets. The
+hero obtains a wife (or some other reward), and, when called upon,
+is ready to fulfil his bargain as to sharing his possessions.
+
+Nowhere does a version appear in quite this form; but from what follows
+it will be seen that the simple story must have proceeded along some
+such lines. The compounds in which it occurs show much variety. It
+will be necessary to study these in detail, not merely one or two of
+them but as many as can be found. Despite the bewildering complexities
+that may arise, I hope that this method of approach may throw some
+new light on the wanderings of the tale.
+
+Of my debt to various friends and to many books, though indicated
+in the body of the work, I wish to make general and grateful
+acknowledgment here. My thanks, furthermore, are due to the librarians
+of Harvard University for their courteous hospitality; to Professor
+G. L. Kittredge for his generous encouragement to proceed with this
+study, though he himself, as I found after most of my material was
+collected, had undertaken it several years before I began; and to
+Professor R. K. Root for his help in reading the proofs.
+
+
+
+
+
+
+
+CHAPTER I.
+
+A REVIEW.
+
+
+To Karl Simrock is due the honour of discovering the importance of
+The Grateful Dead for the student of literature and legend. In his
+little book, Der gute Gerhard und die dankbaren Todten, [1] he called
+attention to the theme as a theme, and treated it with a breadth
+of knowledge and a clearness of insight remarkable in an attempt
+to unravel for the first time the mixed strands of so wide-spread
+a tale. Using the Middle High German exemplary romance, Der gute
+Gerhard, as his point of departure, he examined seventeen other
+stories, all but two of which have the motive well preserved. [2]
+Unhappily, the versions which he found came from a limited section
+of Europe, most of them from Germanic sources. Thus he was led to an
+interpretation of the tale on the basis of Germanic mythology. This,
+though ingenious enough and very erudite, need not detain us. It was
+done according to a fashion of the time, which has long since been
+discarded. Simrock took the essential traits of the theme to be the
+burial of the dead and the ransom from captivity. [3] "Wo nur noch
+eine von beiden das Thema zu bilden scheint," he said, "da hat die
+Ueberliefertung gelitten." Here again he was misled by the narrow range
+of his material, as later studies have shown. Nearly all the versions
+he cited have the motive of a ransomed princess, though the majority
+of the stories now known to be members of the cycle do not contain it.
+
+Three years after the publication of Simrock's monograph Benfey treated
+some features of the theme in a note appended to his discussion of
+The Thankful Beasts in the monumental Pantschatantra. [4] Though he
+named but a few variants, he found an Armenian tale which he compared
+with the European versions, coming to the conclusion not only that the
+motive proceeded from the Orient but also that the Armenian version
+had the original form of it. That is, he took the ransom and burial
+of the dead, the parting of a woman possessed by a serpent, and the
+saving of the hero on the bridal night as the essential features. This
+was a step in advance.
+
+George Stephens in his edition of Sir Amadas [5] held much the
+same view. He added several important versions, and scored Simrock
+for admitting Der gute Gerhard, saying that he could not see
+that it had "any direct connection" with The Grateful Dead. [6]
+He was at least partly in the right, even though his statement was
+misleading. According to his Opinion, [7] "the peculiar feature of the
+Princess (Maiden) being freed from demonic influence by celestial aid,
+is undoubtedly the original form of the tale."
+
+In a series of notes beginning in the year 1858 Koehler [8] supplied
+a large number of variants, which have been invaluable for succeeding
+study of the theme. Nowhere, however, did he give an ordered account of
+the versions at his command or discuss the relation of the elements--a
+regrettable omission. The contributions of Liebrecht, [9] though less
+extensive, were of the same sort. In his article published in 1868 he
+said that he thought The Grateful Dead to be of European origin, [10]
+but he added nothing to our knowledge of the essential form of the
+story. The following decade saw the publication by Sepp of a rather
+brief account of the motive, [11] which was chiefly remarkable for
+its summary of classical and pre-classical references concerning the
+duty of burial. Like Stephens he assumed that the release of a maiden
+from the possession of demons was an essential part of the tale. In
+1886 Cosquin brought the discussion one step further by showing [12]
+that the theme is sometimes found in combination with The Golden
+Bird and The Water of Life. He did not, however, attempt to define
+the original form of the story nor to trace its development.
+
+By all odds the most adequate treatment that The Grateful Dead has
+yet received is found in Hippe's monograph, Untersuchungen zu der
+mittelenglischen Romanze von Sir Amadas, which appeared in 1888. [13]
+Not only did he gather together practically all the variants mentioned
+previous to that time and add some few new ones, but he studied
+the theme with such interpretative insight that anyone going over
+the same field would be tempted to offer an apology for what may
+seem superfluous labour. Such a follower, and all followers, must
+gratefully acknowledge their indebtedness to his labours.
+
+Yet one who follows imperfectly the counsels of perfection may
+discover certain defects in Hippe's work. He neglects altogether
+Cosquin's hint as to the combination of the theme with The Water
+of Life and allied tales, thus leaving out of account an important
+element, which is intimately connected with the chief motive in a large
+number of tales. Indeed, his effort to simplify, commendable and even
+necessary as it is, brings him to conclusions that in some respects,
+I believe, are not sound. Though he states the essential points of the
+primitive story in a form [14] which can hardly be bettered and which
+corresponds almost exactly to the one that I have been led to accept
+from independent consideration of the material, [15] he fails to see
+that he is dealing in almost every case, not with a simple theme with
+modified details but with compound themes. Thus he starts out with the
+"Sage vom dankbaren Toten und der Frau mit den Drachen im Leibe" [16]
+and explains all variations from this type either by the weakening of
+this feature and that or by the introduction of a single new motive,
+the story of The Ransomed Woman. He would thus make it appear [17]
+that we have a well-ordered progression from one combined type to
+various other combined and simplified types. Such a series is possible
+without doubt, but it can hardly be admitted till the interplay of
+all accessible themes, which have entered into combination with the
+chief theme, is investigated. Hippe passes these things over silently
+and so gives the subject a specious air of simplicity to which it
+has no right.
+
+I should be the last to deny the necessity of treating narrative
+themes each for itself, and I have nothing but admiration for the
+general conduct of Hippe's investigation; but I wish to show that
+his methods, and therefore his results, are at fault in so far as
+he does not recognize the nature of the combinations into which
+The Grateful Dead enters. Traces of other stories, unless their
+presence is obviously artificial, must be carefully considered,
+since in dealing with cycles of such fluid stuff as folk-tales it
+is certainly wise to give each element due consideration. Certain
+minor errors in Hippe's article will be mentioned in due course,
+though my constant obligations to it must be emphasized here.
+
+Since the appearance of Hippe's study no one has treated The Grateful
+Dead with such scope as to modify his conclusions. Perhaps the
+most interesting work in the field has been that of Dr. Dutz [18]
+on the relation of George Peele's Old Wives' Tale to our theme. He
+follows Hippe's scheme, but gives some interesting new variants. Of
+less importance, but useful within its limits, is the section devoted
+to the saga by Dr. Heinrich Wilhelmi in his Studien ueber die Chanson
+de Lion de Bourges. [19] Though he added no new versions, the author
+studied in detail the relationship of some of the mediaeval forms to
+one another, basing his results for the most part on careful textual
+comparison. His gravest fault was the thoroughly artificial way in
+which he mapped out the field as a whole, a method which could lead
+only to erroneous conclusions, since he classified according to a
+couple of superficial traits. An English study by Mr. F. H. Groome
+on Tobit and Jack the Giant-Killer [20] unhappily was written without
+regard to the previous literature of the subject, and simply rehearses
+a number of well-known variants.
+
+In this brief review I have touched only on such studies of The
+Grateful Dead as have materially enlarged the knowledge of the subject
+or have attempted a discussion of the theme in a broad way. In the
+following chapter reference will be made to other works, in which
+particular versions have been printed or summarized.
+
+
+
+
+
+
+
+CHAPTER II.
+
+BIBLIOGRAPHY.
+
+
+The following list of variants of The Grateful Dead includes only
+such tales as have the fundamental traits, as sketched above, either
+expressed or clearly implied. Thus Der gute Gerhard, for example, is
+not mentioned because it has only the motive of The Ransomed Woman,
+while one of the folk-tales from Hungary is admitted because it follows
+in general outline one of the combined types to be discussed later,
+even though the burial of the dead is obscured. I cite by the short
+titles which will be used to indicate the stories in the subsequent
+discussion. The arrangement is roughly geographical.
+
+
+Tobit.
+
+In the apocryphal book of Tobit. According to Neubauer, The Book of
+Tobit, a Chaldee Text from a unique MS. in the Bodleian Library, 1878,
+p. xv, Tobit was originally written in Hebrew, although the Hebrew text
+preserved was taken from Chaldee. Neubauer (p. xvii) quotes Graetz,
+Geschichte der Juden, (2nd ed.) iv. 466, as saying that the book was
+written in the time of Hadrian, and he concludes that it cannot be
+earlier because it was unknown to Josephus. The correspondence with
+Sir Amadas, and thus with The Grateful Dead generally, seems to have
+been first noted by Simrock, p. 131 f., again by Koehler, Germania,
+iii. 203, by Stephens, p. 7, by Hippe, p. 142, etc.
+
+
+Armenian.
+
+A. von Haxthausen, Transkaukasia, 1856, i. 333 f. A modern
+folk-tale. Reprinted entire by Benfey, Pantschatantra, i. 219,
+note, and by Koehler, Germania, iii. 202 f. A somewhat inadequate
+summary is given by Hippe, p. 143; a better one is found in
+Arch. f. slav. Phil. v. 43, by Koehler, who mentioned the tale again
+in Or. und Occ. ii. 328, and iii. 96. Summarized also by Sepp, p. 681,
+Groome, Folk-Lore, ix. 228 f., and mentioned by Wilhelmi, p.45.
+
+
+Jewish.
+
+Reischer, Schaare Jeruschalajim, 1880, pp. 86-99. Summarized by
+Gaster, Germania, xxvi. 200-202, and from him by Hippe, pp. 143,
+144. A modern folk-tale from Palestine.
+
+
+Annamite.
+
+Landes, Contes et legendes annamites, 1886, pp. 162, 163, "La
+reconnaissance de l'etudiant mort." A modern folk-tale.
+
+
+Siberian.
+
+Radloff, Proben der Volkslitteratur der tuerkischen
+Staemme Sued-Siberiens, 1866, i. 329-331. See Koehler,
+Arch. f. slav. Phil. v. 43, note.
+
+
+Simonides.
+
+Cicero, De Divinatione, i. 27, referred to again in ii. 65 and
+66. Retold by Valerius Maximus, Facta et Dicta, i. 7; after him by
+Robert Holkot, Super Libros Sapientiae, Lectio 103; and again by
+Chaucer in the Nun's Priest's Tale, Cant. Tales, B, 4257-4294. For
+the relationship of Chaucer's anecdote to those in Latin see Skeat,
+note in his edition, Lounsbury, Studies in Chaucer, 1892, ii. 274,
+and Petersen, On the Sources of the Nonne Prestes Tale, 1898,
+pp. 106-117. Connected with The Grateful Dead by Freudenberg in a
+review of Simrock in Jahrbuecher des Vereins von Alterthumsfreunden im
+Rheinlande, xxv. 172. See also Koehler, Germania iii. 209, Liebrecht in
+Heidelberger Jahrbuecher der Lit. lxi. 449, 450, and Sepp. p. 680. Not
+treated by Hippe.
+
+
+Gypsy.
+
+A. G. Paspati, Etudes sur les Tchinghianes ou Bohemiens de
+l'Empire Ottoman, 1870, pp. 601-605, Translated from Paspati by
+F. H. Groome, Gypsy Folk-Tales, 1899, pp. 1-3. Summarized by Koehler,
+Arch. f. slav. Phil. v. 43 and carelessly by Hippe, p. 143. This
+tale was heard near Adrianople. Cited by Foerster, Richars li Biaus,
+p. xxviii, and by Wilhelmi, p. 45.
+
+
+Greek.
+
+J. G. von Hahn, Griechische und albanesische Maerchen, 1864, no. 53,
+pp. 288-295, "Belohnte Treue." Summarized in part by Hippe, p. 149. See
+also Liebrecht, Heid. Jahrbuecher, lxi. 451, and by Groome, Folk-Lore,
+ix. 243. This tale was found in northern Euboea.
+
+
+Maltese.
+
+Hans Stumme, Maltesische Maerchen, Gedichte und Raetsel, 1904, no. 12,
+pp. 39-45.
+
+
+Russian I.
+
+Afansjew, Russische Volksmaerchen, Heft 6, p. 323 f. Analyzed by
+Schiefner, Or. und Occ. ii. 174, 175, and after him by Hippe, p. 144,
+with some omissions. See Koehler, Or. und Occ. iii. 93-103, and Sepp,
+p. 684.
+
+
+Russian II.
+
+Chudjakow, Grossrussische Maerchen, Heft 3, pp. 165-168. Translation
+by Schiefner, Or. und Occ. iii. 93-96 in article by Koehler. In
+English by Groome, Folk-Lore, ix. 229 ff. Summarized by Koehler,
+Arch. f. slav. Phil. v. 43, and (with an important omission) by Hippe,
+pp. 144, 145. See Koehler's notes in Gonzenbach, Sicilianische Maerchen,
+ii. 250.
+
+
+Russian III.
+
+Reproduced from an illustrated folk-book in the Publications of
+the Society of Friends of Old Literature in St. Petersburg, 1880,
+no. 49. Summarized by V. Jagic, Arch. f. slav. Phil. v. 480, and by
+Hippe, p. 145. Jagic remarks that the tale must have been widely known
+in Russia in the eighteenth century, though clearly of foreign origin.
+
+
+Russian IV.
+
+Dietrich, Russische Volksmaerchen in den Urschrift gesammelt,
+1831, no. 16, pp. 199-207. English translation, Russian Popular
+Tales. Translated from the German Version of Anton Dietrich, 1857,
+pp. 179-186. "Sila Zarewitsch und Iwaschka mit dem weissen Hemde." Like
+other tales in the collection this was taken from a popular print
+bought at Moscow. Mentioned by Benfey, Pantschatantra, i. 220, and
+by Koehler, Or. u. Occ. ii. 328.
+
+
+Russian V. [21]
+
+P. V. Sejn, Materialien zur Kenntniss der russischen Bevoelkerung
+von Nordwest-Russland, 1893, ii. 66-68, no. 33. Cited by Polivka in
+Arch. f. slav. Phil. xix. 251.
+
+
+Russian VI.
+
+P. V. Sejn, work cited, ii. 401-407, no. 227. Cited by Polivka,
+Arch. f. slav. Phil. xix. 262.
+
+
+Servian I.
+
+Vuk Stefanovic Karadzic, 2nd ed. of his Servian folk-tales,
+1870. Translated by Madam Mijatovies (Mijatovich), Serbian
+Folk-Lore, 1874, p. 96. Summarized from Servian by Koehler,
+Arch. f. slav. Phil. ii. 631, 632, and from him by Hippe, p. 145.
+
+
+Servian II.
+
+Summarized from Gj. K. Stefanovic's collection, 1871, no. 15, by
+Jagic in Arch. f. slav. Phil. v. 40 f. with the title "Vlatko und
+der dankbare Todte." Thence by Hippe, p. 145.
+
+
+Servian III.
+
+Jagic in Arch. f. slav. Phil. v. 41 f, from Stojanovic's collection,
+no. 31. Hippe's summary, p. 146, is exceedingly brief and faulty.
+
+
+Servian IV.
+
+Jagic, Arch. f. slav. Phil. v. 42, from Matica, B. 105 (A.D. 1863,
+St. Novakovic). Summary of this by Hippe, p. 146. Jagic calls the tale
+"Ein Goldfisch."
+
+
+Servian V.
+
+Krauss, Sagen und Maerchen der Suedslaven, 1883, i. 385-388, "Der
+Vilaberg." Summarized by Dutz, p. 11.
+
+
+Servian VI.
+
+Krauss, work cited, i. 114-119. "Fuhrmann Tueguts Himmelswagen." From
+the manuscript collection of Valjavec. Summarized by Dutz, p. 18,
+note 2.
+
+
+Bohemian. [22]
+
+Waldau, Boehmisches Maerchenbuch, 1860, pp. 213-241. Mentioned by Koehler,
+Or. und Occ. ii. 329, and by Hippe, p. 146. Summarized by the former,
+Or. und Occ. iii. 97 f.
+
+
+Polish.
+
+K. W. Wojcicki, Klechdy, Starozytne podania i powiesci ludowe,
+2nd ed., Warsaw, 1851. Translated into German by F. H. Lewestam,
+Polnische Volkssagen und Maerchen, 1839, pp. 130 ff; into English by
+A. H. Wratislaw, Sixty Folk-Tales from exclusively Slavonic Sources,
+1889, pp. 121 ff.; and into French by Louis Leger, Recueil de contes
+populaires slaves, 1882, pp. 119 ff. Summarized by Koehler, Germania,
+iii. 200 f., and by Hippe, pp. 146 f. See also Sepp, p. 684, Dutz,
+p. 11, Groome, Gypsy Folk-Tales, p. 3, note, and Arivau, Folk-Lore
+de Proaza, 1886, p. 205.
+
+
+Bulgarian.
+
+Lydia Schischmanoff, Legendes religieuses bulgares, 1896, no. 77,
+pp. 202-209, [23] "Le berger, son fils, et l'archange."
+
+
+Lithuanian I.
+
+L. Geitler, Litauische Studien, 1875, pp. 21-23. Analyzed by Koehler,
+Arch. f. slav. Phil. ii. 633, and after him briefly by Hippe, [24]
+p. 147, as his "Lithuanian II."
+
+
+Lithuanian II.
+
+Koehler, Arch. f. slav. Phil. ii. 633 f. From Prussian
+Lithuania. Summarized by Hippe, p. 147, as his "Lithuanian III."
+
+
+Hungarian I.
+
+G. Stier, Ungarische Sagen und Maerchen, 1850, pp. 110-122. Mentioned
+by Koehler, Germania, iii. 202, and by Hippe, p. 147.
+
+
+Hungarian II.
+
+G. Stier, Ungarische Volksmaerchen, 1857, pp. 153-167. Summarized by
+Koehler, Germania, iii. 199 f., and too briefly by Hippe, p. 148.
+
+
+Rumanian I.
+
+Arthur Schott, Neue walachische Maerchen, in Hacklaender and Hoefer's
+Hausblaetter, 1857, iv. 470-473. Mentioned by Stephens, p. 10, Hippe,
+p. 147, and Benfey, Pantschatantra, ii. 532.
+
+
+Rumanian II.
+
+F. Obert, Romaenische Maerchen und Sagen aus Siebenbuergen, in Das
+Ausland, 1858, p. 117. Mentioned by Koehler, Germania, iii. 202,
+and by Hippe, p. 147.
+
+
+Transylvanian.
+
+Haltrich, Deutsche Volksmaerchen aus dem Sachsenlande in Siebenbuergen,
+1856, pp. 42-45. Analyzed by Koehler, Or. und Occ. ii. 326, and
+incompletely by Hippe, p. 148. Mentioned by Stephens, p. 10, and Sepp,
+p. 684.
+
+
+Esthonian I.
+
+Schiefner, Or. und Occ. ii. 175 f., whence the analysis by Hippe,
+p. 148.
+
+
+Esthonian II.
+
+Reisen in mehrere russische Gouvernements in den Jahren 1801, 1807
+und 1815, 1830, v. 186-192, from Ein Ausflug nach Esthland im Junius
+1807. Reprinted by Kletke, Maerchensaal, 1845, ii. 60-62. Summarized
+by Dutz, p. 18, note 3.
+
+
+Finnish.
+
+Liebrecht, Germania, xxiv. 131, 132. Communicated by Schiefner
+from Suomen, Kansan Satuja, Helsingfors, 1866. Summarized by Hippe,
+pp. 148 f.
+
+
+Catalan.
+
+F. Maspons y Labros, Lo Rondollayre: Quentos populars catalans, Segona
+Serie, 1872, no. 5, pp. 34-37. Analyzed by Liebrecht, Heid. Jahrbuecher
+der Lit. lxv. 894 (1872), and after him by Hippe, p. 151. Mentioned
+by d'Ancona, Romania, iii. 192, and by Foerster, Richars li Biaus,
+p. xxviii.
+
+
+Spanish.
+
+Duran, Romancero general, 1849-51, ii. 299-302, nos. 1291,
+1292. Summarized by Koehler, Or. und Occ. ii. 323 f. and after him
+by Cosquin, Contes populaires, i. 215, and by Hippe, p. 151. [25]
+Mentioned by Sepp, p. 686.
+
+
+Lope de Vega.
+
+Comedy in two parts, Don Juan de Castro. According to J. R. Chorley,
+Catalogo de comedias y autos de Frey Felix de Vega Carpio, p. 5, this
+play is to be found in Part xix. of the Comedias published in 1623
+(later issues 1624, 1625, and 1627). A. Schaeffer, Geschichte des
+spanischen Nationaldramas, 1890, i. 141, says that the second part,
+called Las aventuras de don Juan de Alarcos, is in Part xxv. of Lope's
+comedies. The entire play is edited by Hartzenbusch, Comedias Escogidas
+de Lope de Vega, iv. 373 ff. and 395 ff. in the Biblioteca de autores
+espanoles, lii. Schaeffer, pp. 141, 142, gives a careful summary of
+the play, and Koehler, Or. und Occ. iii. 100 f., gives another. The
+latter is followed by Hippe, p. 151. Mentioned by Duran, Romancero
+general, ii. 299, by Sepp, p. 686, and by Wilhelmi, pp. 45 ff. and 60.
+
+
+Calderon.
+
+El Mejor Amigo el Muerto, by Luis de Belmonte, Francisco de Rojas,
+and Pedro Calderon de la Barca, in Biblioteca de autores espanoles,
+xiv. 471-488, and in Comedias escogidas de los mejores ingenios de
+Espana, 1657, ix. 53-84. Analyzed by Koehler, Or. und Occ, iii. 100 f.,
+and briefly after him by Hippe, p. 151. Mentioned by Sepp, p. 686,
+and by Wilhelmi, pp. 60 f. Schaeffer, work cited, ii. 283 f., says
+that a play of this name was written by Belmonte alone in 1610,
+which was revised about 1627 with the aid of Rojas and Calderon.
+
+
+Trancoso. [26]
+
+Contos e historias de proveito e exemplo, by Goncalo Fernandez
+Trancoso, Parte 2, Cont ii., first published in 1575 and frequently
+re-issued during the sixteenth and seventeenth centuries. In
+the edition published at Lisbon in 1693, our tale is found on
+pp. 45r.-60r.; and in that published at the same place in 1710,
+on pp. 110-177. Menendez y Pelayo, Origenes de la Novela (Nueva
+Biblioteca de autores espanoles vii.), 1907, ii. lxxxvii ff., gives
+a bibliography, the table of contents, and a description of the work
+on the basis of seventeenth century editions; on p. xcv. he connects
+the tale above-mentioned with The Grateful Dead. See T. Braga, Contos
+tradiconaes do povo portuguez, 1883, ii. 63-128, who prints nineteen
+of the tales in abbreviated form, but not ours.
+
+
+Nicholas.
+
+Johannes Junior (Gobius), Scala Celi, 1480, under Elemosina. Gobius
+was born in the south of France and lived about the middle of the
+fourteenth century. [27] Summary by Simrock, pp. 106-109. Mentioned
+by Hippe, p. 169.
+
+
+Richars.
+
+Richars li Biaus, ed. W. Foerster, 1874. A romance written in Picardy
+or eastwards in the thirteenth century (Foerster, p. xxi). Analyzed by
+Koehler, Revue critique, 1868, pp. 412 ff., and Hippe, p. 155. Compared
+in detail with Lion de Bourges by Wilhelmi, pp. 46 ff.
+
+
+Lion de Bourges.
+
+An Old French romance known to exist in two manuscripts, the earlier
+dating from the fourteenth century, [28] the later from about the end
+of the fifteenth. [29] It has never been edited, but the portion which
+concerns us was analyzed in detail by Wilhelmi, pp. 18-38. This summary
+I have made the basis of my discussion. The romance was mentioned by
+P. Paris, Foerster, and Suchier (as cited in note below), Gautier,
+Les epopees francaises, 1st ed. 1865, i. 471-473, Ebert, Jahrbuch
+f. rom. und engl. Lit. iv. 53, 54, and Benfey, Pantschatantra,
+i. 220. A prose translation into German is found in manuscripts of
+the fifteenth century, which does not differ materially from the
+original. [30] This was printed in 1514, and summarized by F. H. von
+der Hagen, Gesammtabenteuer, 1850, i. xcvii-xcix, Simrock, pp. 104-106,
+and Hippe, p. 154. See E. Mueller, Ueberlieferung des Herpin von Burges,
+1905, who analyzes the work and treats its relations to Lion.
+
+
+Oliver.
+
+Olivier de Castille et Artus d'Algarbe, a French prose romance
+composed before 1472, according to Foulche-Delbosc (Revue hispanique,
+ix. 592). The first and second editions were printed at Geneva,
+the first in 1482, the second before 1492. [31] There exist at
+least three manuscripts of the work from the fifteenth century:
+MS. Bibl. nat. fran. 12574 (which attributes the romance to a David
+Aubert, according to Groeber, Grundriss der rom. Phil. ii. 1, 1145);
+MS. Brussels 3861; and Univ. of Ghent, MS. 470. The designs of the
+last have been reproduced, together with a summary of the text, by
+Heins and Bergmans, Olivier de Castille, 1896. An English translation
+was printed by Wynkyn de Worde in 1518. A translation from the second
+French edition into Castilian was made by Philippe Camus, which was
+printed thirteen times between 1499 and 1845. [32] The edition of
+1499 has lately been reproduced in facsimile by A. M. Huntington,
+La historia de los nobles caualleros Oliueros de castilla y artus
+dalgarbe, 1902. A German translation from the French was made
+by Wilhelm Ziely in 1521, and this was translated into English by
+Leighton and Barrett, The History of Oliver and Arthur, 1903. From the
+German prose Hans Sachs took the material for his comedy on the theme
+(publ. 1556). A summary of Ziely's work is given by Froelicher, Thuering
+von Ringoltingen's "Melusine," Wilhelm Ziely's "Olivier und Artus"
+und "Valentin und Orsus," 1889, pp. 65 f., which is used by Wilhelmi,
+pp. 55, 56, in his comparison of the romance with Richars and Lion
+de Bourges. An Italian translation, presumably from the French,
+was printed three or four times from 1552 to 1622. [33] A summary
+of the story is given in Melanges tires d'une grande bibliotheque,
+by E. V. 1780, pp. 78 ff., with an incorrect note about the romance,
+reproduced by Hippe, pp. 155 f., with an analysis from the same source
+of the part of the tale belonging to our cycle. Robert Laneham in
+his list of ballads and romances, made in 1575, mentions Olyuer of
+the Castl. See Furnivall, Captain Cox, his Ballads and Books, Ballad
+Soc. 1871, vii. xxxvii and 30.
+
+
+Jean de Calais.
+
+I. Mme. Angelique de Gomez, Histoire de Jean de Calais, 1723. Sketched
+in the Bibliotheque universelle des romans, Dec. 1776, pp. 134
+ff. Koehler, Germania, iii. 204 ff., gives a summary of the work,
+which Mme. de Gomez stated was "tire d'un livre qui a pour titre:
+Histoire fabuleuse de la Maison des Rois de Portugal." A later
+anonymous redaction of this Jean de Calais exists in prints of 1770,
+1776, and 1787, and it continued to be issued in the nineteenth
+century. Summarized by Hippe, pp. 156 f., and by Sepp, pp. 685
+f. Mentioned by Koehler in Gonzenbach, Sicil. Maerchen, ii. 250.
+
+II. Blade, Contes populaires de la Gascogne, 1886, ii. 67-90. This
+and the following folk-versions of Jean deserve careful consideration
+because of the interesting character of their variations.
+
+III. J. B. Andrews, Folk-Lore Record, iii. 48 ff., from Mentone. See
+Liebrecht, Engl. Stud. v. 158, and Hippe, p. 157.
+
+IV. and V. J. B. Andrews, Contes ligures, traditions de la Riviere,
+1892, pp. 111-116, no. 26, and pp. 187-192, no. 41. These two versions
+differ slightly from one another, but more from the preceding.
+
+VI. P. Sebillot, Contes populaires de la Haute-Bretagne, 3me. serie,
+1882, pp. 164-171.
+
+VII. Wentworth Webster, Basque Legends, 1877, pp. 151-154. See Luzel,
+Legendes chretiennes, p. 90, note.
+
+VIII. A. Le Braz, La legende de la mort chez les Bretons armoricains,
+nouv. ed., 1902, ii. 211-231.
+
+IX. L. Giner Arivau, Folk-Lore de Proaza (Asturia), in Biblioteca de
+las tradiciones populares espanolas, viii. 194-201 (1886).
+
+X. Gittee and Lemoine, Contes populaires du pays Wallon, 1891,
+pp. 57-61.
+
+
+Walewein.
+
+Roman van Walewein, ed. Jonckbloet, 1846. Analyzed by G. Paris,
+Hist. litt. de la France, xxx. 82-84, and by W. P. Ker, The Roman
+van Walewein (Gawain) in Folk-Lore, v. 121-127 (1894). My analysis
+is a combination made from these two summaries.
+
+
+Lotharingian.
+
+Cosquin, Contes populaires de Lorraine, 1886, i. 208-212
+(no. xix). Noted by Hippe, p. 157.
+
+
+Gasconian.
+
+Cenac Moncaut, Contes populaires de la Gascogne, 1861, pp. 5-14,
+"Rira bien qui rira le dernier." Summarized by Koehler, Or. und
+Occ. ii. 329. Mentioned by Hippe, p. 157, and by Groome, Folk-Lore,
+ix. 239.
+
+
+Dianese.
+
+Novella di Messer Dianese e di Messer Gigliotto, ed. d'Ancona and
+Sforza, 1868. Analyzed by Liebrecht, Heid. Jahrbuecher der Lit. lxi. 450
+(1868), by d'Ancona, Romania, iii. 191, (reprinted in his Studj di
+critica e storia, 1880, p. 353), and by Hippe, p. 152. D'Ancona's
+summary is from Papanti, nov. xxi. The variant is of the fourteenth
+century, according to the writer of the introduction of the edition of
+1868, p. 5. See also Foerster, Richars li Biaus, p. xxiv, and Wilhelmi,
+pp. 44 and 57.
+
+
+Stellante Costantina.
+
+D'Ancona, Romania, iii. 192, mentions the popular poem Istoria
+bellissima di Stellante Costantina figliuola del gran turco, la
+quale fu rubata da certi cristiani che teneva in corte suo padre e fu
+venduta a un mercante di Vicenza presso Salerno, con molti intervalli
+e successi, composta da Giovanni Orazio Brunetto. I have not been able
+to find this poem and do not know how closely it accords with Dianese.
+
+
+Straparola I.
+
+Notti piacevoli, notte xi, favola 2. Analyzed by Grimm, Kinder-
+und Hausmaerchen, 1856, iii, 289; and rather too briefly by Simrock,
+pp. 98-100, and Hippe, p. 153. See Benfey, Pant. i. 221, Koehler in
+Gonzenbach, Sicil. Maerchen, ii. 249, and Groome, Tobit and Jack,
+Folk-Lore, ix. 226 f., and Gypsy Folk-Tales, p. 3, note.
+
+
+Straparola II.
+
+Notti piacevoli, notte v, favola 1. See Benfey, Pant. ii. 532.
+
+
+Tuscan.
+
+G. Nerucci, Sessanta novelle popolari, 1880, pp. 430-437, no. lii. A
+folk-tale from the neighbourhood of Pistoia. See Webster, Basque
+Legends, pp. 182-187, Crane, Italian Popular Tales, p. 350, and
+Cosquin, Contes populaires, i. 215.
+
+
+Istrian.
+
+Ive, Novelline popolari rovignesi, 1877, p. 19. See d'Ancona, Studj di
+critica, 1880, p. 354, and the summary by Crane, Italian Popular Tales,
+1885, no. xxxv. pp. 131-136, from whom, as Ive's collection has been
+inaccessible to me, I derive my knowledge of the story. Crane gives
+the title of Ive as Fiabe, etc., d'Ancona as above.
+
+
+Venetian.
+
+G. Bernoni, Tradizioni populari veneziane, 1875, pp. 89-96. Referred
+to by Crane, Italian Popular Tales, p. 350.
+
+
+Sicilian.
+
+Laura Gonzenbach, Sicilianische Maerchen, 1870, ii. 96-103. Summarized
+briefly by Hippe, pp. 153 f., and by Groome, Folk-Lore, ix. 239 f.
+
+
+Brazilian.
+
+Romero and Braga, Contos populares do Brazil, 1885, no. x. pp. 215. See
+Cosquin, Contes populaires, i. 215.
+
+
+Basque I.
+
+Wentworth Webster, Basque Legends, 1877, pp. 182-187. See Cosquin,
+Contes populaires, i. 215, and Luzel, Legendes chretiennes, p. 90,
+note.
+
+
+Basque II.
+
+Webster, work cited, pp. 146-150. See Crane, Italian Popular Tales,
+p. 351.
+
+
+Gaelic.
+
+Campbell, Popular Tales of the West Highlands, new ed. 1890,
+ii. 121-140, no. 32, "The Barra Widow's Son." Summarized by Koehler,
+Or. und Occ. ii. 322 f., by Sepp, p. 685, by Hippe, p. 150, and by
+Groome, Folk-Lore, ix. 235. See Koehler in Gonzenbach, Sicil. Maerchen,
+ii. 249, and Groome, Gypsy Folk-Tales, p. 3, note.
+
+
+Irish I.
+
+W. Larminie, West Irish Folk-Tales and Romances, 1893, pp. 155-167,
+"Beauty of the World." Mentioned by Kittredge, Harvard Notes and
+Studies, viii. 250, note.
+
+
+Irish II.
+
+Douglas Hyde, Beside the Fire. A Collection of Irish Gaelic
+Folk-Stories, 1890, pp. 18-47, "The King of Ireland's Son." [34]
+Mentioned by Kittredge, place cited.
+
+
+Irish III.
+
+P. Kennedy, Legendary Fictions of the Irish Celts, 1866, pp. 32-38,
+"Jack the Master and Jack the Servant."
+
+
+Breton I.
+
+Souvestre, Le foyer breton, contes et recits populaires,
+nouv. ed. 1874, ii. 1-21. Analyzed by Simrock, pp. 94-98, by Sepp,
+p. 685, and in part by Hippe, p. 149. See Luzel, Legendes chretiennes,
+i. 90, note.
+
+
+Breton II.
+
+F. M. Luzel, Legendes chretiennes de la Basse-Bretagne, 1881,
+i. 68-90, "Le fils de Saint Pierre." Cited by von Weilen,
+Zts. f. vergl. Litteraturgeschichte, N.F. i. 105. Analyzed in part
+by Hippe, pp. 149 f.
+
+
+Breton III.
+
+Luzel, work cited, ii. 40-58. Mentioned by von Weilen, place cited,
+and analyzed by Hippe, p. 150. The title, slightly misquoted by Hippe,
+is "Cantique spirituel sur la charite que montra Saint-Corentin
+envers un jeune homme qui fut chasse de chez son pere et sa mere,
+sans motif ni raison."
+
+
+Breton IV.
+
+P. Sebillot, Contes populaires de la Haute-Bretagne, 1880,
+pp. 1-8. Noted by Luzel, work cited, p. 90, note, and by Cosquin,
+Contes populaires, i. 215.
+
+
+Breton V.
+
+F. M. Luzel, Contes populaires de Basse-Bretagne, 1887, ii. 176-194,
+"La princesse Marcassa."
+
+
+Breton VI.
+
+F. M. Luzel, work cited, ii. 209-230, "La princesse de Hongrie."
+
+
+Breton VII.
+
+F. M. Luzel, work cited, i. 403-424, "Iouenn Kermenou, l'homme
+de parole."
+
+
+Old Swedish.
+
+Stephens, pp. 73 f., reprinted with translation from his Ett
+Forn-Svenskt Legendarium, 1858, ii. 731 f. This variant from 1265-1270
+is analyzed by Hippe, pp. 158 f.
+
+
+Swedish.
+
+P. O. Baeckstroem, Svenska Folkboecker, 1845-48, ii. 144-156,
+from H--d (Hammarskoeld) and I--s (Imnelius), Svenska Folksagor,
+1819, i. 157-189. Baeckstroem also cites several editions of the
+folk-book, which he says is of native origin. Mentioned by Stephens,
+p. 8. Summarized by Liebrecht, Germania, xxiv. 130 f., and by Hippe,
+p. 158.
+
+
+Danish I.
+
+S. Grundtvig, Gamle Danske Minder i Folkemunde, 1854, pp. 77-80,
+"Det fattige Lig." Mentioned by Stephens, p. 8, by Hippe, p. 160,
+and by Wilhelmi, p. 45. Summarized by Koehler, Or. und Occ. iii. 99.
+
+
+Danish II.
+
+Grundtvig, work cited, pp. 105-108, "De tre Mark." Summarized by
+Koehler, Or. und Occ. iii. 100. Cited by Hippe, p. 160, and Wilhelmi,
+p. 45.
+
+
+Danish III.
+
+Andersen, "Reisekammeraten," in Samlede Skrifter, xx. 54
+ff. (1855). Found in most English editions of Andersen's tales as
+"The Travelling Companion." Based on Norwegian II. Analyzed by Sepp,
+p. 678. Cited by Koehler, Or. und Occ. ii. 327, by Hippe, p. 159,
+and by Groome, Gypsy Folk-Tales, p. 3, note.
+
+
+Norwegian I.
+
+Asbjoernsen, Iuletraeet, 1866, no. 8, and Norske Folke-Eventyr, 1871,
+no. 99, pp. 198-201. Summarized by Liebrecht, Heid. Jahrbuecher der
+Lit. lxi. 451 (1868), and by Hippe, p. 159. See Liebrecht, Germania,
+xxiv. 131.
+
+
+Norwegian II.
+
+Asbjoernsen, Illustreret Kalender, 1855, pp. 32-39, Iuletraeet, no. 9,
+and Norske Folke-Eventyr, no. 100, pp. 201-214. Translated by Dasent,
+Tales from the Fjeld, 1874, pp. 71-88. Cited by Stephens, p. 8,
+Liebrecht, Germania, xxiv. 131, and Groome, Gypsy Folk-Tales, p. 3,
+note. Somewhat inadequate summaries by Liebrecht, Heid. Jahrbuecher
+der Lit. lxi. 452, Hippe, p. 159, and Groome, Folk-Lore, ix. 230.
+
+
+Icelandic I.
+
+Arnason, Islenzkar þjosoegur og aefintyri, 1864, ii. 473-479. English
+translation in Powell and Magnusson, Legends Collected by Jon. Arnason,
+1866, pp. 527-540. German translation in Poestion, Islaendische Maerchen,
+1884, p. 274. Cited by Liebrecht, Heid. Jahrbuecher, lxi. 451, and
+Germania, xxiv. 131, and by Wilhelmi, p. 45. Summary by Koehler,
+Or. und Occ. iii. 101 f., and by Hippe, p. 159.
+
+
+Icelandic II.
+
+A. Ritterhaus, Die neuislaendischen Volksmaerchen, 1902, no. 57,
+pp. 232-235. From MS. 537, Landesbibliothek, Reykjavik.
+
+
+Rittertriuwe.
+
+F. H. von der Hagen, Gesammtabenteuer, 1850, i. 105-128, no. 6. A
+poem of 866 lines from the fourteenth century. Summaries in Benfey,
+Pant. i. 221, in Simrock, pp. 100-103, and, with a rather bad error,
+in Hippe, p. 164. See Foerster, Richars li Biaus, p. xxiv. Compared
+with Richars, Oliver, and Lion de Bourges by Wilhelmi, pp. 56 f.
+
+
+Treu Heinrich.
+
+Der Junker und der treue Heinrich, ed. K. Kinzel, 1880. Previously
+edited and analyzed by von der Hagen, Gesammtabenteuer, iii. 197-255,
+no. 64. Summary by Simrock, pp. 103 f. Cited by Hippe, p. 165.
+
+
+Simrock I.
+
+J. W. Wolf, Deutsche Hausmaerchen, 1858, pp. 243-250, contributed by
+W. von Ploennies. Summary by Simrock, pp. 46-51, by Koehler, Or. und
+Occ. iii. 98, and by Sepp, p. 683. Cited by Hippe, p. 165.
+
+
+Simrock II.
+
+W. von Ploennies in Zts. f. deutsche Myth. ii. 373-377. From the
+Odenwald. Summary by Simrock, pp. 51-54. See Hippe, p. 165. This
+is the story analyzed by Sepp, p. 688 f., though he also refers to
+Wolf's and Zingerle's tales.
+
+
+Simrock III.
+
+E. Meier, Deutsche Volksmaerchen aus Schwaben, 1852,
+no. 42. pp. 143-153. Summarized by Simrock, pp. 54-58, Koehler,
+Or. und Occ. iii. 99, and Sepp, pp. 686 f. See Hippe, p. 165.
+
+
+Simrock IV.
+
+H. Proehle, Kinder- und Volksmaerchen, 1853, pp. 239-246. Summary by
+Simrock, pp. 58-62. See Hippe, p. 165.
+
+
+Simrock V.
+
+Simrock, pp. 62-65, contributed by Zingerle, who afterwards printed
+it in the Zts. f. deutsche Myth. ii. 367 ff., in Sagen, Maerchen und
+Gebraeuche aus Tirol, 1859, pp. 444 f., and in Kinder- und Hausmaerchen
+aus Tirol, 2nd ed., 1870, pp. 261-267. Analyzed without mention of
+source by Sepp, pp. 687 f. See Hippe, p. 165.
+
+
+Simrock VI.
+
+Simrock, pp. 65-68, from Xanten. See Hippe, p. 165.
+
+
+Simrock VII.
+
+Simrock, pp. 68-75, from Xanten. See Hippe, p. 165.
+
+
+Simrock VIII.
+
+F. Woeste, Zts. f. deutsche Myth. iii. 46-50, from Grafschaft
+Mark. Given by Simrock, pp. 75-80. Analyzed by Sepp, p. 685, who
+inadvertently speaks of it as "nach irischer Sage." See Hippe, p. 165.
+
+
+Simrock IX.
+
+Simrock, pp. 80-89, contributed by Zingerle, who afterwards printed
+it in Sagen, Maerchen und Gebraeuche aus Tirol, 1859, pp. 446-450, and
+in Kinder- und Hausmaerchen aus Tirol, 2nd ed., 1870, pp. 254-260. See
+Stephens, p. 9, Hippe, pp. 165 f., and Wilhelmi, p. 45.
+
+
+Simrock X.
+
+Simrock, pp. 89-94, from the foot of the Tomberg. Summarized by Koehler,
+Or. und Occ. ii. 326. See Hippe, p. 166, and Wilhelmi, p. 45.
+
+
+Oldenburgian.
+
+L. Strackerjan, Aberglaube und Sagen aus dem Herzogtum Oldenburg,
+1867, ii. 308 ff. Cited by Hippe, p. 166, and by Foerster, Richars
+li Biaus, p. xxviii.
+
+
+Harz I.
+
+A. Ey, Harzmaerchenbuch, 1862, pp. 64-74. Summary by Koehler, Or. und
+Occ. iii. 96. Cited by Hippe, p. 166.
+
+
+Harz II.
+
+A. Ey, work cited, pp. 113-118. Summary by Koehler, Or. und
+Occ. iii. 97. Cited by Hippe, p. 166.
+
+
+Sir Amadas.
+
+Ed. Weber, Metrical Romances, 1810, iii. 241-275, Robson, Three Early
+English Metrical Romances, 1842, pp. 27-56, Stephens, Ghost-Thanks,
+1860. Stephens seems to have been the first to note the connection of
+Sir Amadas with The Grateful Dead. The romance, as it is preserved in
+two manuscripts of the fifteenth century, must accordingly have been
+composed as early as the second half of the preceding century. It
+contains 778 verses in the tail-rhyme stanza. Summarized by Koehler,
+Or. und Occ. ii. 325, by Foerster, Richars li Biaus, pp. xxiv-xxvi,
+by Groome, Folk-Lore, ix. 236, and by Hippe (with great care),
+pp. 160-164. Compared with Oliver by Wilhelmi, pp. 58 f.
+
+
+Jack the Giant Killer.
+
+Found without essential difference in several chapbooks, the earliest
+owned by the British Museum being entitled: The Second Part of |
+Jack and the Giants. | Giving a full Account of his victorious
+Conquests over | the North Country Giants; destroying the inchanted |
+Castle kept by Galligantus; dispersed the fiery Grif- | fins; put
+the Conjuror to Flight; and released not | only many Knights and
+Ladies, but likewise a Duke's | Daughter, to whom he was honourably
+married. Newcastle-on-Tyne, 1711. [35] Other editions with the story
+are: The History of Jack and the Giants, Aldermary Churchyard, London;
+same title, Bow Church Yard, London; same title, Cowgate, Edinburgh;
+The Pleasant and delightful History of Jack and the Giants, Nottingham,
+Printed for the Running Stationers, and The Wonderful History of Jack
+the Giant-Killer, Manchester, Printed by A. Swindells; all without
+date. The Newcastle edition was reprinted by Halliwell-Phillipps in
+Popular Rhymes and Nursery Tales, 1849, in which our tale appears
+at pp. 67-77. Apparently the British Museum copy dated 1711 is that
+owned by Halliwell-Phillipps. From his edition it has been reprinted
+by Groome, Folk-Lore, ix. 237 f., and summarized by Koehler, Or. und
+Occ. ii. 327 f., and Sepp, p. 685. See also Stephens, p. 8, Hippe,
+p. 164, and Wilhelmi, p. 45.
+
+
+Factor's Garland. [36]
+
+The Factor's Garland or The Turkey Factor, a tale in English verse,
+which may be regarded as a popular ballad, though by no means
+as a primitive one. It has often been reprinted as a chapbook or
+broadside. The library of Harvard University possesses copies of
+no less than eight different editions (see W. C. Lane, Catalogue
+of English and American Chap-Books and Broadside Ballads in Harvard
+College Library, 1905, nos. 809-815, 2420). An examination of these
+shows that they differ from each other in no essential point, though
+they vary considerably in statements of time. The British Museum
+Catalogue of Printed Books lists seven editions, all different from
+those at Harvard, with one possible exception. The popularity of the
+story, at one time at least, is thus strikingly illustrated. Another
+variant, reported from oral tradition, has been found in North
+Carolina. See the paper read by J. B. Henneman before the Modern
+Language Association of America on Dec 29, 1906.
+
+
+Old Wives' Tale.
+
+George Peele, The Old Wives' Tale (1590), published in 1595, Ed. by
+Dyce, 1828 and 1861, by Bullen, 1888, and by Gummere in Gayley's
+Representative English Comedies, 1903, pp. 349-382. See H. Dutz for
+an elaborate discussion of the connection of the play with our theme.
+
+
+Fatal Dowry.
+
+Philip Massinger (and Nathaniel Field), The Fatal Dowry. First printed
+in 1632. Ed. A. Symons, Mermaid Series, 1889, ii. 87-182.
+
+
+Fair Penitent.
+
+Nicholas Rowe, The Fair Penitent, The Dramatick Works of Nicholas
+Rowe Esq., 1720, vol. i.
+
+
+
+
+
+
+
+CHAPTER III.
+
+TALES WITH THE SIMPLE THEME AND MISCELLANEOUS COMBINATIONS.
+
+
+Of the tales enumerated in the previous chapter, over one hundred in
+number, all but seventeen fall into well-defined categories as having
+The Grateful Dead combined with one or more of three given themes:
+The Possessed Woman, The Ransomed Woman, and The Water of Life. Of
+these seventeen variants, moreover, only four can be regarded as
+having the simple motive of The Grateful Dead; and they are in part
+doubtful members of the family.
+
+The first of them is Simonides, thus related by Cicero: "Unum de
+Simonide: qui cum ignotum quendam proiectum mortuum vidisisset eumque
+humavisset haberetque in animo navem conscendere, moneri visus est
+ne id faceret ab eo, quem sepultura adfecerat; si navigavisset, eum
+naufragio esse periturum; itaque Simonidem redisse, perisse ceteros,
+qui tum navigavissent." The source of Cicero's story we do not know,
+but in all probability it was Greek. Whether it really belongs to
+our cycle, being so simple in form and nearly two centuries earlier
+in date than any other version yet unearthed, is a matter for very
+great doubt. It may have arisen quite independently of other similar
+tales in various parts of the world, and have no essential connection
+with our tale; but it deserves special consideration, not only
+from its antiquity, but also from its subsequent history in lineal
+descent through Valerius Maximus, and possibly Robert Holkot [37] to
+Chaucer. We are at least justified in looking for some influence of so
+well-known an anecdote upon better-authenticated members of the cycle.
+
+The three other variants with the simple theme are all folk-tales
+of recent gathering. The first of them is Jewish, [38] which runs
+as follows: The son of a rich merchant of Jerusalem sets off after
+his father's death to see the world. At Stamboul he finds hanging in
+chains the body of a Jew, which the Sultan has commanded to be left
+there until his co-religionists shall have repaid the sum that the
+man is suspected of having stolen from his royal master. The hero pays
+this sum, and has the corpse buried. Later during a storm at sea he is
+saved by a stone on which he is brought to land, whence he is carried
+by an eagle back to Jerusalem. There a white-clad man appears to him,
+explaining that he is the ghost of the dead, and that he has already
+appeared as stone and eagle. The spirit further promises the hero a
+reward for his good deed in the present and in the future life.
+
+The second variant is the Annamite tale. Two poor students were
+friends. One died and was buried by the other, whose fidelity was
+such that he remained three years by the tomb. He dreamed that his
+friend came to him and said that he should gain the title of trang
+nguyen. So he built a chapel by the tomb, where the dead friend often
+appeared to him. When the king heard of his loyalty, he was praised
+and rewarded with a title. After his death the two friends appeared
+to their son and daughter, bidding them marry. [39]
+
+The third story is Servian VI. An uncle of Adam, who honoured God
+and the "Vile," [40] was so good a man that God came to him in human
+form one day. After a battle between the good and evil in the world,
+the latter would not bury the slain. The Vile told Tuegut that this
+would not do, so he hitched up his wagon and carried the slain to their
+graves. Then God came to earth, told him to put all he possessed in
+his wagon, and carried him on a cloud to heaven, where he was made
+the constellation now called Driver Tuegut's Heavenly Wagon.
+
+Of these three tales the Annamite does not fulfil the usual condition
+that the dead man shall be a stranger to the one who does the good
+action. Together with Simonides, all of them vary widely in the reward
+given the hero. In Simonides he is warned against embarkation, and
+thus saved from shipwreck; in the Jewish he is actually rescued from
+a storm-tossed vessel by the ghost, which masquerades as a rock and an
+eagle, and afterward promises him further rewards here and hereafter;
+in the Annamite he is provided with earthly glory; and in Servian
+VI. he becomes a part of the galaxy of heaven. Only the underlying
+idea is the same,--that the burial of the dead is a pious act and
+a sacred duty, which will meet a fitting reward. [41] This belief
+is so widespread and ancient that it is not difficult to surmise how
+stories inculcating the duty might have grown up independently in many
+lands. At the same time, the very diversity of reward in these simple
+tales allies them to one or another of the compound types, which,
+though multiform and widespread, are yet unmistakably the offspring
+of a single parent form, or better, of a chance union between two
+motives. [42] Thus Simonides and Jewish recall the combination of
+The Grateful Dead with The Ransomed Woman, since they have the hero
+rescued from drowning by the ghost, and they suggest one point of
+union between the two themes. It therefore seems best to include
+them in our list, not only for the sake of completeness, but because
+they point to the reason which sometime and somewhere gave rise to a
+more developed form of the motive,--to the maerchen as we shall study
+it. A consideration of these basal principles can be undertaken,
+however, only after the story theme in its various ramifications and
+modifications has been thoroughly discussed.
+
+The probability that The Grateful Dead once existed in a simple,
+uncompounded form, which became the parent on one side of the more
+important combined types, is strengthened by the minor compounds in
+which it is found. How can the correspondences of detail seen in
+a considerable number of different compounds, as far as they run
+parallel, be otherwise explained? Surely it is more reasonable to
+believe in the existence of such a parent form than to suppose that
+an originally complicated form was hacked and hewn asunder to produce
+new compounds. This will become clearer, I hope, as we proceed.
+
+In Greek, a boy was sold to a pasha, who betrothed him to his
+daughter. Because of the mother's objections, however, he was sent
+away as a shepherd, while the girl was promised to another pasha's
+son. The hero fed his flock under the shelter of the castle, and was
+summoned by the maiden, who gave him her betrothal ring in a beaker,
+though pretending not to know him. The next day she asked her parents
+to let the two suitors go into the world with a thousand piasters
+apiece, and see which came back with the most money. So they were
+sent forth. The pasha's son remained in a city enjoying his money,
+while the shepherd went on till he met an old man, to whom he told
+his story. The man gave him a thousand piasters more, and told him to
+buy an ape in a town hard by. He succeeded in doing this, and brought
+the ape back to the old man, who cut it in pieces, much to the youth's
+disgust, and made eye-salve of the brain. With this he sent the hero
+away after exacting a promise of half of what was obtained. The youth
+won a thousand piasters by curing the blind, and later a great sum,
+besides thirty ships, by healing a very rich man. With this wealth he
+returned to the old man, and with him to the city where the pasha's son
+had sojourned. The latter agreed to let the shepherd's seal be burned
+on his arm in return for the payment of his debts; but, while the hero
+and the old man sailed home, he rode fast by land with the story that
+his rival was dead. The shepherd arrived at home just in time for his
+rival's wedding, and at the end of it showed the bride her ring. She
+recognized her lover, called her parents, and, after the hero had
+told his story and proved it by the seal on his rival's arm, married
+him. That night the old man knocked on the door of their chamber,
+and demanded that the bride be divided. According to his promise,
+the hero prepared to cut her in twain, when the intruder said that
+he wished only to test his fidelity, explaining that he was God,
+Who had taken him under His protection because his father had sold
+him in order to keep the lamp burning in honour of his saint.
+
+In this variant the elements of The Grateful Dead have been merged
+with a story about how a young man of low birth won a princess
+by overcoming another suitor in spite of the treachery of the
+latter. As I have met with but one example of this, from Lesbos,
+[43] I will summarize it briefly. A princess becomes enamoured of
+the son of her father's gardener, and refuses to marry the son of
+the first minister. So the two suitors are sent out to a far country
+with the understanding that the one who returns first shall have the
+princess. On the way the gardener's son helps an old beggar-woman,
+whom his rival has spurned, and is told by her how to cure a sick king
+(by boiling him and sprinkling him with a certain powder). For this
+service the youth obtains a ring of bronze, which has the virtue
+of giving whatever its possessor desires. By means of this he gets
+a wonderful ship, and sails to the city where the minister's son,
+through extravagance, has fallen into poverty. He provides him with
+a wretched ship, in which to return home, on condition that he may
+mark him with his ring. The minister's son reaches home in his crazy
+vessel, and is about to marry the princess, when the hero appears on
+his beautiful ship of gold, exposes his rival, and weds the lady. The
+remainder of the story, which tells how the magical ring was lost
+and afterward recovered, does not concern us. It will be seen that
+Greek has preserved only the later part of The Grateful Dead at all
+clearly, though that combination with a tale of the type of the Lesbian
+narrative has actually taken place is evident from the part which the
+helper plays. He not only obtains a promise of division, but calls for
+its fulfilment. His first appearance is, however, quite unmotivated,
+while the old woman of the Lesbian story serves the purpose, according
+to a common formula, of showing the hero's kindness in contrast to
+his rival's hard heart. The point common to the two tales, which led
+to their combination, is without doubt this helping friend.
+
+In Servian V. a youth on a journey pays his all to rescue a debtor from
+hanging. By his new-found friend the youth is led to the wondrous
+Vilaberg, where he is left with the admonition that he must not
+speak. He disobeys, and is made dumb and blind by an enchantress;
+but he is cured by the man whom he rescued, who plays on a pipe
+and gives him a healing draught. So he dwells for some years in the
+mountain with one of the ladies as his wife, but afterward goes home,
+though every summer he returns to his friends in the Vilaberg.
+
+Here we have our theme combined with a form of The Swan-Maiden,
+[44] which occurs in only one other case, as far as I am able to
+discover. The reason for the combination is not far to seek. The
+latter part of the tale represents the reward of the rescuer by the
+rescued. That the benefit does not take the form of actual burial
+need not disturb us. The man was at least far gone towards death, and
+he was a debtor--a trait found in about two-thirds of the variants
+known to me. Moreover, the supernatural character of the comrade is
+indicated by the adventure into which he leads the youth. The tale
+has been partly rationalised, that is all.
+
+Esthonian I. [45] shows a different combination, which is unique as
+far as I know. In a gorge not far from the village of Arukaela (near
+Wesenberg) a howling was heard every night for years. Finally a bold
+man went by night to the place and found the skeleton of a murdered
+king, which told him that it had howled thus for a hundred years
+because it had not been buried with holy rites. The next day the man
+took the bones to a priest, and, while burying them, discovered an
+enormous treasure.
+
+As Schiefner said, [46] when he first printed the story, it recalls
+the Grimms' Der singende Knochen, [47] which in turn is a compound
+of The Water of Life, with the idea of murder discovered by means of
+a dead man's bones. The Esthonian tale has, however, only the latter
+circumstance, combined with a simple form of The Grateful Dead. The
+hero's reward is immediate--he finds gold in the earth while digging
+the grave; and the ghost does not appear. The variant is thus of no
+great significance.
+
+The group of tales that must next be considered furnishes rather
+more important evidence as to the development of the theme. It
+is a compound of The Grateful Dead with the motive which we may
+call The Spendthrift Knight. As far as I know, the type is purely
+mediaeval. The group includes Richars, Lion de Bourges, Dianese,
+Old Swedish, Rittertriuwe, and Sir Amadas.
+
+The plot of Richars, as far as it concerns us, runs thus: Richars, in
+the pursuit of knightly exercises, wastes all his father's property
+as lord of Mangorie. When he hears that the King of Montorgueil has
+promised the hand of his daughter to the victor in a tourney, he is
+sad at the thought of his inability to engage. Through the generosity
+of a provost, however, he is enabled to set out with a horse, three
+attendants, and a supply of gold. At the city of Osteriche he spends
+part of his money in giving a great feast. In the roof of the house
+where he stays he is astonished to see a corpse lying on two beams,
+and he learns that it is the body of a knight, who died owing the
+householder three thousand pounds. Richars gives everything he has,
+even to his armour, to secure the release and burial of the dead
+man. He then proceeds to the tourney on a poor horse that his host
+gives him, and quite alone, since his attendants have deserted him. On
+the way he is joined by a White Knight, who offers him help in the
+tourney and places at his disposal his noble steed. Richars wins the
+tourney and obtains the hand of the Princess Rose. He now offers the
+White Knight his choice of the lady or the property. The stranger,
+however, refuses any division, explains that he is the ghost of the
+indebted knight, and disappears. [48]
+
+Lion de Bourges runs thus: Lion, son of Duke Harpin de Bourges, was
+found by a knight in a lion's den and reared as his son. When he grew
+up, he wasted his foster-father's property in chivalry. Finally, he
+heard that King Henry of Sicily had promised the hand of his daughter
+to the knight who should win a tourney that he had established. So Lion
+started for the court, and on the way ransomed the body of a knight,
+which he found hanging in the smoke, on account of unpaid debts. At
+Montluisant the hero won the favour of the Princess Florentine, and,
+before the tourney, obtained from a White Knight the charger which
+he still lacked, on condition of sharing his winnings, the princess
+excepted. With the help of this knight Lion was victorious and obtained
+the princess. He was then asked by his helper to give up either the
+lady or the whole kingdom, and did not hesitate to do the latter. At
+this, the stranger explained that he was the ghost of the ransomed
+knight and disappeared, though he afterwards returned to assist the
+hero at need.
+
+According to Dianese, [49] the knight of that name has wasted his
+substance. When he hears that the King of Chornualglia (Cornwall)
+has promised his daughter and half of his kingdom to the knight who
+wins the tourney that he has called, Dianese gets his friends to fit
+him out and sets forth. On the way he passes through a town where the
+traffic is diverted from the main street because of a corpse which
+has long been lying on a bier before a church. He learns that it is
+the body of a knight, who cannot be buried till his creditors have
+been paid. At the cost of everything he possesses, save his horse,
+the hero satisfies the creditors and has the knight buried. When he
+has gone on two miles, he is joined by a merchant, who promises him
+money, horses, and weapons if he will give in return half of what he
+wins in the tourney. Dianese agrees, is fitted out anew, and succeeds
+in overcoming all comers in the contest. Thus he obtains the hand
+of the princess and half the kingdom. With his bride, the merchant,
+and his followers he starts for home; but, when they are only a
+day's journey from their destination, he is required by the merchant
+to fulfil his promise--to choose between his bride as one half, his
+possessions as the other. Dianese takes the lady and rides on. Soon,
+however, he is joined by the merchant, who praises his faithfulness,
+gives up the treasures, explains that he is the ghost of the debtor
+knight, and disappears.
+
+In Old Swedish [50] the daughter and heiress of the King of France
+promises to marry whatever knight is victor in a tourney which she
+announces. Pippin, the Duke of Lorraine, hears of this and sets out
+for France. At the end of his first day's journey he finds lodging
+at the house of a widow, who is lamenting because her husband, once
+in good circumstances, has died so poor that she cannot bury him
+properly. Pippin takes pity on her, and pays for the man's funeral. On
+his further journey he falls in with a man on a noble steed, who gives
+him the horse on condition of receiving half of whatever he shall
+win. Unthinkingly Pippin agrees and wins the tourney with the help of
+the horse. After he has married the princess, he is asked by the helper
+to fulfil his promise. He offers at first half, then the whole of his
+kingdom, in order to keep his bride, and is finally told by the man
+that he is the ghost of the dead, while the horse was an angel of God.
+
+Rittertriuwe is of the same romantic character. When Graf Willekin von
+Montabour had spent his substance in chivalrous exercises, he learned
+that a beautiful and rich maiden had promised her hand to the knight,
+who should win a tourney, which she had established. Thereupon he
+set forth and came to the place announced for the combats. There he
+found lodging in the house of a man, who would only receive him if he
+would promise to pay the debts of a dead man, whose body lay unburied
+in the dung of a horse-stall. [51] Willekin was moved by this story
+and paid seventy marks, almost all his money, to ransom the corpse
+and give it suitable burial. He then had to borrow from his host in
+order to indulge in his customary generosity. On the morning of the
+jousting he obtained from a stranger knight a fine horse on condition
+of dividing everything that he won. He succeeded in the tourney above
+all the other contestants, and so wedded the maiden. On the second
+night after the marriage the stranger entered his room and demanded
+a share in his marital rights. After he had offered instead to give
+all his possessions, the hero started from the room in tears, when
+the stranger called him back and explained that he was the ghost of
+the dead, then disappeared.
+
+A brief summary of Sir Amadas, [52] the last of the six variants,
+must now be given. Amadas finds himself financially embarrassed,
+and sets forth for seven years of errantry with only forty pounds
+in hand. This he pays to release and bury the body of a merchant who
+has died in debt. When thus reduced to absolute penury, Amadas meets
+a White Knight, who tells him that he will aid him on condition of
+receiving half the gains. The hero finds a rich wreck on the seacoast,
+and so with new apparel goes to the court, where he wins wealth in a
+tourney and the princess's heart at a feast. After he marries her and
+has a son born to him, the White Knight reappears and demands that the
+accepted conditions be complied with. Hesitatingly Amadas prepares to
+divide first his wife and afterwards his son, but he is stayed by the
+stranger, who explains that he is the ghost of the dead merchant. So
+Amadas is at last released from misfortune and lives in happiness.
+
+In all six of these stories we have a knight, who sets out to
+win a tourney in which the victor's prize is to be the hand of a
+princess. In all of them save Old Swedish he is represented as being
+impoverished by previous extravagance, in Richars, Lion de Bourges,
+and Rittertriuwe it being expressly stated that he had wasted his
+fortune by over-indulgence in his passion for jousting. On his way
+to the place appointed for the contest the hero pays for the burial
+[53] of a man whose corpse is held for debt. [54] He goes on and
+is approached either before (Richars, Lion de Bourges, Dianese, Old
+Swedish, and Sir Amadas) or after (Rittertriuwe) he reaches the lists
+by a man, who provides him with a horse, by the aid of which he wins
+the tourney and the princess. In Dianese the hero is a merchant, in Old
+Swedish his estate is not mentioned, but in the other four variants
+he appears as a knight (a white knight in Richars, Lion de Bourges,
+and Sir Amadas). In Dianese the hero is also provided with armour;
+in Richars and Lion de Bourges he is assisted in his jousting by the
+White Knight; and in Sir Amadas he finds a wreck on the coast from
+which he obtains all things needful. In Richars we find the somewhat
+inept conclusion that the hero asks his friendly helper whether
+he will take the princess or the property [55] as his share. The
+latter responds that he wishes only his horse, explains who he is,
+and vanishes. In all the other variants, however, the condition is
+made that the hero divide whatever he shall gain. [56]
+
+With reference to Richars and Lion de Bourges, Wilhelmi's careful
+discussion [57] has made it clear that, though they agree in many
+points as against all the other related versions, not only in respect
+to The Grateful Dead, but to the further course of a complicated
+narrative, neither one could have been taken from the other. The
+difference in the matter of the division between Richars and all the
+other variants he neglects, though it strengthens his position. Back
+of Richars and Lion de Bourges, earlier than the thirteenth century,
+there must have existed a literary work which was their common
+source. This hypothetical French romance may be considered as the
+foundation of the whole group which we are discussing.
+
+Since Old Swedish agrees with most of the other variants with regard
+to the division, and furthermore with Rittertriuwe, in stating
+that the hero offered all his property in order to keep his wife,
+there seems to be no doubt that it belongs to this particular group,
+despite the fact that it says nothing about the hero's poverty. The
+connection is not improbable on the score of chronology, if we suppose
+that the source of Richars and Lion de Bourges, or some similar tale,
+found its way into the North by translation in the first half of the
+thirteenth century, a time when translations into Icelandic at any
+rate were made in great numbers. Indeed, the names Pippin, Lorraine,
+etc., immediately suggest a French source; and the story is not really
+a legend at all, though it appears in a legendary, but a narrative
+quite in the style of the romans d'adventure.
+
+With reference to Sir Amadas, two points of special interest
+appear. The hero is provided the wherewithal for his successful
+courtship by means of a wreck to which he is directed by the White
+Knight; and he is required to divide his child as well as his wife with
+his helper. These peculiarities, together with the different opening,
+make it improbable that Richars, as preserved, was the direct source
+of the romance, though its author may have known some text either of
+that romance, or of Lion de Bourges. It seems more likely, however,
+that the source of Sir Amadas was rather the common original of
+both those versions. In the present state of the evidence it is
+impossible to do more than to show, as I have attempted to do, that
+the fourteenth-century Sir Amadas is a member of the little group
+under discussion.
+
+The proposed division of the son is peculiarly important in that it
+connects the group with the stories in which The Grateful Dead is
+compounded with the theme of Amis and Amiloun. Indeed, the general
+relationship of The Spendthrift Knight to that theme must be considered
+in a later chapter [58] after more important compounds have been
+discussed. It will be noted that the group just considered is purely
+literary and purely mediaeval. Though it has representatives in Italy,
+Germany, Sweden, and England, it is to all intents and purposes French
+in source and character. Five of its members are the only variants
+treated in this chapter where the question of dividing the hero's
+prize is brought up. The group thus stands by itself, and may be
+considered as an entity when we come to a discussion of the larger
+matters of relationship.
+
+A solitary folk-tale now demands attention--my Breton II. The
+Grateful Dead in a simple form is here combined with a story told of
+Gregory the Great, [59] as Luzel, to whom the tale was recounted by
+a Breton peasant, indeed briefly noted. [60] The Breton tale runs as
+follows: A rich lord and lady had no children. While the lady was
+praying to St. Peter in a chapel that was being repaired, she fell
+a victim to a young painter, and had by him a son, who was named
+after St. Peter. When the boy was twelve years of age, he carried
+St. Peter across a stream one day, while his shepherd companion carried
+Christ. The companion died soon after. Pierre then set forth to visit
+his patron in Paradise. On his way he stopped overnight at the house of
+an old woman, whose husband lay unburied because there was no money to
+pay the priest. Pierre gave all his money for the interment, and went
+on. When he came to the sea, a naked man, who said that he was the
+dead, carried him across to a point near the gates of Paradise. There
+he found Peter, and was shown the glories of heaven by the Saviour,
+as well as Purgatory and Hell. In the last he saw a chair reserved
+for his mother, but by his entreaties induced the Lord to grant her
+a release on condition of doing penance himself for her. So he was
+told to put on a spiked girdle, to throw the key of it into the sea,
+and not to take it off till the key should be found. After donning
+this instrument Pierre was carried by the ghost back to his own land,
+where he lived on alms--first on the public ways, and later, without
+discovering himself, in his father's castle. During his father's
+absence he was killed at the command of his mother, but was dug up
+alive by his father and treated with respect. One day at a feast
+he found the key in the head of a fish. When the girdle was opened,
+he died, and his soul was borne to heaven by angels.
+
+Two Danish variants present a curious but not inexplicable combination
+of The Grateful Dead with Puss in Boots, as was noted by Koehler. [61]
+Danish I. relates how a youth pays three marks, which is his all,
+to bury the body of a dead man, for whose interment the priest has
+demanded payment in advance. He is then joined by another youth,
+who is the ghost of the dead, and goes to a certain city. There, by
+giving himself out as a prince at the advice of his companion, who
+provides him with proper trappings, he wins the hand of a princess. In
+Danish II. an old soldier pays his last three marks to prevent three
+creditors from digging up a corpse. He is joined by a pale stranger,
+who takes him in a leaden ship to a land where he marries a princess,
+who is fated to marry no one save a man who comes in this way. The
+stranger secures, by a lying ruse, a troll's castle for the hero, and,
+after explaining that he is the ghost of the buried debtor, disappears.
+
+The traces of the Puss in Boots motive [62] are, I think, sufficiently
+clear, especially in the first of the two variants, since the point
+of that familiar tale is certainly that the hero marries a woman of
+high estate by making himself out as of equal rank, substantiating
+his statements by a succession of clever ruses. That the grateful dead
+enables him to fulfil the required conditions is an introduction that
+could easily replace the ordinary one, especially since a helper of
+some sort is necessary to the story. Just what the relation of these
+two variants is to other Puss in Boots stories does not here concern
+us. From the side of The Grateful Dead, however, it is possible
+to see how the combination--found only in two folk-tales from a
+single country, it will be observed--may have arisen. The benefits
+bestowed on the hero show an essential likeness to those found in a
+widespread compound type to be studied in a later chapter, [63] where
+the thankful dead helps his friend to obtain a wife by the performance
+of some feat. Since the combination now in consideration seems to
+be confined to the region about Denmark, while mediaeval and modern
+examples of the other are found in many lands, it may be regarded as
+a mere variation on the better-known compound type, produced by the
+similarity of the two endings. Yet it has to be treated separately,
+because it involves an independent theme.
+
+An echo of the simple theme of The Grateful Dead is found in two
+English plays--Massinger's Fatal Dowry and Rowe's Fair Penitent. In
+the former young Charolais goes to prison to release his father's
+body from the clutch of creditors, who wish to keep it unburied
+for vengeance. [64] He is rescued by Rochfort, who pays the debts
+and gives him his daughter in marriage. The intrigues of love and
+vengeance that follow do not concern us. In Rowe's play, which was
+based on Massinger's, this part has been curtailed to a few slight
+references. Altamont gives himself as ransom for his father's body
+to the greedy creditors, who will not allow burial to take place. He
+is rewarded by the care and bounty of Sciolto, who becomes a second
+father to him.
+
+Stephens was certainly right in connecting [65] the story in The Fatal
+Dowry with The Grateful Dead, though it is only a fragment and lacks
+some of the most essential features of the complete theme. The ghost,
+indeed, does not appear at all, but the part played by Rochfort may
+be regarded as a greatly sophisticated reminiscence of that trait,
+especially since he not only rescues the hero, but provides him with
+a wife. The echo of the theme is too vague for us to distinguish the
+form in which it was found by Massinger, though I think that we should
+not go far wrong in supposing that he had in mind some narrative,
+either popular or literary, nearly approaching the compound type
+treated in chapter vi. below. As one of the comparatively few traces
+that the motive has left in England this double dramatic use is not
+without interest. [66]
+
+
+
+
+
+
+
+CHAPTER IV.
+
+THE GRATEFUL DEAD AND THE POISON MAIDEN.
+
+
+One of the most prevalent types of The Grateful Dead is that in which
+it has combined with The Poison Maiden, a theme almost world-wide in
+distribution and application. From the time of Benfey and Stephens
+[67] the connection between the two themes has been regarded
+as vital. Though Hippe recognized that the stories were perhaps
+originally independent, [68] he took the compound as his point of
+departure and derived all other forms from it. As will be seen in
+the course of our study, such a filiation is exceedingly improbable,
+if the essential features of The Grateful Dead and The Poison Maiden
+be closely examined. Hippe went wrong, I should say, in failing to
+differentiate between what traits belong to the former and what to
+the latter theme.
+
+As a matter of fact, The Poison Maiden exists in a cycle of its
+own. Any doubt about this and any necessity of studying the theme in
+detail here is removed by the valuable monograph of Wilhelm Hertz,
+Die Sage vom Giftmaedchen, [69] in which the literature of the subject
+has been marshalled with masterly skill. Starting with the stories of
+how a maiden, who had been fed with snake-poison, was sent to Alexander
+the Great from India by an enemy, and how the plot to kill the emperor
+through her embraces was foiled by the cunning of Aristotle, [70]
+Hertz shows [71] that the central idea of the tale is the belief that
+a man could be killed by sexual connection with a woman who had been
+nourished on poison. In most of the variants, to be sure, it is the
+bite of the woman that is venomous, while in others it is her glance
+or her breath; but these are natural modifications. Without following
+the study into details, the important fact to remember is that there
+has existed from early times a tale relating how a man was saved by
+a watchful friend on his bridal night from a maiden whose embraces
+were certain death. [72] With this in mind we can safely proceed
+to a consideration of the variants of The Grateful Dead which have
+similar features.
+
+Twenty-four of the stories in my list fall into this category,
+viz.: Tobit, Armenian, Gypsy, Siberian, Russian I., II., III.,
+and IV., Servian II., III., and IV., Bulgarian, Esthonian II.,
+Finnish, Rumanian I., Irish I., II., and III., Breton I., Danish
+III., Norwegian II., Simrock X., Harz I., Jack the Giant Killer,
+and Old Wives' Tale. All but three of them [73] are folk-tales,
+a fact that considerably simplifies the discussion.
+
+According to the apocryphal story, Tobit buries by night the dead
+who lie in the street. He is thrown into prison, and later becomes
+blind and poverty-stricken. He sends his son Tobias to his brother
+Gabael for the return of a loan. The youth is accompanied by the
+angel Raphael in disguise, who calls himself Azarias. On the journey
+Tobias catches a fish and preserves the heart, liver, and gall at the
+bidding of his companion. When they arrive at their journey's end,
+the angel, as go-between, asks Gabael's daughter Sara in wedlock for
+Tobias, though seven men have died while consummating their marriage
+with her. By burning the heart and liver of the fish at the command
+of the angel, and by prayer, Tobias escapes; for the demon Asmodeus
+is driven out of the maiden and bound by Raphael. With his bride and
+companion Tobias goes home, where he cures Tobit's blindness by means
+of the gall of the fish. After being offered half of the wealth that he
+has brought the family, Raphael explains his identity and disappears.
+
+This variant is peculiar in that the father does the good action, while
+the son is chiefly rewarded. Indeed, it is the son whose life is saved
+from the possessed woman whom he marries. Moreover, the grateful dead
+is replaced by an angel, who indeed commends Tobit for his good deed,
+but is certainly a substitute for the ghost. Obviously Tobit with
+such peculiarities as these cannot be regarded as the general source
+of the widespread folk-tale. At the same time we must not forget
+that it has been, perhaps, the best-loved story in the Apocrypha,
+[74] and that its influence on details of the narrative may be looked
+for almost anywhere in Christendom.
+
+In the Armenian story from Transcaucasia [75] a man finds a corpse
+hanging in a tree and being beaten by his late creditors. The man pays
+the debt and buries the body. Some years later he becomes poor. A rich
+man offers him in marriage his daughter, with whom five bridegrooms
+have already met death on the wedding night. While thinking over
+the proposition, he is approached by a man who offers to become his
+servant for half of his future possessions, and counsels him to
+marry the woman. On the night of the marriage the servant stands
+with a sword in the chamber, cuts off the head of a serpent that
+comes from the bride's mouth, and pulls out its body. Later he asks
+for his share of his master's gains. When he is about to split the
+woman through the middle, a second snake glides from her mouth. The
+servant then says that he is the ghost of the corpse long ago rescued,
+and disappears. Here the story appears in a very normal form, except
+that the hero is not taking a journey at the time of his kind deed,
+and that he waits several years for his reward. Moreover, the second
+snake appears to be due to reduplication.
+
+In Gypsy a youth gives his last twelve piasters for the release of a
+corpse, which is being maltreated by Jews. The ghost of the dead man
+follows him and promises to get him a bride if he will share her with
+him. The youth consents and marries a woman whose five bridegrooms
+have died on the wedding night. The companion keeps watch in the
+chamber and cuts off the head of a dragon that comes from the bride's
+mouth. Later he demands his half of the woman, and takes a sword to
+cut her asunder, when she screams and disgorges the dragon's body. The
+ghost then explains the situation and disappears. [76]
+
+With the Siberian variant some very important modifications enter. A
+soldier buys a picture of the Saviour from a peasant and maltreats
+it. A merchant's son then buys it out of reverence and takes it to
+his mother. Later he helps an old man on a raft and goes with him to
+market. There he meets the daughter of a priest and, by the advice of
+his friend, marries her. When the old man strikes her with a whip,
+she splits open, and the devil comes out. She is put together again
+by the mysterious companion, and accompanies them home, where the old
+man asks for a division of the gains they have made together. Again
+he divides the woman. After she has been burned, she is found living
+and purified. Then the old man says that he is God and departs.
+
+This tale, found among the Turkish race of southern Siberia, has
+transformed the opening incident altogether. For the burial of
+the corpse it substitutes a good deed, which is entirely different
+from the original trait. Yet it is evident that we have to do with
+The Grateful Dead, after all, since the divine image is rescued
+from senseless contumely and God himself appears in the role of the
+thankful ghost. It is evident also that the theme is combined with
+The Poison Maiden. Though we do not hear of any misadventures of
+other men with the priest's daughter, the marvels which attend her
+purification indicate the danger in which the hero stood.
+
+Russian I. is likewise peculiar in several respects. The younger of
+two brothers angers his parents by going to the wars without their
+permission. He is killed. Later he appears to his brother, asking
+him to implore pardon of their mother, whose anger prevents him
+from resting quietly in his grave. The elder brother thus succeeds
+in giving peace to the ghost. Later, when he marries a merchant's
+daughter, whose first two husbands have been killed by a dragon on
+the wedding night, he is saved by the ghost of the dead, which keeps
+watch in the chamber with a sword and kills the nine-headed dragon.
+
+This tale stands almost alone [77] in giving the two chief characters
+personal relations, since it is nearly always a total stranger whom
+the hero benefits. That actual burial of the dead does not come in
+question is not so remarkable, as various changes have been made in
+this trait. One story, [78] indeed, which otherwise has no likeness,
+similarly makes the dead man uneasy in his grave. The beginning of
+Russian I. has thus suffered considerable modification. The ending
+is also different from the normal type in that the division of the
+property and the woman has entirely disappeared.
+
+Russian II. has also some peculiarities, though none which is
+difficult to explain. A youth named Hans receives three hundred
+rubles from his uncle, who has taken his inheritance, and goes into
+the world. In another province he ransoms with his whole stock of
+money an unbeliever, who is being bled by the people. He has the
+poor man baptised, but is not able to save his life, so sorely has
+he been wounded. The people, however, pay for proper burial. Hans
+goes on and is joined by an angel, who proposes that he take him as
+uncle and divide with him whatever they get while in one another's
+company. They come to a city where the king proposes that Hans marry
+his daughter, and to this the hero agrees at his companion's advice,
+despite the protests of the citizens, who say that the princess
+has already strangled six bridegrooms. On the wedding night the
+uncle keeps watch, and slays a dragon which is approaching to kill
+the young man. After two months the pair set out for home with
+the uncle. On the way they are saved by the old man from robbers,
+and get a store of gold. When they arrive at the place where the
+uncle first appeared, he calls for a fulfilment of their agreement,
+and saws the bride asunder. Young dragons come out of her; but, when
+she has been washed and sprinkled with water, she is made whole. The
+angel thereupon parts with the couple.
+
+For the burial of the dead we have in this tale the interesting
+substitution of an unsuccessful attempt of the hero to save a man's
+life by paying his entire inheritance as ransom. That the man dies and
+is buried shows how the change probably arose. Strangely enough, as in
+the case of Tobit, an angel appears in the role of the grateful dead,
+and, even more oddly, takes the form of the hero's uncle, who gave
+him the money with which he set forth on his journey. The recurrence
+of the angel in this and in one other variant [79] inclines me to
+the belief that the essential feature of the reward in the original
+story was that it came from heaven. The remainder of Russian II. has
+no characteristic unusual in the tales where the woman is actually
+divided to get rid of the snakes or dragons.
+
+In Russian III. [80] the youngest of three brothers rescues a swimming
+coffin from the sea and takes it on his ship. From the coffin comes a
+man clothed in a white shirt, who enters the service of his rescuer,
+and helps him win a beautiful princess as wife. A six-headed dragon
+has hitherto killed all her bridegrooms on the wedding night, but it
+is overcome by the hero through his obedience to the advice of his
+servant. The latter cleanses the bride's body of the dragon brood
+and goes away. Here the opening has been modified, though not beyond
+recognition, since the rescued man is clearly enough the grateful dead.
+
+Russian IV., taken like the preceding from a folk-book, differs from
+that in only minor points, though the ampler form in which I have
+found it makes it of more importance. The three sons of a czar go
+out in separate ships to see the world. The youngest, named Sila,
+rescues a swimming coffin, which his brothers have not heeded,
+and buries it on shore. There he leaves his companions, and goes
+on alone till joined by a man dressed in a shroud, who says that he
+is the rescued corpse and proposes that Sila win a certain Princess
+Truda as wife by his aid. The hero is dismayed when he sees the walls
+of her city decorated with the heads of countless former suitors,
+but he is told by his servant not to fear. On the bridal night he
+is counselled to keep silence, and, when his wife presses her hand
+on his breast, to beat her, as she is in league with a six-headed
+dragon. Sila obeys, the dragon appears, and the servant cuts off two
+of its heads. Two more heads are cut off on the second night, and the
+remaining two on the third. The bride is not completely cleansed,
+however, till the end of a year, when the servant cuts her in two,
+burns the evil things that emerge from her body, and sprinkles her
+with living water to make her well again. He then disappears.
+
+Here the grateful dead appears with perfect clearness, as he did not
+in Russian III. The course of events by which the lady is won does not
+differ materially from that of Russian II. Presumably III. would follow
+the same procedure, had we an adequate summary. III. and IV. are like
+I., and different from II., in omitting all mention of any division
+of property or of the woman between hero and assistant. The division
+for the sake of cleansing in IV. is, however, actual.
+
+Not without contamination from another source, Russian V. and
+VI. still belong to the class containing variants with The Poison
+Maiden. In Russian V. the only son of a rich man went out into the
+world to seek his fortune. On the road he gave a large sum of money
+for two horses. Later he stopped at an inn, where the widow of the
+landlord was weeping because she had no money to pay the debts of her
+husband, who was cursed by all the people, though he had been dead
+two years. The hero gave all his money to save the memory of the dead
+man, and proceeded. Soon he met two unsatisfied creditors, who still
+cursed the dead landlord, and to them he gave his two horses. Not long
+afterward he was joined by a man, who accompanied him on condition of
+receiving half of what they might win together. They came to a place
+where a lord offered a thousand rubles to anyone who would watch his
+daughter's corpse over night in a chapel. The hero undertook the
+adventure, and received payment in advance. At dark his companion
+came to him, and gave him a cross as protection. At midnight the
+lady came out of her coffin, but could not find the man because he
+held the cross. The same adventure was repeated the next night. On
+the third night the hero, according to his companion's advice, got
+into the coffin when the vampire rose, and would not get out for all
+her entreaties, being protected by the cross. So in the morning both
+were found alive, and were betrothed. Then came the companion, cut the
+maiden into halves, took out her entrails, and put her together again,
+when she became very beautiful. Next day he called the hero aside,
+explained his identity with the dead landlord, and disappeared.
+
+Russian VI. differs from the above in several points, but is closely
+allied to it. There were two brothers, one good and the other
+stingy. The former expended in benevolence all his wealth, save
+a hundred rubles, while the latter grew richer and richer. A poor
+man borrowed a hundred rubles from the miser, calling St. George as
+witness that he would pay; but he died in debt. The rich brother came
+to the widow, and said that he would get his money from St. George if
+not from the dead man. He pulled down an image of the saint from the
+wall, dug up the corpse, and spat upon them both. At this juncture
+the good brother came by, and gave his last hundred rubles to put
+the matter right. He then went to a large city, where the king's
+daughter had eaten all the deacons who watched with her dead body. So
+when volunteers were called for to stay with her, the hero offered
+to undertake the task at the advice of an old man, who promised to
+pray for his safety on condition of receiving half his winnings. He
+received payment in advance from the king, and divided with the old
+man, by whom he was given a sanctified coal, a taper, a cross, and a
+scapulary, together with advice how to act. So he entered the chapel,
+lighted his taper, closed his eyes, made the sign of the cross, and
+enclosed himself in a circle marked with the coal near the head of
+the bier. At cockcrow the vampire came out all blue and grinning;
+but, though she yelled horribly, she could not touch the man in the
+circle, who put the cross in the coffin. At the second cockcrow she
+tried to get into the coffin, and unavailingly begged him to take
+out the cross. At the third cockcrow he put the scapulary on her,
+whereupon she rose and thanked him, promising to be his wife and
+servant. So in the morning the hero married her and received the
+kingdom from her father. To their chamber that night came the old man,
+and recalled the agreement to divide. He cut the lady into halves,
+minced her flesh on the table, and blew on the bits, whereupon she
+came together more beautiful than ever. The helper then threw off
+his gaberdine, and showed himself to be St. George.
+
+In the two stories just summarized The Grateful Dead is clear enough,
+though in VI. St. George has ousted the ghost from part of its proper
+functions, just as the angel does in Tobit, Russian II., and Simrock
+IV., God in Siberian, and various saints elsewhere. The introduction
+in VI. is a unique trait, as far as I know. In both the variants
+the main features of the theme appear without distortion, including
+the picturesque cleansing of the woman by actual division. The
+Poison Maiden, however, has been replaced by a story of similar
+character, but of different content, which I have not elsewhere found
+compounded with The Grateful Dead. A vampire infests a church (or a
+churchyard). A soldier is sent to watch nights, and to try to dislodge
+her. He successfully counters her tricks, and finally gets hold of
+something belonging to her, which he refuses to return. Thereupon she
+is reduced to submission, promises him happiness, and is married to
+him with the consent of the king. [81] This tale, it will be evident,
+bears a strong likeness to The Poison Maiden in the figure of the
+heroine, though it certainly is independent. The vital difference
+between the two is the absence of any helping friend in the story of
+the vampire. Because of the lack of this figure it seems improbable
+that the tale was compounded with The Grateful Dead without the
+intermediary stage in which The Poison Maiden appears. I regard the
+vampire as usurping the place of the possessed maiden, and the two
+Russian variants as a secondary growth. Given the normal form of the
+compound as it appears in Russian II., for instance, there would be
+no difficulty in substituting an even more gruesome figure for that
+of the heroine there depicted, and in making the hero's danger lie
+in a prenuptial attack on her part.
+
+The three Servian tales, which fall in this section, differ widely
+in their characteristics. The first of them, Servian II., [82] is
+the most nearly normal. Vlatko goes into the world to trade, but
+pays all his money to free from debt a corpse, which creditors are
+digging up in order to vent their spite upon it. He returns home,
+and is sent out again by his parents, receiving a greater sum of
+money and, from his mother, an apple by means of which he can tell
+the intentions of anyone who desires his friendship by the way. [83]
+He is joined by a man, who cuts the apple into two exact halves,
+and so is accepted as a friend. After Vlatko has prospered in trade,
+the friend proposes that he marry the emperor's daughter, with whom
+ninety-nine men have already died on the wedding night. Arrangements
+are made, and the friend keeps watch in the bridal chamber. During
+the night he cuts off the heads of three snakes, which come from the
+lady's mouth. Sometime afterwards all three set out for Vlatko's home;
+and on the way the hero divides his property with his friend. Jestingly
+the latter proposes that they divide the wife, and, after blindfolding
+the husband, shakes her three times, when three dead snakes come out
+of her. Thereupon he disappears.
+
+Like Armenian and Gypsy, this variant has the ghost cut off the head of
+the monster (here three snakes) that possesses the maiden. The actual
+division of the woman as it appears in those tales occurs here as a
+mere jest, which is the case with most of the European versions. [84]
+
+Servian III. has a more romantic character. The daughter of an emperor
+had been married thirteen times, but each of her bridegrooms had died
+on the wedding night. A certain prince, who had fallen in love with
+her through a dream, set out for her castle. On the way he paid the
+debts of a poor man, whose corpse was held by creditors, and buried
+him. Soon after, he was met by a man who became his servant, and won
+a castle for him by a wonderful adventure. After the wedding this
+man killed the snakes that came out of the bride, and also caused
+her to disgorge three snake eggs by threatening her with his drawn
+sword. He then disappeared.
+
+This variant shows traces of foreign substance in the dream and
+the winning of the castle by the unrevealed companion. Possibly the
+latter trait unites it with the combined type of which The Water of
+Life is one of the elements. It will be noticed that the division of
+the property and of the woman is not brought into question, though
+the sword is used somewhat incongruously for the removal of the last
+traces of the heroine's snaky infestation. Thus, by an evident change
+in structure, the identity of the hero's companion is never explained.
+
+With Servian IV. [85] we encounter a most serious problem, which must
+receive special treatment later on, [86]--the relation of The Grateful
+Dead to The Thankful Beasts theme. A poor youth three times set free
+a gold-fish which he had three times caught. Later he was cast out of
+his father's house and sent into the world. He was joined by a man,
+who swore friendship with him on a sword, and accompanied him to a
+city where many men had been mysteriously slain while undertaking
+to pass a night with the king's daughter. The hero undertook the
+adventure, and was saved by his companion, who cut off the head of
+a serpent that came from the princess's mouth. In the morning the
+youth was married to the lady, and divided all his property with his
+helper. On their way home the latter demanded half of the bride, and,
+while she was held by two servants, swung a sword above her. With
+a shriek she cast first two sections, and finally the tail, of a
+serpent from her mouth. Thereupon the friend leaped into the sea,
+for he was the gold-fish.
+
+The burial of the dead has here been ousted by a good deed which the
+hero does to a gold-fish. That the trait is foreign to the type,
+however, seems clear. From the time when the companion appears to
+the hero, the story follows the normal course until the very end,
+when the man unexpectedly leaps into the sea. The thankful dead has
+been replaced by the thankful beast, but the tale really belongs to
+the present category, since otherwise it has all the characteristics
+of the type. Thus the division of the woman is almost precisely
+similar to that of Armenian and Gypsy--that is, the sword is raised,
+and the woman disgorges the serpent with a scream. That it comes out
+piecemeal may be a faulty recollection of the actual division. As so
+often, it is not stated that the companion made a share of the gains
+a condition of his help.
+
+Bulgarian is in some respects very primitive, though fragmentary. A
+father sends his son out into the world to gain experience. The youth
+is joined by an archangel, who promises him assistance on condition
+that he will pay their joint expenses and will be obedient. The
+companion kills a negro and a serpent, and goes with the hero into
+their den, where the adventurers find, but leave, great treasure. They
+come to a city where the king's daughter has been thrice married,
+each time only to have her bridegroom die on the wedding night. Now
+she is to be given to any man who can live with her one night; and
+many wooers have died in the attempt. The youth offers himself as a
+suitor, and is saved by the archangel, who draws a serpent out of the
+woman. Later he helps the hero to get the wealth previously found in
+the cave, and demands the division of everything, even the wife. When
+he cuts her in two, many little snakes fall out of her body. He then
+unites her, and gives the hero all the riches they have obtained.
+
+The burial of the dead has entirely disappeared, as will be observed,
+though the other traits of the story show that we must regard it as
+of the type now under consideration. The appearance of the archangel
+as companion, and the plunder which they take by the way, suggest the
+influence of Tobit, which indeed appears as a folk-tale in the same
+collection. [87] The conditions made by the angel are only slightly
+altered from the normal form, while every other feature is found
+intact, even to the actual division of the woman.
+
+Esthonian II. has altogether lost the essential features of our theme;
+and it has besides put in several traits from a maerchen, which, as
+we shall soon see, is joined to ours with considerable frequency. The
+inclusion of this variant here is justified only by some vague traces
+indicating that the extraneous parts of the narrative have replaced
+others which, if preserved, would make it an ordinary representative
+of The Grateful Dead.
+
+A certain couple had a weak-minded son, who could not learn. Wishing
+to get rid of him, the father took the boy into a forest and gave
+him gladly to an old man whom he chanced to meet. From the man the
+youth received books in foreign tongues, which he learned to read in a
+day. He then wandered till he came to a city, where lived a princess
+who was in the power of devils and went to church with them every
+night. The hero watched in the church for three nights, with three,
+six, and twelve candles, successively. Thus on the third night he
+freed the princess and married her, receiving half the kingdom. He then
+sought the old man, who told him to cut the woman in halves and divide
+her. The old man halved her himself, when there sprang out a serpent,
+a toad, and a lizard. After this he gave her back to her husband.
+
+The obscurity of motivation in this tale makes apparent the extensive
+revision that it has undergone. The introduction is nowhere else
+found combined, as far as I know, with the stories of our cycle. The
+characteristics of The Poison Maiden are sufficiently evident in the
+conclusion; but there seems to be no way to account for the peculiar
+form of demonic possession, together with the actual division of
+the woman, except by supposing, with Dutz, [88] that the variant has
+lost the part concerning the burial of the dead man. If this be true,
+the story belongs in the category where it is here placed.
+
+The Finnish variant [89] presents difficulties of a somewhat different
+sort. A merchant's son, to whom it has been foretold that he will marry
+a three-horned maiden, goes abroad to escape this fate. There he sees
+the corpse of a debtor hanging nailed to a church wall, and insulted
+by the passers-by. He expends all but nine silver kopecks in rescuing
+the body, and turns homeward. He is joined by a companion, who makes
+the money last three days, and on the fourth arranges for him to marry
+the three-horned daughter of a king. On the wedding night the helper
+brings the hero fresh-cut twigs. By beating the maiden with these her
+blood is purified, the horns drop off, and she becomes very beautiful.
+
+No new material is here introduced; but the handling is considerably
+changed, and the narrative abridged. The woman in the case is
+three-horned instead of possessed by snakes, nor is there any hint of
+harm to the bridegroom. A reminiscence of the division of the woman,
+though not of the dowry, appears in the beating which the ghostly
+companion gives her, whereby she is freed from her horns and made very
+beautiful. The variant appears to be weakened by frequent retelling.
+
+Rumanian I. is more striking, since it has undergone both revision
+and addition. The only daughter of an emperor wears out twelve pairs
+of slippers every night, until her father offers her hand and the
+heirship of the kingdom to any man who can explain this extraordinary
+and costly habit. Many men of high birth and low make the attempt
+unsuccessfully. Meanwhile, a certain peasant, whose servant had died
+when his year of service was but half ended, had placed the body in a
+chest under the roof in revenge for his disappointment. The new servant
+had discovered this, and had given the corpse the rites due the dead,
+as far as permitted by his master. When he departs at the end of
+his year of service, the dead man comes from the earth, thanks him,
+and proposes that they swear on the cross to be brothers. So they do,
+and go on together till they come to an iron wood. The vampire breaks
+off a twig, and casts it to the earth in the place where the emperor's
+daughter comes at night with the sons of the dragon. When she appears,
+she sees the broken twig, and is afraid. So she goes to the copper
+wood, where she sees another twig broken by the vampire, and hastens
+on to the place where the sons of the dragon dwell. It is in going
+so far that she wears out her slippers. When she comes to the place,
+and is about to sit down at table, she drops her handkerchief. The
+vampire, who has followed her from the copper wood in the form of a
+cat, takes it away, as he does also the spoon that falls from her
+hand and the ring that falls from her finger. He goes back to the
+copper wood with them, and explains everything to his friend. The
+latter takes them to the emperor and wins the lady.
+
+This curious tale has several elements which make it difficult to
+classify. As far as the kindness to the dead goes, the matter is
+simple. Instead of an agreement between the companions to divide their
+gains, however, an oath of brotherhood is introduced. This is probably
+a local substitution, since it has long been a custom of the Slavs of
+the south to swear brotherhood on the cross, [90] but it necessitates
+the further loss of important features at the end of the narrative
+such as the saving of the bridegroom on the wedding night and the
+division of the maiden (or some modification of that feature) by the
+vampire. Indeed, the heroine is rather enchanted than possessed. The
+whole series of acts by which she is freed introduces traits into the
+narrative which we have hitherto met only in Esthonian II. Were it
+not that they are repeated in all the other members of the group save
+Breton I., which we have still to consider, there would be considerable
+doubt about placing this variant under the category of The Grateful
+Dead + The Poison Maiden. As it is, we can with security say that
+this and the following versions belong here. They have simply modified
+the normal form by the addition of certain elements from another theme.
+
+The three Irish versions all have this form. In Irish I. a king's son,
+while hunting, pays five pounds to the creditors of a dead man, so that
+he may be buried. Later the prince kills a raven, and declares that he
+will marry only that woman who has hair as black as the raven, skin as
+white as snow, and cheeks as red as blood upon the snow. [91] On his
+way to find her he meets a red-haired youth, who takes service with him
+for half of what they may gain in a year and a day. The youth obtains
+for him from various giants by threats of what his master will do [92]
+horses of gold and silver, a sword of light, a cloak of darkness,
+and the slippery shoes. When they come to the castle of the maiden,
+he helps the Prince to keep over night a comb and a pair of scissors
+in spite of enchantment, and he obtains at her bidding the lips of
+the giant enchanter, which are the last that she has kissed. He then
+tells the prince and the maiden's father to strike her three times,
+when three devils come from her mouth in fire. So the prince marries
+her, and is ready at the end of a year and a day to divide his child
+[93] at the servant's command. But the latter explains that he is
+the soul of the dead man, and disappears.
+
+Irish II. differs little except in details from the above. The king
+of Ireland's son sets forth to find a woman with hair as black as the
+raven, skin as white as snow, and cheeks as red as blood. Ten pounds
+of the twenty which he takes with him he pays to release the corpse
+of a man on which writs are laid. He meets a short green man, who
+goes with him for his wife's first kiss; and he comes upon a gunner,
+a man listening to the growing grass, a swift runner, a man blowing a
+windmill with one nostril, and a strong man, all of whom accompany him
+for the promise of a house and garden apiece. After various adventures
+in the castles of giants, they arrive in the east, where the prince's
+lady dwells. She says that her suitor must loose her geasa from her
+before she can marry him. With the help of the short green man he
+gives her the scissors, the comb, and the King of Porson's head,
+which she requires. He is then told to get three bottles of healing
+water from the well of the western world. The runner sets out for
+them, and is stopped and put to sleep by an old hag on the way back;
+but the earman hears him snoring, the gunman sees him and wakes him
+up, and the windman keeps the hag back till he returns. Finally the
+strong man crushes three miles of steel needles so that the prince
+can walk over them. Thus the bride is won. The short green man claims
+the first kiss, and finds her full of serpents, which he picks out of
+her. He then tells the youth that he is the man who was in the coffin,
+and disappears with his fellows.
+
+In Irish III. three brothers set out from home with three pounds
+apiece. The youngest gives his all to pay a dead man's debts to three
+giants. He shares his food with a poor man, who offers to be his
+servant, saying that the corpse was his brother, and had appeared
+to him in a dream. [94] Jack the servant frightens the first giant
+into giving up his sword of sharpness, the second giant his cloak
+of darkness, and the third giant his shoes of swiftness. The two
+Jacks come to the castle of a king, whose daughter has to be wooed
+by accomplishing three tasks. Jack the servant follows the princess
+in the cloak of darkness to the demon king of Moroco and rescues
+her scissors. Next day Jack the master runs a race with the king and
+beats him because shod with the shoes of swiftness. That night Jack
+the servant goes again to the demon king and cuts off his head with
+the sword of sharpness, thus accomplishing the third task. So Jack
+the master marries the princess.
+
+These three variants make evident the nature of the foreign material
+in Esthonian II. and Rumanian I. The whole sub-group, indeed, has
+in combination with The Grateful Dead + The Poison Maiden important
+elements from the themes of The Water of Life and The Lady and the
+Monster. These features will be considered in detail in a later
+chapter, [95] when we study the general type The Grateful Dead +
+The Water of Life. For the present it is enough to indicate how the
+addition has affected the type with which we are immediately concerned.
+
+Of the three Irish tales, the first two have best preserved the
+characteristics of the compound as found in Asia and Eastern
+Europe. Irish I. has all the essential features of Armenian and
+Gypsy,--for example, the burial, the agreement to divide what is
+gained, and the removal of the evil things by which the woman is
+possessed. To be sure, the latter are devils, not serpents, and the
+woman is beaten, not divided. Yet the division appears in another
+form, since the hero is ready to share his child with the red-haired
+man, a trait connected with the theme of Amis and Amiloun. [96] Irish
+II. is in some respects more changed, and in some respects less, than
+Irish I. The agreement to divide is changed to a promise that the
+green man shall have the first kiss of the bride. On the other hand,
+the serpents in the woman's body are retained, a trait which is very
+primitive and very important in enabling us to identify the position
+of these variants. Irish III. has lost most of the typical features
+of the compound. Kennedy's evidence shows that Jack the servant
+is to be regarded as really the thankful dead; but the agreement
+to divide the gains and the removal of the demons or serpents have
+entirely disappeared under pressure from the secondary theme, the
+essential idea of which is the accomplishment by the hero of certain
+unspelling tasks. In conjunction with the other two variants, however,
+the position of Irish III. is clear.
+
+Very different from the Irish tales is Breton I., since under the
+influence of a tendency very common in Brittany, the narrative
+has become a Mary legend and has lost its clearness of outline in
+the process. Yet it really belongs to this group, replacing by a
+dragon-fight and a rescue of the hero from the villain the cleansing
+of the bride. At least, I am led to the belief that such is the case
+by the fact that the story fits into no other category. Nor is it
+surprising that the position of the tale should be obscure in view
+of the grotesque transformation which it has undergone.
+
+A youth named Mao pays all his money to have the body of a beggar
+interred. The spirit of the dead man helps him win the daughter of a
+rich man after killing a dragon in the stables. The lady's treacherous
+cousin tries to burn him alive in an old mill, whence he is saved by
+the ghost. He forgives the man, and is tricked into promising him
+half of all his possessions in order to save his wife. When a son
+is born, the villain demands its division. At the hero's appeal, the
+Virgin comes with the ghost and takes Mao and his family to heaven,
+while the cousin is sent to hell.
+
+Norwegian II. and Danish III. stand together, since the relation of
+the latter (Andersen's Reisekammeraten) to the former is simply that
+of a literary redaction to its original. A brief analysis of each is,
+however, necessary.
+
+In Norwegian II. a young peasant on account of a dream sets forth to
+win the hand of a princess. On his way he gives most of his money
+to bury a dishonest tapster, who has been executed and left frozen
+in a block of ice outside a church for passers-by to spit upon. As
+he proceeds, the youth is joined by the ghost of the tapster, who
+accompanies him. They go to a hill, where they get a magic sword from
+one witch, a golden ball of yarn from another, and a magical hat from
+a third. Of the yarn they make a bridge, and so come to the princess's
+castle. The hero is told to keep her scissors overnight and loses them;
+but the companion rides behind the princess on her goat in the hat
+of invisibility, when she goes to her troll lover, and so rescues
+them. The hero is told to keep a golden ball overnight, and the
+same adventure is repeated. The hero is then told to bring what the
+princess is thinking of. The companion rides again with the princess
+and beats her with his sword, gets the troll's head for his master,
+and so enables him to win the lady. On the wedding night the hero flogs
+his wife at the advice of the companion, only just in time to save
+himself, indeed, as she is about to kill him with a butcher-knife. He
+dips her into a tub of whey, whence she comes out black as a raven,
+but after a rubbing with buttermilk and new milk she becomes very
+beautiful. The companion discovers his identity and disappears.
+
+In Danish III. poor John, whose father has died, dreams of a beautiful
+princess, and sets forth to find her. He does various kind deeds by
+the way, and one night takes refuge from the storm in a church. There
+he sees two evil men dragging a corpse from its coffin, and pays his
+all that it may be buried. He is joined by the ghost of the dead
+man, who accompanies him. They get three rods from an old woman,
+who is healed by the comrade's salve, and they come to a city,
+where they get a sword from a showman, whose puppets are made alive
+by the salve. They come to a mountain, where the companion cuts off
+the wings of a great white swan and carries them along. They come at
+length to the city of the beautiful princess, who is a witch. Anyone
+can marry her who guesses three things, but every man who has tried
+has failed and been killed. John tells the king that he will try to
+win her, and is told to come the next day. In the night the comrade
+puts on the wings of the swan, takes the largest of the rods, and
+follows the princess when she flies out to the palace of her wizard
+lover. There he hears that she is to think of her shoe when her suitor
+comes in the morning. All the way to the mountain and back the comrade
+beats her so that the blood flows. The next morning he tells John to
+guess her shoe when asked what she has thought of. Everyone save the
+princess rejoices when the youth guesses right. The next night the
+companion beats the princess with two rods as she flies, and learns
+that she is to think of her glove. Again everyone is pleased with
+John's answer. The third night the companion takes all three rods
+and the sword. He cuts off the wizard's head when he learns that the
+princess is to think of that, and he gives it to John, wrapped in a
+handkerchief. John produces this when asked by the princess what she
+has thought about, and so he wins her. That night, at the bidding
+of the companion, he dips her three times in a tub of water, into
+which have been shaken three swan's feathers and some drops from a
+flask. The first time she becomes a black swan, the second a white
+swan, and the third a more beautiful princess than ever. The next
+day the comrade explains his identity and disappears.
+
+It will be seen that Andersen simply embroidered the Norwegian tale
+as was his wont, adding a good many picturesque details, and softening
+some features. The changes do not materially affect the course of the
+narrative, nor need they delay us here, interesting though they are
+of themselves, [97] since the position of the variant with reference
+to the story-type under consideration is perfectly clear. Norwegian
+II. demands further attention. Like Esthonian II., Rumanian I., and
+Irish I., II., and III., it has the form The Grateful Dead + The Poison
+Maiden + The Water of Life. The burial of the dead is undisturbed,
+but the agreement between the companions to divide their gains has
+entirely disappeared, perhaps because the secondary theme takes so
+large a place. The removal of the poisonous habitants of the bride
+is clearly indicated, though it has been weakened into a flogging,
+which is given, however, only just in time to save the bridegroom
+from death. The subsequent milk bath seems to show a conflict between
+the conclusions of the two subsidiary motives--the end of The Poison
+Maiden being release from something like demonic possession, and that
+of The Water of Life in this form being release from a spell--though
+perhaps the bath is only a reduplication of the purifying process.
+
+Simrock X. is not unlike the two variants just cited. A king's son
+wastes his property, and is sent out to shift for himself. He pays
+the debts of a naked corpse, and has only enough money left to pay
+his reckoning at his inn. So he takes the body to a wood, and buries
+it there. As he goes his way, he is met by a man, who becomes his
+follower and secures three rods, a sword, and a pair of wings from a
+dead raven. They come to a castle, where to win the king's daughter
+the prince has to guess her thoughts for three days in succession. The
+companion flies with her each night when she goes to her wizard for
+counsel, and learns that the prince must say "bread," "the princess's
+jewels," and "the wizard's head" in turn. On the last night he cuts off
+the wizard's head and brings it to his master, who displays it at court
+and so breaks the spell. When the couple are married, the companion
+explains that he is the spirit of the dead man, and disappears.
+
+This variant obviously belongs to the same type as those preceding. As
+in Irish I. and II. the hero is a prince instead of a youth of
+low birth; but there is no general uniformity in this trait. The
+agreement of division and the violent dispossession of the heroine have
+disappeared. Indeed, so far has The Water of Life supplanted the other
+motives that the position of the tale is only evident when it is placed
+side by side with other versions of the same class. When so considered,
+however, the peculiar features of the succession of feats by which
+the bride is won appear very prominently, and establish the type.
+
+Harz I. stands closer to Norwegian II. than the preceding. A youth pays
+his all for the burial of a poor man, whose ghost joins him. They go
+to a city, where a bespelled princess kills all her suitors who cannot
+answer a riddle. The companion spirit tells the youth to save her,
+explaining his own identity. He gives wings and an iron rod to the
+hero, who flies with the princess to a mountain spirit, and hears that
+he must guess that she is thinking of her father's white horse. The
+next night the youth follows her with two rods and is thus enabled
+to guess that she is thinking of her father's sword. The third night
+he follows her with two rods and a sword, with which he cuts off the
+monster's head. This he shows her in the morning when asked the usual
+question, and so he breaks the spell. On the wedding night he dips her
+thrice in water. The first time she comes from the bath a raven, the
+second time a dove, and the third time in her own shape, but purified.
+
+The burial is here retained, but the agreement is entirely
+lost. Though the variant follows Norwegian II. in general, even to
+such details as the preliminary beating of the lady, and the bath
+of final purification, the important trait of flogging the bride,
+by which the hero is saved on the wedding night, has altogether
+disappeared. Like Simrock X., the tale has obscured the first of the
+two secondary themes for the benefit of the second. Its position seems
+sure, however, as a member of the little group now being considered.
+
+Jack the Giant-Killer clearly belongs to this group, approaching
+Irish I. in form. The earliest complete version that I know is
+unfortunately not older than the eighteenth century, and perhaps has
+lost several features of interest which might be found in earlier
+forms. King Arthur's son sets forth to free a lady possessed of seven
+spirits. At a market town in Wales he pays almost all his money to
+release the body of a man who died in debt. He gives his last twopence
+to an old woman, who meets him after he has left the town. Jack the
+Giant-Killer is so pleased with these good deeds that he becomes the
+prince's servant. They go to a giant's castle together. Jack tells
+the giant that a mighty prince is coming [98] and locks him up,
+so that the two take all his gold. Jack takes also an old coat and
+cap, a rusty sword, and a pair of slippers. They arrive at the lady's
+house. She tells the prince to show her in the morning a handkerchief,
+which she conceals in her dress. By putting on the coat of darkness,
+and the shoes of swiftness, and following her when she goes to her
+demon lover, Jack gets the handkerchief for his master. Next day the
+lady tells the prince to get the lips which she will kiss the last
+that night. Jack follows her again and cuts off the demon's head,
+which the prince produces, thus breaking the spell that has bound
+her to the evil spirits.
+
+This variant, even in what is probably a mutilated state, is strikingly
+similar to Irish I. in such details as the means used to follow the
+lady, and the tasks imposed upon the suitor. Indeed, the fact that
+the adventures take place in Wales might lead one to suppose that
+the story in this form was Celtic, were not the knowledge of it so
+persistent in England also. Several features are obscured, at least
+in the form from which I cite. Though the burial of the dead is given
+clearly enough, and the fact that the lady is possessed is insisted on,
+the prince is kind to an old woman as well as to a dead man, and Jack
+is certainly not understood to be a ghost. All mention of an agreement
+between the companions, and of the means taken to free the heroine
+from her possession by dividing her or flogging her, has likewise
+disappeared. However, the correspondence both in outline and in detail
+with Irish I. is sufficient to establish the position of the variant.
+
+In the Old Wives' Tale the theme of The Grateful Dead is imbedded in
+such a mass of folk-lore and folk-tales that it is quite impossible
+to restore adequately the narrative as Peele found it. He treated the
+story as a literary artist, of course, modifying and adding details to
+suit the scheme of his play. The outline of the story, as Peele gives
+it, is as follows: A king, or a lord, or a duke, has a daughter as
+white as snow and as red as blood, who is carried off by a conjurer
+in the form of a dragon. Her two brothers set forth to seek her,
+and by a cross meet an old man named Erestus, who calls himself the
+White Bear of England's Wood. He, they learn, has been enchanted by
+the conjurer, and is a man by day and a bear by night. He tells them
+of his own troubles, and gives them good advice. Later he is met by
+the wandering knight Eumenides, who likewise  is seeking the lady
+Delia and is counselled:
+
+
+           "Bestowe thy almes, give more than all,
+            Till dead men's bones come at thy call."
+
+
+Eumenides pays all his money except three farthings to bury the body
+of Jack, while the conjurer compels Delia to goad her brothers at the
+work to which he has set them. Eumenides is overtaken by the ghost of
+Jack, who becomes his servant, or "copartner," provides him with money,
+and slays the conjurer while invisible, thus breaking the spell of all
+the enchanted persons. Jack then demands his half of Delia, refuses
+to take her whole, and, when Eumenides prepares to cut her in twain,
+explains that he has asked this only as a trial of constancy. He
+quickly disappears.
+
+Dutz has already shown [99] that Old Wives' Tale has three of the
+essential features of The Grateful Dead, viz.: the burial of the
+dead with the peculiar prophetic advice of Erestus, the reward of
+the hero by assistance in getting a wife, and the sharing of the
+woman. Because of the non-schematic nature of his discussion he did
+not make any attempt to classify the variant more specifically. In
+his edition of the play, [100] Professor Gummere, in indicating some
+of the folk-lore which Peele used, has likewise called attention
+[101] to the connection with our theme. Of particular importance is
+his hint as to the likeness of the variant to the story which I call
+Irish III. It is practicable, however, to carry the matter somewhat
+further. The adventures of Delia, Eumenides, and Jack are all that
+really concern us. It will be seen that these conform in essentials
+to the type under consideration. There is the burial, the agreement,
+the death of the wizard, and the division. To be sure, as in other
+instances, the dispossession of the woman has been obscured by other
+elements; yet the type is unmistakable, it seems to me. One trait in
+particular connects Old Wives' Tale with Irish I. and II. In all three
+the hero seeks a maiden who is white as snow and red as blood. On
+the other hand, the ghost is called Jack as in Irish III. and the
+English tale which bears Jack's name. Because of these similarities
+and discrepancies one is forced to conclude that for this part of his
+play Peele drew upon some version of Jack the Giant-Killer, which was
+far better preserved than the forms known to-day. His original must
+have had many points in common with the tale as extant in Ireland,
+though we need not believe that he knew it in other than English dress.
+
+It yet remains to consider the relations of the two sets of variants
+discussed in this chapter to The Poison Maiden and to one another. The
+group is peculiar in that all the members of it are folk-tales, save
+three: Tobit, Danish III. and Old Wives' Tale. The two latter are,
+however, immediately derived from popular narratives of an easily
+discernible type. Thus Tobit is an anomaly from almost any point of
+view, obscure in its origin and possessed of only trivial influence
+upon the other tales belonging to the same group. Of the twenty-six
+variants, fifteen have The Grateful Dead + The Poison Maiden simply,
+while the other eleven add thereto more or less distinct elements of
+The Water of Life.
+
+In the following versions the hero is saved on the wedding night, or
+the bride is purified by some means: Tobit, Armenian, Gypsy, Siberian,
+Russian I., Russian II., Russian III., Russian IV., Russian V., Russian
+VI., Servian II., Servian III., Servian IV., Bulgarian, Esthonian II.,
+Irish I., Irish II., Danish III., Norwegian II., and Harz I. Not all
+the stories which I have placed in the group, it will be observed,
+have this feature; but, out of all the variants of The Grateful Dead
+enumerated in the bibliographical list, not one has it except members
+of the group. Now this purification of the bride, by means of which
+the hero is saved, is precisely the element of The Poison Maiden which
+is most essential. There can be no doubt, therefore, that this theme
+actually united with a more primitive form of The Grateful Dead to
+form the compound discussed in this chapter. The combination must
+have been made very early and in Asia, as Tobit and Armenian bear
+witness. It will be noted that all the variants, save Finnish, which
+have the simple compound, retain the rescue of the bridegroom, while
+only half of those where a subsidiary motive has been introduced have
+the like. Apparently the intrusion of new matter of a very romantic
+sort tended to obscure the original climax of the combined type.
+
+Another feature of much importance in this connection is the division
+of the woman, or whatever is substituted for it. In a large majority
+of the variants studied, which have the trait at all, the purpose
+of the division proposed or accomplished is to test the fidelity of
+the hero. Hippe believed [102] that this was a modification of the
+original trait, an opinion which would be justified if the compound
+type The Grateful Dead + The Poison Maiden only were considered. The
+versions which have the purification are the following: Armenian,
+Gypsy, Siberian, Russian II., Russian IV., Russian V., Russian VI.,
+Servian II., Servian III., Servian IV., Bulgarian, Esthonian II.,
+Finnish, Irish I., Irish II., and Old Wives' Tale. In these the
+purpose of the division, or beating, whether actually performed or
+not, is the disposal of serpents or other venomous creatures by which
+the woman is possessed. [103] It will be noted, however, that all
+of these variants are of the type treated in the present chapter. If
+the division for the sake of purification were then regarded as more
+primitive and older than the division for the sake of sharing the
+gains or of testing the hero, it would naturally follow that all
+the combined types must proceed from The Grateful Dead + The Poison
+Maiden. Hippe followed the logical course from his premises in so
+regarding the relationship of the groups. [104] However, it seems
+clear to me--and it will be increasingly evident as we study the
+other groups--that the division for purification belongs solely to
+the compound treated in this chapter. It would follow logically from
+combining The Poison Maiden, where a friend saves the hero from the
+fatal embraces of a woman, with The Grateful Dead, where the hero
+is willing to divide his wife to satisfy the agreement which he has
+made with his benefactor. Only by such an explanation is it possible
+to account for the development of the several groups from a common
+root. The barbarous character of the division for purification,
+and the softening which it has undergone in the group which we have
+been studying, give it an appearance of antiquity to which it has
+no right. In point of fact, it belongs only to this group, which is
+thus clearly set off from all the others as an independent branch. The
+division for the sake of fulfilling an obligation is more widespread,
+though it has suffered many modifications.
+
+
+
+
+
+
+
+CHAPTER V.
+
+THE GRATEFUL DEAD AND THE RANSOMED WOMAN.
+
+
+As has already been shown, [105] Simrock regarded as an essential
+feature of The Grateful Dead the release of a maiden from captivity by
+the hero. Stephens and Hippe [106] saw that such was not the case. The
+latter's treatment of the matter [107] leaves little to be desired
+as far as it goes, save that it implies a derivation of the compound
+The Grateful Dead + The Ransomed Woman from the compound treated in
+the last chapter--a view which I believe erroneous.
+
+The Ransomed Woman appears as a separate tale or in combination with
+other themes than The Grateful Dead more than once. A prolonged study
+of the motive would probably yield a rich harvest of examples, though
+it is sufficient for the present purpose to refer to Hippe's article as
+establishing the existence of the form. His Wendish folk-tale [108] and
+Guter Gerhard, from the latter of which Simrock started his enquiry,
+are of themselves evidence enough. [109] Neither example has anything
+whatever to do with The Grateful Dead. [110] The characteristics
+of The Ransomed Woman will appear as we consider the compound type,
+which contains folk-tales almost exclusively, as was the case with
+the type studied in the previous chapter, but in most cases from
+Western Europe instead of from both Asia and Europe.
+
+Nineteen variants have The Grateful Dead and The Ransomed Woman
+combined in a comparatively simple form without admixture with related
+themes. These are: Servian I., Lithuanian I., [111] Hungarian II.,
+Transylvanian, Catalan, Spanish, Trancoso, Nicholas, Gasconian,
+Straparola I., Istrian, Gaelic, Breton III., [112] Swedish, Norwegian
+I., Icelandic I. and II., and Simrock IV. and VI.
+
+In Servian I. a merchant's son, while on a journey, ransoms a company
+of slaves whom he finds in the hands of freebooters. Among them is
+a beautiful maiden with her nurse. He marries the lady, who proves
+to be the daughter of an emperor. On a second voyage he ransoms two
+peasants, who have been imprisoned for not paying their taxes to the
+emperor. On his third journey he comes to his father-in-law's court,
+and is sent back for his wife. He is, however, cast into the sea
+by a former lover of the princess, and succeeds in getting ashore
+on a lonely island, where he remains for fifteen days and fifteen
+nights. [113] Then an angel in the disguise of an old man appears to
+him, and, on condition of receiving half of his possessions, brings
+him to court, where he is reunited with his wife. After renouncing
+his claim, the old man explains who he is, and disappears.
+
+The most striking peculiarity of the variant is the loss of the burial,
+for which appears rather awkwardly the ransoming of some peasants on
+the hero's second voyage. That substitution has occurred is apparent,
+however, both from the clumsiness of the device by which the original
+trait is replaced, and from the angel in the form of an old man,
+who takes the role of the ghost. It will be remembered that the
+same substitution has already been met with in the case of Tobit and
+Russian II.
+
+In Lithuanian I. is found a variant which, as we shall find, is of
+a common type. A king's son pays three hundred gold-pieces, all that
+he possesses, to release a dead man from his creditors and have him
+buried. The hero then becomes a merchant, and finds a princess on an
+island, whither she has been driven by a storm. He takes her to a city,
+where he makes his home, and marries her. A messenger, sent out by
+her father to seek her, arrives, takes them aboard ship, and pitches
+the hero into the sea in order to obtain the offered reward. He is
+saved by a man in a boat, who says that he is the ghost of the dead,
+and instructs him how to rejoin his bride. So everything ends happily.
+
+The events as here related follow a very normal course, which is
+repeated again and again in stories of this type: a burial, a ransom,
+an act of treachery, a rescue by the ghost, and a happy reunion
+of the lovers. The agreement between the hero and the ghost, which
+is found in Servian I., and very frequently elsewhere, is lacking,
+however. A peculiarity of the variant is the change in status of the
+hero. He is a prince, but becomes a merchant, thus uniting the two
+characters given him in the other tales of this class.
+
+Hungarian II. is in some respects more interesting than the variant
+just cited. A merchant's son while in Turkey pays the debts and for
+the burial of a mistreated corpse. After returning home, he goes to
+England and rescues a French princess with her two maids, but by his
+cunning saves the gold that he has agreed to pay for them. At her
+bidding he goes to Paris and tells the king that she is safe. On
+his return to bring her to her home, where he is to marry her,
+he is placed on a desert island by a general who is enamoured of
+the princess. Thence he is rescued by an old man, the ghost of the
+dead, who takes him to the Continent. He goes to Paris, where he is
+recognized by the princess, when he drops a ring that she has given
+him into a beaker. When she comes to him in his room, he threatens to
+kill her if she does not go away; but when she agrees that he has the
+right to do so since he has saved her life, he says that his threat
+was only a test of loyalty. So the story ends happily.
+
+The course of events is not very different from that of Lithuanian
+I., since the variant has all the normal elements save the agreement
+between the ghost and the hero. A peculiarity is the final scene
+in which the hero tests his lady. It will be evident, I think,
+that this is an obscured and modified form of the test to which
+the ghost elsewhere submits the hero, a test of fidelity likewise,
+though different in its nature.
+
+In the Transylvanian variant, a merchant's son while on a journey pays
+fifty florins, half of his capital, for the burial of a dead man. On
+a second journey he pays one hundred florins, again one-half of his
+store, for the ransom of a princess who has been imprisoned while
+out doing charity incognito. She gives him a ring and sends him to
+the castle, where her father turns him out of doors. He then meets
+an old man--the ghost--and promises him one-half of his gains after
+seven years for his help. He is then enabled to marry the princess, who
+recognizes him, at the castle by his ring. They have two children. When
+the old man comes back at the end of seven years, the hero gives
+up one of his children, and, after offering her whole, is ready to
+divide his wife. The old man renounces his claim, and disappears.
+
+Every step in the narrative is here clearly marked, even to the
+conditional agreement with the ghost, which so frequently is
+wanting. The variant thus appears to be entirely normal as far as
+The Grateful Dead goes, though it does not have the rescue by the
+ghost--an important feature of The Ransomed Woman.
+
+In Catalan [114] a young man on a journey has a poor man buried at
+his expense, and ransoms a princess. Later he goes to the court of
+her parents with a flag on which she has embroidered her name. They
+recognize this, and send the youth back for the lady. On the way he
+is cast into the sea by the sailors, but is saved by the thankful
+dead and brought to the court again, where he espouses the princess.
+
+In Spanish [115] a young Venetian merchant pays the debts of a
+Christian at Tunis, and has him buried. At the house of the creditor
+he also buys a Christian slave girl. He takes her back to Venice and
+marries her. At the wedding a sea-captain recognizes the lady, and
+lures the couple aboard his ship. The young man is cast into the sea,
+but by clinging to a plank reaches land, where he lives seven months
+with a hermit. At the end of that time he is sent to the coast,
+where he finds a ship, and is transported to Ireland. There he is
+entrusted by the captain with two letters to the king. The one says
+that he is a great physician, who will heal the sick princess; the
+other that the plank, the hermit, and the captain who has brought him
+to Ireland are one and all the ghost of the man whom he buried. The
+hero is recognized at court by the princess, who has been brought
+thither by the traitor, and has explained all to her father.
+
+In these tales the theme of The Grateful Dead is somewhat abbreviated
+for the sake of the romantic features of the secondary motive. In
+both, the agreement with the ghost and every trace of a division
+have disappeared, though they differ in the details of the treachery
+by which the lovers are separated. In the former [116] much is
+made of the manner by which the hero gets a favourable reception
+at the court of the princess's father, while in the latter this is
+suppressed. Recognition by some such means, it will appear, is an
+important feature of the majority of the variants in this section. It
+must be remembered, of course, that Spanish is a semi-literary version,
+even though popular in origin.
+
+Trancoso, the work of a sixteenth century Portuguese story-teller,
+is even more consciously literary. It shows, besides, the tendency of
+the narrative to take on a religious colouring. The son of a Lusitanian
+merchant, while in Fez on a trading expedition, buys the relics of a
+Christian saint. In spite of his father's anger, he does this a second
+time, and is so successful in retailing the bones that he is sent out
+a third time with instructions to buy as many relics as possible. On
+this expedition, however, he succeeds merely in ransoming a Christian
+girl, whom he takes home. At her request he carries to the King of
+England a piece of linen, on which she has embroidered the story of
+her adventures. He learns that she is the king's daughter, and restores
+her to her father. Subsequently he wanders over Europe in despair, for
+he has hoped to marry the princess, till he meets with two minstrels,
+who accompany him to the English court. There he makes himself known
+to the princess by a song; and, by the aid of the two minstrels, he
+wins her hand in a tournament. Later the two friends reveal themselves
+as the saints whose bones he had rescued from the Moors.
+
+Though this version clearly belongs in the category now under
+discussion, it has certain features that can be explained only on
+the supposition that Trancoso altered his source to suit his personal
+fancy. The clever substitute for actual burial, the duplication of that
+trait (which occurs nowhere else), the humorous touch with reference
+to the hero's success in selling relics, and the appearance of the
+ghosts as minstrels, are all strokes of individual invention. The
+wanderings of the hero and his manner of revealing himself to the
+princess are doubtless reminiscences from the popular romances of
+Spain, while the tournament probably comes, as Menendez y Pelayo hints,
+[117] from an earlier version of our theme, Oliver, which will be
+treated below. In spite of these peculiarities, the ordinary features
+of the combined theme are not more obscured than in the two preceding
+variants. The agreement, the division, and the rescue are the only
+ones that disappear.
+
+In the fourteenth century variant from Scala Celi, Nicholas, our
+story is altogether transformed into a legend. The only son of a widow
+[118] of Bordeaux is sent as a merchant to a distant city with fifty
+pounds. He gives it all to help rebuild a church of St Nicholas, and
+returns home empty-handed. Much later he is sent out with one hundred
+pounds, and buys the Sultan's daughter. His mother disowns him, and
+he is supported by the embroidery which the princess makes. With her
+wares he goes to a festival at Alexandria, but, at her bidding, keeps
+away from the castle. When he journeys to Alexandria a second time,
+however, he goes to the castle and is imprisoned, as the handiwork
+of the princess is recognized. She is sent for, while the hero is
+released and goes home. Since he does not find the maiden there, he
+returns to Alexandria with a piece of embroidery which she has sent
+him, meets her, and elopes by the aid of St. Nicholas, who sends them
+a ship opportunely.
+
+Because of its legendary character the variant has been materially
+transformed, but not beyond recognition. The thankful dead is replaced
+by the saint throughout, so that the burial is altered into church
+building, and both the agreement and the division of the gains
+disappear. The various elements of The Ransomed Woman fare better:
+the act of treachery done the hero is the only one lacking, and that
+perhaps is replaced by his imprisonment in the Sultan's castle. It
+is remarkable that the details of the narrative have been so little
+altered in spite of its complete change of purpose.
+
+In the Gasconian folk-tale Jean du Boucau, the son of a mariner, goes
+to fight the corsairs. On the shore of the sea he rescues a man named
+Uartia, who is pretending death to escape from his creditors. Later
+this man becomes a prosperous freebooter, and is sailing with a load
+of captives when met again by Jean. The latter is so shocked by his
+evil deeds that he encloses him in the coffin prepared for him on
+the previous occasion, and throws him into the sea. Jean then marries
+the most beautiful of the captives, who is the daughter of the King
+of Bilbao.
+
+The variant is excessively rationalized, it will be observed, and
+most traces of The Grateful Dead have disappeared. Though various
+substitutions for the burial are found in each of the groups, this
+is the only case that I know where the man plays 'possum to escape
+his creditors. The story is likewise unique in making the hero take
+vengeance on the man whom he has helped earlier, and accordingly in
+making him rescue the maiden from the hands of the person who is in
+the character of the thankful dead. The variant has been modified by
+a free fancy; yet its position in the group remains perfectly clear
+in spite of the loss of such traits as the agreement, the act of
+treachery, the rescue of the hero, and the division of the gains.
+
+Straparola I., one of the Italian novelist's two renderings of
+our theme, is far more normal than the above, and is probably based
+directly on a folk-story. Bertuccio pays one hundred ducats to free a
+corpse from a robber and bury it, greatly to his mother's disgust. He
+goes out again with two hundred ducats, and pays them for the ransom
+of the daughter of the King of Navarre. His mother is still more
+angry. The princess is taken home to Navarre by officers of the court
+who have been searching for her, but first she tells Bertuccio to come
+to her, and to hold his hand to his head as a sign when he hears that
+she is to be married. On his way to Navarre he meets a knight who
+gives him a horse and clothing on condition of his returning them,
+together with half of his gains. He marries the princess, and is
+returning home, when he meets the knight again and offers to give up
+his wife whole rather than kill her by division. Whereupon the knight
+explains that he is the spirit of the dead, and resigns his claim.
+
+All the traits previously mentioned are here evident save the act
+of treachery by which the hero comes near losing his bride. The
+sign appears as a means of communication between the lovers, as in
+Transylvanian and elsewhere. The question of division is simply a
+matter of fulfilling a bargain, but it shows how easily by a slight
+shift of emphasis the test of loyalty could be made the important
+element.
+
+None of the Italian folk variants, which I know, conforms to the above
+closely enough to be regarded as a near relative. Istrian, however,
+belongs in the same category. A youth called Fair Brow sets out to
+trade with six thousand scudi, which he pays to bury a debtor on
+the shore, for whom passers-by are giving alms. On his return home,
+he tells his father that he has been robbed, and again is sent
+out with six thousand scudi. He pays these for a maiden, who has
+been stolen from the Sultan, and he is consequently disowned by his
+father. After his marriage to the girl, the young couple live by the
+sale of the wife's paintings. Some sailors of the Sultan see these,
+and carry the lady off home. Fair Brow goes fishing with an old man
+whom he meets by the sea. They are driven by a storm to Turkey, and
+are sold to the Sultan as slaves, but they escape with the wife and
+considerable treasure. The old man then asks for a division of the
+property, even of the woman. When the hero offers him three-quarters
+of the wealth in order to keep the woman, the old man declares that
+he is the ghost, and disappears.
+
+All of the essential traits, except the preliminary agreement and
+the rescue of the hero, are here clearly marked. The latter is,
+indeed, probably accounted for by the storm which the hero and the
+ghost encounter together. The fact that the young couple live by
+the sale of the wife's handiwork, and that this in some way or other
+leads to her restoration to her parents or earlier connections, is
+an important feature of The Ransomed Woman, being found clearly in
+the Wendish tale as well as in many variants of the compound type.
+
+Gaelic is an interesting example of the theme. Iain, the son of a
+Barra widow, becomes the master of a ship and goes to Turkey, where
+he pays the debts of a dead Christian and buries the corpse. He
+ransoms a Christian maiden, the daughter of the King of Spain, with
+her servant, on the same journey, and takes her back to England,
+together with much gold. At her advice he goes to Spain and attends
+church, where the king recognizes by his clothing, his ring, his
+book, and his whistle that he has news of the lost princess. Iain
+then returns to England for the maiden, whom he is to marry. While
+going with her to Spain he is left on a desert island by a general,
+who has secreted himself on the ship; but after a time he is rescued
+by a man in a boat, to whom he promises half of his wife and of his
+children, if he shall have any. In Spain the princess, who has gone
+mad, recognizes him when he plays his whistle. So they are married,
+and the general burned. When three sons have been born, the rescuer
+appears and asks for his share; but as soon as Iain accedes he declares
+himself to be the ghost, and disappears.
+
+Apart from the dressing of the story, which is unusually good, the
+variant follows the normal course. The several signs by which the
+hero is recognized by the king and the princess mark the imaginative
+wealth of the Celt, though the appearance of a ring, and the fact
+that the hero is left on a desert island by an infatuated general,
+show a close correspondence with Hungarian II. The introduction of
+the children as part of the property to be divided is interesting,
+since it shows the connecting link by which the simple compound now
+under consideration passed into combination with the theme of The
+Two Friends. [119] Gaelic, however, clearly belongs where it is here
+placed. The healing of the princess at the hero's coming reminds one
+of the similar trait in Spanish.
+
+Breton III. [120] is peculiar in several ways. A young man, who had
+been unjustly cast off by his parents, put himself under the protection
+of St. Corentin and the Virgin. To an old woman he gave all his stock
+of money that she might bury her husband and have masses said for
+his soul. The saint and the Virgin then led the hero to a nobleman,
+whose daughter he married. On a hunt he was cast into the sea by
+an envious uncle of his wife, at a time when she was pregnant; but
+he was brought to an island by some mysterious power and nourished
+there for five years by St. Corentin. Finally an old man appeared and
+took him home after he had promised half of his possessions to the
+rescuer. When a year had passed, the old man came back and demanded
+half of the child; but just as the mysterious stranger was about to
+divide the child St. Corentin and the Virgin appeared and explained
+their identity, together with that of the old man, who was the saint
+himself. They told the hero, furthermore, that God was well pleased
+with him, and would take his son and himself to Paradise. Father and
+son fell dead immediately, while the wife went into a convent.
+
+This tale, like Nicholas, has been dressed up as a legend, chiefly
+in the praise of St. Corentin, with the result that the elements
+are confused. The burial, however, persists, though the ransoming of
+the woman has been feebly replaced by the aid of the saint and the
+Virgin. The hero is cast into the sea by an avaricious uncle of the
+bride, again a weakened trait. The rescue and the agreement to divide
+are normal in essentials, though adorned with superfluous miracles,
+as is again the conclusion of the tale. It illustrates how easily
+such a narrative may be adapted, whether consciously or not, to a
+religious purpose. The division of the child, which comes in question,
+is of precisely the same character as in Gaelic; it does not imply
+the presence of a new motive, though it indicates the possibility of
+a new combination.
+
+Swedish [121] is a somewhat abbreviated form of the normal type. Pelle
+Batsman, while on a journey, pays the debts of a dead man, and so
+brings repose to him; for he has been hunted from his grave and soundly
+beaten every night by his creditors, who are likewise dead. Pelle
+then falls in with robbers, with whom he finds the daughter of the
+King of Armenia. He escapes with her, and goes on board a ship to seek
+her father, but he is thrown overboard by the envious captain. He is
+saved by the thankful dead and brought to Armenia, where he marries
+the princess. Here the burial is peculiar in that the dead man is
+harassed by creditors who are already dead. This is a marvel, which
+need excite no surprise in view of the modifications of the trait
+found elsewhere. The ransom in this case does not imply a money
+payment, since the hero escapes from robbers with the maiden. The
+way in which the hero is left behind by the master of the vessel
+on which the lovers sail is a trait similar to the one in Catalan
+and Spanish. The agreement between the hero and the ghost, the sign
+employed by the hero, and the division of gains are all lacking;
+but no new feature replaces them.
+
+Norwegian I. [122] is not very different from the preceding tale. A man
+in the service of a merchant pays all he has, while on one voyage,
+to bury the body of a dead man. On his next voyage he ransoms a
+princess, and sets out with her for England. On the way she is
+carried off by her brother and a former suitor. The hero overtakes
+them and is given a ring by the lady, but is cast into the sea by the
+suitor. For seven years he lives on a desert isle, till an old man
+appears, tells him that it is the princess's bridal day, carries him
+to England, and gives him a flask. This the hero sends to his lady,
+is thus recognized, and is married. The agreement with the ghost and
+the division of the woman are entirely lacking, though the burial, the
+ransom, the treachery of the suitor, and the aid of the ghost appear
+in normal fashion. The sign enters only as a means of communication
+between the lovers. The tale thus has no very unusual traits.
+
+Icelandic I. [123] is a fuller, and, for our purpose, more interesting
+variant than the last. Thorsteinn, a king's son, who has wasted his
+substance, sells his kingdom and sets forth into the world. He pays
+two hundred rix-dollars to free from debt a dead man, whose grave is
+beaten every day by a creditor to destroy his rest. The prince goes on,
+and in the castle of a giant finds a princess hanging by the hair. He
+frees her, and is taking her home when he meets Raudr, a knight to
+whom her hand has been promised if he can find her. Raudr puts the
+prince to sea alone in a boat and carries the lady home. Thorsteinn,
+however, is brought thither also by the ghost and is recognized by
+the princess, when she is about to be married to the traitor. So
+Raudr is punished, and Thorsteinn obtains the princess.
+
+Here, again, the agreement, the sign, and the division do not appear,
+though the version is otherwise normal. To be sure, the ransom of the
+lady is replaced by a rescue, as in Swedish, and the beating of the
+grave preserves a bit of northern superstition, which is interesting
+even though not primitive as far as our tale is concerned. [124]
+
+Icelandic II. is similar to the variant just cited in several
+particulars, though it has important differences. Vilhjalmur,
+a merchant's son, loses his property and becomes the servant of
+twelve robbers. In their den he finds a princess named Asa hanging
+by the hair. He escapes with her by sea, taking along the thieves'
+treasure. This he pays to have the body of a debtor buried. To the
+haven where this happens comes Rauethur in search of the princess,
+takes the couple on his ship, but puts the hero to sea in a rudderless
+boat. A man appears to Vilhjalmur in a dream, saying that he is the
+ghost of the man whom he has buried, and that he will bring him to
+land and show him treasure. So the hero is brought to the land of
+the princess and tells his story at the wedding of the traitor with
+the princess. Thus the bride is won for him.
+
+The hero, it will be observed, is a merchant instead of a prince,
+as in Icelandic I., and the burial of the dead is customary in form
+though exceptionally placed in the narrative. Otherwise the two
+variants correspond rather closely, even in such a detail as the name
+of the traitor. There is the same omission of elements peculiar to The
+Grateful Dead, the same preponderance of the secondary motive, found in
+all the northern versions of this particular group. The two Icelandic
+variants seem to be perfectly distinct, though they are nearly related.
+
+The two German folk-tales which fall into this group are not very
+different from one another. In Simrock IV. a merchant's son pays the
+debts of a man who is being devoured by dogs, but does not succeed
+in saving his life. He goes on, finds two maidens exposed on a rock,
+and takes them home. In spite of his father's objections, he marries
+one of them. He goes to sea again, wearing a ring that his wife has
+given him, and carrying a flag marked with her name. Coming to the
+royal court of her father, he is sent back for the princess with a
+minister. On his voyage to court again he is put overboard by the
+minister, who hopes thus to win the princess. However, he is cast up
+on an island, where the ghost of the dead man appears to him in sleep
+and transports him miraculously to court. There he is recognized by
+his ring and reunited to his wife.
+
+Details such as those concerning the burial, the rescue of the lady,
+and the help given miraculously by the ghost mark the independence
+of the variant, though they do not alter the normal course of the
+narrative. As so often in this group, the agreement with the ghost
+and the division are entirely lacking.
+
+In Simrock VI. the variations from the normal are even
+slighter. Heinrich of Hamburg buys a beautiful maiden in a foreign
+land. On the sea-coast, when he is returning home with her, he pays
+the debts of a corpse and has it buried. He wishes to marry the girl,
+but she asks that he delay the wedding for a year and make a journey
+first. So she gives him two coffers, with which he crosses the sea. By
+the help of a shipman he finds his betrothed's royal father, but on
+his way back to fetch her home is cast overboard by the mariner, who
+is the original kidnapper of the maiden. This man gets her and carries
+her to the court with the hope of marrying her. The hero is saved
+from the sea, however, by the ghost of the dead man, who brings him
+to the garden of the princess's palace, where he is found by his bride.
+
+The order of the burial and the ransoming [125] is here reversed,
+but the facts are given in the ordinary form. Otherwise the variant
+does not differ essentially from the preceding.
+
+In Transylvanian, [126] and more clearly in Gaelic and Breton III.,
+[127] a tendency has been remarked to introduce the children of the
+hero as part of the gains which he is asked to divide with the thankful
+ghost. In a series of tales belonging to the general type The Grateful
+Dead + The Ransomed Woman this tendency has been accentuated so far
+that it seems best to group them together, because of their approach
+to the theme of The Two Friends. Since an actual combination of this
+motive with The Grateful Dead in its simple form is found in only
+three variants, all of them literary, it will perhaps be best to
+discuss the relationship of the main to the minor theme at this point.
+
+The Two Friends is the chief motive of Amis and Amiloun, which in its
+various forms [128] is the mediaeval epic of ideal friendship. Its
+essential feature, as far as the present study is concerned, is the
+sacrifice of his two sons by Amis to cure the leprosy of Amiloun. They
+are actually slain, but are miraculously brought to life again by
+the power of God. This story, which exercised a powerful influence
+on the imagination of European peoples, easily became connected with
+the sacrifice of his wife by the hero of The Grateful Dead.
+
+The three variants with the simple compound, or forming a group on
+that basis, are those entered in the bibliography as Lope de Vega,
+Calderon, and Oliver.
+
+The plot of Oliver runs as follows [129]: Oliver, the son of the
+King of Castille, becomes the close friend of Arthur of Algarbe,
+the son of his stepmother. When he has grown up, he flees from home
+because of the love which the queen declares for him, leaving to
+Arthur a vial in which the water would grow dark, were he to come
+into danger. He is shipwrecked while on his way to Constantinople,
+but, together with another knight, is saved miraculously by a stag,
+which carries them to England. Talbot, the other knight, is ill,
+and asks Oliver to take him to his home at Canterbury, where he
+dies. Because of debts that his parents will not pay he cannot be
+buried in consecrated ground till Oliver himself attends to the
+matter. The hero then starts for a tourney where the hand of the
+king's daughter is the prize. On the way he loses his horse and
+money, but is supplied anew by a mysterious knight, on condition of
+receiving half of what he gets at the tourney. Here he is victor,
+and after a further successful war in Ireland marries the princess,
+who bears him two children. While hunting he is taken prisoner by
+the King of Ireland and placed in a dungeon. Arthur, who is acting
+as regent in Spain, notices that the vial has grown dark, and sets
+out to rescue his brother. In Ireland he is wounded by a dragon,
+but is healed by a white knight, who notices his resemblance to
+Oliver, and takes him to London to solace the princess. He only
+escapes her embraces by the pretence of a vow, and sets forth to
+deliver Oliver. On their way back he tells of his visit at London,
+and so excites Oliver's jealousy, who leaves him. At home, however,
+Oliver discovers his mistake, and determines to find his brother, who,
+after a punitive expedition into Ireland, falls gravely ill. Oliver
+learns in a dream that Arthur can only be cured by the blood of his
+children, whom he slays accordingly. On his return home, however,
+he finds them as well as ever. Later appears the mysterious knight
+to demand his share of wife and children, as well as of all his
+property. As Oliver raises his sword to divide his wife, he is told
+to desist, since his loyalty is proved. The knight then explains that
+he is the ghost of Talbot. Later Arthur marries Oliver's daughter,
+and eventually unites the kingdoms of England, Castille, and Algarbe.
+
+Oliver has certain elements not to be accounted for by the combination
+of The Two Friends with The Grateful Dead. Such are the motive of
+the hero's journey, for example, which allies it with the tales of
+incestuous step-mothers; and the tourney in which the hero wins
+his bride. Yet the burial of the dead man (here a knight and a
+friend of the hero's) [130] corresponds to the normal form of the
+episode in that Oliver pays the creditors and the sum necessary
+for the man's interment. So, too, the demand made by the ghost for
+half of all that has been won runs true to the original form. The
+distinctive trait of Amis and Amiloun, at the same time, comes out
+more clearly than in the case of such folk-tales as Gaelic--the
+hero actually kills his little children to save the life of his old
+friend and foster-brother. One factor leads me to think that the
+romance and the two romantic plays are to be regarded as forms of
+the general type treated in this chapter, with additions from other
+stories. The ghost rescues the hero from imprisonment A rescue of
+the sort--normally after the hero has been cast into the sea or left
+behind by his rival--is characteristic of The Grateful Dead + The
+Ransomed Woman. In Oliver this rescue takes place, to be sure, after
+the marriage instead of before, which is the normal order, yet it is
+a factor of considerable importance. The romance takes a position
+somewhat apart; and even though this is partly due to the literary
+handling which it has undergone, it must remain doubtfully classed
+with the immediate circle of variants belonging to the compound type.
+
+The position of the play by Lope de Vega is involved with that of
+Oliver. Don Juan de Castro flees to England because of the unlawful
+love of his stepmother, the Princess of Galicia. His ship is wrecked
+on the English coast, and the captain, Tibaldo, is cast ashore in
+a dying condition. To free the latter's mind from unrest, Don Juan
+pays his debts of two thousand ducats, though this is half of the
+hero's possessions. He hears that the princess Clarinda is promised
+to anyone of princely blood who wins an approaching tournament. While
+he is sorrowful that he cannot enter the contest, because of his
+poverty, the ghost of Tibaldo appears to him one night and promises the
+necessary equipment on condition of receiving one-half the gains. The
+next morning he finds everything ready and wins the princess. He is
+later taken prisoner by one of the contestants through a ruse, and
+is carried off to Ireland. By the ghost's advice, his stepbrother
+and double comes to London and takes his place, while Don Juan is
+freed by force of arms and restored to his wife. After some years,
+when the couple have two children, the stepbrother falls ill of a
+dreadful malady, which can only be cured, Don Juan learns in a dream,
+by the blood of his children. So he slays them and gives their blood
+to the sick man to drink. They are found alive by a miracle; but Don
+Juan is troubled, and does not find rest till the ghost appears and
+tells him that the only remedy for his affliction is to fulfil his
+promise of a division. The hero prepares to divide his wife, when
+the ghost stops him and explains that the demand was only a test.
+
+As Schaeffer pointed out, [131] Lope's plot is clearly taken from
+Oliver, probably from the Spanish translation issued in 1499. Indeed,
+the drama follows the romance with far more fidelity than could have
+been expected of such an adaptation. The various elements of the
+motive appear without essential alteration.
+
+The play El mejor amigo el muerto, listed for convenience as Calderon,
+has suffered, in contrast to Lope's play, from many changes. Prince
+Robert of Ireland and Don Juan de Castro are wrecked on the English
+coast. The former finds the sea-captain Lidoro in a dying condition,
+and refuses to give him aid. Don Juan, on the other hand, finds
+Lidoro's body, which a creditor keeps from interment, and pays for
+his burial out of his scanty savings from the wreck. He then goes
+to London, where there is trouble because Queen Clarinda will not
+marry Prince Robert. Don Juan is cast into prison on a false charge,
+his identity being unknown to the queen, though he is recognized
+by Robert. He is saved by the aid of Lidoro's ghost, nevertheless,
+lays siege for Clarinda's hand, overcomes Robert, and so becomes king
+of England.
+
+The correspondence of names and details makes it clear that the source
+of this play is Lope de Vega, though the plot has been modified in
+several features. In the process of adaptation all trace of The Two
+Friends has dropped out, a fact which would make the position of the
+variant difficult to ascertain, had the authors not left most of the
+characters their original names. The change in the position of the
+rescue of the hero from prison, indeed, gives a specious resemblance
+to the normal type The Grateful Dead + The Ransomed Woman, which is
+quite unjustified by the real state of the case.
+
+All the other variants in which there is question of dividing a child,
+save one, [132] are folk-tales; and all of them save three [133]
+clearly belong in the category now under discussion. If they did not
+group themselves in this way, I should be unwilling even to consider
+the possibility of any general influence from The Two Friends upon
+these tales, since the only trait borrowed by any of them is precisely
+the division. Only in Oliver and Lope de Vega is this sacrifice
+made for the healing of a friend; and we have seen in the case of
+Transylvanian, Gaelic, and Breton III. how naturally the division of
+the child grows out of the division of the wife. As the matter stands,
+however, the case for the influence of The Two Friends is sufficiently
+strong to warrant the grouping of these tales together. The general
+relationship of the theme may be deferred to a later chapter. [134]
+
+Lithuanian II. [135] is a characteristic specimen of the class of
+tales just referred to. A prince, while travelling, sees a corpse
+gnawed by swine in a street. He pays the man's creditors for his
+release and has the body buried. Later, on the same journey, he
+buys two maidens, one of whom is a king's daughter, and takes them
+home. After a year he goes on a second journey with the princess's
+picture for a figure-head on his ship, and a ring, which she has
+given him. The picture is recognized by the maiden's father, and
+the prince is sent back in the company of certain nobles to fetch
+her. While they are returning to her home with the princess, one of
+the nobles pushes the prince overboard. He lives on an island for two
+years, until a man comes to him and promises to bring him to court
+before the princess marries the traitor, on condition of receiving
+his first-born son. The agreement is made, and the prince wins his
+bride. After a son has been born to them, the man appears and demands
+the child. He is put off for fifteen years, and at the end of that
+time explains that he is the ghost of the rescued dead man.
+
+All the traits of the compound type, as it has already been analyzed,
+are here apparent, save that the sacrifice of the child is substituted
+for that of the wife. The variant does not demand any further comment.
+
+We come now to the various forms of Jean de Calais, which make up
+a little group by themselves. The ten examples of the story that I
+have been able to find differ from one another sufficiently to make
+separate analyses of most of them necessary.
+
+The version by Mme. de Gomez (I.) runs as follows: [136] Jean,
+the son of a rich merchant at Calais, while on a journey, comes to
+the city of Palmanie on the island of Orimanie. There he pays the
+debts and secures the burial of a corpse which is being devoured by
+dogs. He also ransoms two slave girls, one of whom he marries and takes
+home. The woman is the daughter of the King of Portugal. While taking
+her to her father's court, Jean is separated from her by a treacherous
+general, but is saved by the grateful dead, and enabled to rejoin his
+wife. Later the ghost, who appears in the form of a man, demands half
+of their son according to the agreement of division which they have
+made. When Jean gives him the child to divide, the stranger praises
+his loyalty and disappears.
+
+This story has all the characteristics of the type The Grateful Dead
++ The Ransomed Woman + the demand that the hero's son be divided. In
+general outline it is scarcely distinguishable from Lithuanian II.,
+save that the hero Jean is a merchant's son instead of a prince. In
+details, however, it differs considerably. For example, Jean marries
+one of the captive maidens as soon as he buys her; there is no question
+of signs by which the hero is recognized by his wife's father or by the
+princess herself; and the ghost is less dilatory in his demands. Some
+of these differences are doubtless to be accounted for through the
+unfaithfulness of the rendering, which is semi-literary.
+
+At all events, Jean de Calais III., IV., and V., all three of which
+were heard on the Riviera, have several changes from I., though they
+vary from one another only in very minor matters. [137] A single
+analysis will suffice for the three. Jean de Calais, the son of a
+merchant, on his first voyage gives all his profits to bury the corpse
+of a deceased debtor. On his second he ransoms a beautiful woman (with
+or without a companion), and lives with her in poverty because of his
+father's displeasure. On a subsequent voyage he bears her portrait on
+the prow of the ship, where it is seen by her father. A former suitor
+meets him on his return to court with his wife (in III. goes with
+him) and throws him into the sea either by violence or by a ruse. He
+is cast up on an island (in III. is carried thither in a boat by the
+ghost in human form), whence he is conveyed by the ghost, on condition
+of receiving half of his first son, or half of what he loves best,
+to the court just as the princess is to marry the traitor. By a ruse
+he enters the palace and is recognized. Later the ghost appears,
+but stays Jean when he is about to sacrifice his son.
+
+Jean de Calais VI., though from Brittany instead of southern France,
+does not differ greatly from the above, nor from I. Jean buries the
+dead man and ransoms two women on a single voyage, as in I. He is
+kindly received at home in spite of his extravagance, in which the
+variant differs from III., IV., and V., and he marries one of the
+maidens there. On his next voyage the King of Portugal (as in I. and
+III.) recognizes his daughter's portrait and that of her maid, which
+the hero has displayed on his ship. He brings his wife to the court,
+after which they go back, together with a former suitor, for their
+possessions. On the voyage Jean is thrown overboard, but is washed up
+on an island, whither the ghost comes, announces himself immediately,
+and bargains rescue for half of the hero's child. Jean is transported
+to court miraculously, and there meets with the customary adventures
+at the close of the tale.
+
+The variant is chiefly peculiar, it will be remarked, in placing the
+treachery of the former suitor after the marriage has been recognized
+by the king, and in making the ghost announce himself at once. Jean
+makes no blind bargain, a fact which detracts somewhat from the
+interest.
+
+Jean de Calais II. and VII. differ from the other forms of the story in
+several ways. In the former [138] Jean is the son of a rich merchant,
+and has wasted much money. He is sent out to seek his fortune on land
+with seven thousand pistoles, but he pays his all for the debts and
+burial of a poor man. On his return, he is commended by his father,
+but again falls into evil ways. Once more he is sent forth with
+seven thousand pistoles, and passes the cemetery where he buried
+the debtor. As he does so, a great white bird speaks from the cross,
+saying that it is the soul of the dead man and will not forget. Jean
+buys the two daughters of the King of Portugal from a pirate and
+takes them home, where, with his complaisant father's approval, he
+marries the elder. Later he journeys to Lisbon with the portraits
+of the sisters, which are recognized by the king. [139] He is sent
+back for his wife, but is pushed overboard by a traitor, being driven
+on a rock in the sea, where he is fed by the white bird. Meanwhile,
+the traitor goes to Calais and remains there seven years as a suitor
+for the princess's hand. He is about to be rewarded, when Jean,
+after promising half of what he loves best to the white bird, is
+miraculously transported to Calais, whither the King of Portugal comes
+at the same time. The white bird bears witness to the hero's identity,
+and demands half of his child. When Jean is about to divide the boy,
+however, it stops him and flies away.
+
+Version VII. has certain characteristics in common with the above. It
+is a Basque tale. Juan de Kalais, the son of a widow, sets off as a
+merchant, but sells his cargo and ship to pay the debts of a corpse,
+which is being dragged about on a dung-heap. On his return, his mother
+is angry. Again he goes on a voyage, but with a very poor ship, and
+is compelled by an English captain to ransom a beautiful maiden with
+all his cargo. The hero's mother is again angry at this seemingly bad
+bargain, but she does not forbid his marrying the girl. Juan is now
+sent to Portugal by his wife with a portrait on a flag, a handkerchief,
+and a ring. At the same time she tells him that she has been called
+Marie Madeleine. When the King of Portugal sees the portrait, he sends
+the hero back with a general to fetch Marie, who is his daughter. The
+general pitches Juan overboard and goes for the princess, whom he
+persuades to marry him after seven years. At the end of that time,
+a fox comes to Juan on an island, where he has lived, and bargains to
+rescue him for half of all he has at present and will have later. The
+hero arrives in Portugal, is recognized by the king, tells his story,
+and has the general burned. After a year the fox appears and demands
+payment, but, when Juan is going to divide his child, it says that
+it is the soul of the dead man whom he buried long before.
+
+The two variants are chiefly peculiar in that they introduce a new
+element into the compound,--The Thankful Beast. This substitution
+of some beast for the ghost has been encountered twice before [140]
+in connection with Jewish and Servian IV., and must receive special
+treatment later on. [141] For the present it is sufficient to remark
+the variation from all other forms of Jean de Calais except X. [142]
+In both II. and VII. Jean makes two journeys, [143] as in III., IV.,
+and V., as against I. and VI. The attitude of the parent differs
+widely in the two. The maiden whom the hero marries is a Portuguese
+princess, which is the prevailing form of the tale. The portrait is
+also found in each, and both state the time of Jean's exile as seven
+years. II. differs from all the other versions in placing the later
+adventures of the story at Calais rather than at the court of the
+heroine's father. In II., as in VI., the ghost announces himself at
+the first meeting, which is undoubtedly a modification of the original
+story. Thus the two forms are sufficiently independent of one another,
+in spite of their common use of an animal as the hero's friend.
+
+Jean de Calais VIII., though like VI. from a Breton source, differs
+from all the other variants, chiefly in transposing the burial and the
+ransom. Jean Carre, sent out by his godmother as a sea-captain, ransoms
+an English princess with her maid, and marries the former. After two
+years, when a son has been born to them, Jean goes on another voyage,
+and adorns the stern of his vessel with portraits of his wife, the
+child, and the maid, which he is begged to show while anchored at
+London. He does so, and is received by the king as a son-in-law. One
+day he sees a poor debtor's body dragged along the street, pays the
+debts, and has it buried. He then sets out with a fleet to seek his
+wife, and is cast overboard by a Jew, who is the pilot; but he is
+saved by a supernatural man, who carries him to a green rock in the
+sea. The princess refuses to go to England when the fleet arrives, and
+is wooed by the Jew so persistently that after two years she promises
+him marriage. At this juncture Jean, who has been asleep during the
+whole interval, is awakened by his rescuer and carried over the sea,
+where the man explains that he is the ghost of the debtor. Jean is
+first recognized by his little son, the Jew is burned by the gendarmes,
+and all ends well.
+
+The transposition mentioned above is clearly a change due to the
+individual narrator or some local predecessor, since everywhere else
+the burial takes place before the ransom. The mention of a Jew as
+traitor is also peculiar and unreasonable, since no motive for his
+action appears until later, and then incongruously. The variant is
+likewise defective in not having any bargain between the ghost and
+the hero. In other respects it is normal save in minor details. As
+in V., the heroine is made an English princess, which occurs nowhere
+else. On the whole the version is picturesque, but defective.
+
+Jean de Calais IX. is unique in certain features, though in most
+respects normal. It is from Asturia in Spain. Juan de Calais goes
+out into the world to seek his fortune with a single peseta as his
+store. This he gives to bury a corpse, and proceeds. In a certain
+kingdom he attracts the notice of a princess, who marries him after
+considerable opposition. When the wedding is over, he takes his
+wife to seek his father's blessing, but is cast off the ship by a
+former suitor of the lady, her cousin. He is carried to an island by
+invisible hands, where he lives until a phantom bargains to take him
+to court for half of what he gets by his marriage. He arrives on the
+day of the princess's wedding. He is recognized by the king, who puts
+to his guests a parable of an old key found just when a new one has
+been made, while the suitor flees. On the following night, when Juan
+is dejected at the thought of giving up half his son, the phantom
+appears and releases him from his agreement, explaining its identity.
+
+Juan wins the gratitude of the dead man, and obtains his bride
+in this version on a single journey, as in I. and VI., but its
+chief peculiarity is the manner in which he gets his wife, with
+the sequel that the couple set out to seek his father instead of
+hers. The ransom is replaced by a romantic but more natural wooing,
+while the ghost appears somewhat unusually in propria persona. One
+of the oddest traits in the whole version is the parable of the key,
+by which the king introduces the hero to the assembled guests. This
+will be encountered again in Breton VII.
+
+In Jean de Calais X., finally, a Walloon variant, appear certain
+interesting changes in the fabric. The King of Calais sent his son
+Jean to America to trade, but the prince was shipwrecked on the coast
+of Portugal, and there ransomed and rescued a corpse, which was being
+dragged through the streets because the man had died in debt. The king
+scolded his son for wasting so much money, but the next year sent him
+to Portugal to trade. There he encountered brigands, who had captured
+the king's daughter with her maid, and ransomed them. On returning to
+Calais with his bride, he was ill received, and resolved to go back
+to Portugal. A young lord of Calais accompanied them and threw Jean
+into the sea, while he took the princess onward and obtained from
+her a promise of marriage in a year. Happily Jean found a plank by
+which he reached an island, where a crow fed him every day. At the
+end of a year he promised the crow half his blood for rescue, and
+was taken to Portugal by a flock of crows. There he was recognized,
+and the traitor hanged. One day the crow appeared and demanded the
+fulfilment of the promise. Jean was about to slay his son, when the
+bird explained its identity with the ghost of the dead man.
+
+This is the only version which makes Jean a prince; and it is curious
+that the change should occur in a tale from a region not very remote
+from Calais. Most of the events of the tale take place in Portugal,
+however, which is an extension of the ordinary appearance of that
+country as the home of the heroine. The most striking peculiarity of
+the version is the home of the traitor, who is a lord of Calais instead
+of Portugal. All mention of signs is lacking, which is doubtless due
+to the changes just mentioned. In the matter of the appearance of
+the ghost as an animal the variant allies itself with II. and VII.,
+though it has no special likeness to them in other respects.
+
+Basque II. is like Gaelic [144] in general outline. Juan Dekos is sent
+out with a ship to complete his education. He pays all that he gets for
+his cargo to ransom and bury the corpse of a debtor. His father is not
+pleased, but sends him out again. This time he uses all his money to
+ransom eight slaves, seven of whom he sends to their homes, but carries
+one home with him. His father is still more angry, and casts him off;
+but Juan has a portrait of Marie Louise painted for the figure-head of
+his ship, and sets off with her for her own land. The lame mate pitches
+him overboard, and carries the lady to her father's dwelling-place,
+where he is to marry her after a year and a day. Juan is saved by an
+angel and placed on a rock. On Marie's wedding-day the angel returns,
+and offers to take the hero to his bride for half of the child that
+will be born. The angel was the soul of the dead man. So Juan arrives
+in time, is recognized by a handkerchief, and tells his story, which
+causes the burning of the mate. After a year the angel comes for his
+half of the babe, but when Juan starts to divide it stays his hand.
+
+Webster, the collector of this tale, noticed [145] its similarity
+to Gaelic, especially in the name of the hero, and surmised that
+the Basques must have borrowed it from the Celts in some way. The
+theory is tenable, though a comparison of the two variants shows
+that the Basques must either have borrowed it in a form considerably
+different from the Highland tale as we have it, or have altered the
+details largely. The first part of the story is entirely different;
+the hero goes on two voyages in Basque II., one only in Gaelic;
+the lady goes with the hero immediately in the former, he returns
+for her in the latter; the treachery and the signs are different;
+the ghost appears as an angel instead of a human being in Basque;
+and the promised division concerns the wife and three sons in Gaelic,
+a single babe in Basque. Thus, apart from the title, there is little
+to substantiate Webster's theory. The differences are certainly more
+important than those between any two versions of Jean de Calais. In
+some particulars, like the voyages and the portrait on the ship,
+Basque is more nearly normal, while in others, like the account of
+the treachery and the appearance of the ghost, Gaelic conforms to
+the ordinary form. Certainly Basque II. is to be regarded as a fairly
+close relative of Lithuanian II. and Jean de Calais.
+
+In Breton VII. a normal form appears, though with some embroidery of
+details. A merchant's son, Iouenn Kermenou, goes out with his father's
+ship to trade. He pays the greater part of the proceeds of the cargo to
+ransom and bury the corpse of a debtor, which dogs are devouring. On
+his way home he gives the rest of his money to ransom a princess,
+who is being carried to a ravaging serpent, which has to be fed with
+a royal princess every seven years. He is cast off by his father when
+he reaches home, but is supported by an aunt and enabled to marry
+his lady. After a son has been born to them, he is sent out by an
+uncle on another ship, which by his wife's counsel has the figure of
+himself and herself with their child carved on the prow. He comes to
+her father's realm, and after some misunderstanding is sent back with
+two ministers of state for the princess. While returning with her, he
+is pushed overboard by the first minister, who is an old suitor for
+the lady's hand, but swims ashore on a desert island. The wife goes
+to court, and after three years consents to marry the minister. All
+this time Iouenn lives alone on his rock, but at the end is greeted
+by the ghost of the man whose body he buried, which appears in a
+very horrible form. On condition of giving in a year and a day half
+of what he and his wife possess, he is taken to court by this being,
+where he is recognized by means of a gold chain, which the princess
+had given him. At the wedding feast, which takes place that day,
+the wife recounts a parable of how she has found the old key of a
+coffer just as a new one was ready, brings in Iouenn, and has the
+minister burned. At the end of a year and a day comes the ghost,
+and demands half of the child (the older one has died) that has been
+born to them. As the hero reluctantly proceeds to divide the child,
+the ghost stops him, praises his fidelity, and disappears.
+
+It will be seen that this variant does not differ in essentials from
+those previously summarized, though its details exactly coincide
+with none of them. The order of events is normal, very like that of
+Lithuanian II., for example, yet it has marks of peculiarity. Chief
+among these are the events connected with the ransom of the lady and
+the parable by which she introduces her long lost husband to court. The
+first is a trait borrowed from the Perseus and Andromeda motive,
+[146] the second is the same as the riddle in Jean de Calais IX. [147]
+How this latter feature should happen to appear in these two widely
+separated variants and nowhere else I am not wise enough to explain.
+
+Simrock I. introduces still another complication in the way of
+compounds. A merchant's son on a journey secures proper burial for a
+black Turkish slave, thereby using all his money. His father is angry
+with him on his return. On his second voyage he ransoms a maiden and
+is cast off by his father when he reaches home. The young couple live
+for a time on the proceeds from the sale of the wife's handiwork, but
+after a little set off to the court of her father, who is a king. On
+the way they meet one of the king's ships, and go aboard. The hero is
+cast into the sea by the captain, but is saved by a black fellow and
+brought back to the ship. Again he is cast overboard. When the princess
+arrives at home, she agrees to marry whoever can paint three rooms to
+her liking. The hero, meanwhile, is again saved by the black man, and
+in return for the promise of his first child on its twelfth birthday he
+is given the power of obtaining his wishes. After a year and a day he
+is taken to court by his friend, where by wishing he paints the three
+rooms, the third with the story of his life. So he is recognized. On
+the twelfth birthday of his first child the black man comes to him and
+is offered the boy, but instead of taking him explains his identity.
+
+As far as The Grateful Dead, The Ransomed Woman, and the sacrifice of
+the child are concerned, this follows the normal course of events,
+except perhaps as to the child, of actually dividing which there is
+no question. Like Lithuanian II., Jean de Calais III., IV., V., and
+X., Basque II., and Norwegian I., it makes the hero and heroine set
+out for her father's court together and of their own free will. [148]
+The colour of the thankful dead is a peculiar trait. Yet the element
+which complicates the question, as mentioned above, is the feat by
+which the hero obtains his wife. If I am not mistaken, this allies
+the variant on one side with stories of the type of The Water of
+Life, where the bride is gained by the performance of some task
+obviously set as impossible. The questions involving the relations
+of such motives with The Grateful Dead will occupy the next chapter,
+so that it needs simply to be mentioned at this point.
+
+In Simrock II. a miller's son goes with merchandise to England. In
+London he pays all his money for the debts and the burial of a poor
+man. He is again sent to England by his father, and this time he gives
+his whole ship to ransom a beautiful maiden. When he returns with her,
+he is cast off by his father, marries the girl, and lives on what
+she makes by her needle. He takes a piece of her embroidery with him
+to England, where it is seen by the king and queen, whose daughter
+has become his wife. He is sent for her in company with a minister,
+who pitches him overboard and goes on for the princess, hoping to
+marry her. The hero swims ashore, in the meantime, and communicates
+with his wife by means of a dove, which also feeds him. Finally a
+spirit conveys him to London, after receiving the promise of half of
+his first child. He obtains work in the kitchen of the castle, and
+sends a ring to his wife, by means of which they are reunited. At the
+birth of their child he refuses to give the spirit half, but offers
+the whole instead, [149] whereupon ensues an explanation.
+
+This variant is of the same type as Jean de Calais II. and VII., [150]
+resembling the latter more than the former in details. The three are
+sufficiently unlike, however, to make any immediate relationship quite
+out of the question, even did not geography forbid. As in Hungarian
+II., Oliver, Lope de Vega, Calderon, Jean de Calais V. and VIII.,
+and Norwegian I., the heroine is an English princess, a point of
+interest, but not of much importance.
+
+Simrock VIII. differs from the above in only two points. The beginning
+states that a merchant while in Turkey pays the debts and burial
+expenses of a poor man. On his next voyage he buys three hundred
+slaves from the Emperor of Constantinople. Three of them he keeps at
+his home, one of whom he marries. The further adventures of the hero
+agree with Simrock II. even in names and most details, except that the
+hero is recognized at the court by dropping his ring in a cup of tea,
+which the princess gives him to drink. It will be evident that the
+two tales are nearly related.
+
+Last, but not least interesting of the versions in which the child
+appears, is the Factor's Garland or Turkey Factor, which must have
+been almost as well known in England at one time as the form of the
+story in Jack the Giant-Killer. It has no very remarkable features in
+its outline. A young Englishman, while acting as a factor in Turkey,
+pays fifty pounds to have the body of a Christian buried. A little
+later he pays one hundred pounds to ransom a beautiful Christian
+slave, and takes her back to his home, where he makes her his
+house-keeper. Later he sets out again, and is told by the woman to
+wear a silk waistcoat that she has embroidered, when he comes to
+the court whither he is bound. The work is recognized by her father,
+the emperor, and the factor sent back to fetch her. While returning
+with the princess, he is pushed overboard in his sleep by the captain,
+but swims to an island, whence he is rescued by an old man in a canoe,
+who bargains with him for his first-born son when three (or thirty)
+months old. The hero is recognized at court and marries the princess,
+while the captain dies by suicide. In two (or three) years the old man
+returns, just when the couple's son is three (or thirty) months old,
+and demands the child. On the hero's yielding, he explains that he
+is the ghost, and disappears.
+
+Like Gaelic [151] and Simrock VIII.--the latter just discussed--this
+version makes the hero undergo his early adventures in Turkey. Indeed,
+the similarity to Gaelic throughout is very notable, far more so than
+in the case of Basque II. [152] The only point in which it differs
+materially is the division of property, which in Gaelic concerns the
+wife and the three children, in the Factor's Garland one son only. In
+this matter there is agreement between the present variant, Basque II.,
+and Simrock VIII. Despite the likeness to Gaelic, there is no good
+reason for arguing any immediate connection with that version. They
+stand close to one another geographically and in content, that is
+all; they cannot be proved to be more than near relatives in the
+same generation.
+
+The variants which introduce the division of the child have now all
+been considered. It is necessary to turn to a few scattered specimens
+in which the compound, The Grateful Dead + The Ransomed Woman, has
+been joined with other material.
+
+Bohemian is a curious and instructive example of the confusion
+which has resulted from welding various themes together. Bolemir,
+a merchant's son, is sent to sea, where he is robbed by pirates
+and imprisoned. He finds means to help an old man, who gives him
+a magic flute, and a princess, who gives him half of her veil and
+ring. By the aid of the flute he succeeds in winning the chief's
+permission to leave the island in the company of his friends. He
+sails with them to another island. There, at the old man's request,
+he strikes him on the head and buries him. He then goes home with
+the princess. On his second voyage he displays from his mast-head
+a golden standard, which the princess has made. He reaches the city
+of the lady's father, tells his story, and returns for the princess
+with the chamberlain. While they are all returning together, he is
+cast into the sea by the chamberlain, who takes the woman to court
+and obtains a promise of marriage, when a church has been built to
+her mind. Bolemir is saved from the sea by the ghost of the old man,
+and is given a wishing ring. He turns himself into an eagle and flies
+to court, into an old man and becomes a watchman at the church. By
+means of his ring he builds the structure, and paints it with the
+story of his life. At the wedding breakfast of the princess, who
+cannot longer delay the bridal, he tells his story, and so marries her.
+
+The peculiar form of the burial in this variant will be at once
+evident, though the reason for it is not clear to me. Disenchantment
+by decapitation is a common phenomenon in folk-lore and romance;
+[153] but though the blow on the head, which the hero gives the old
+man in our tale, surely stands for beheading, it is hard to see where
+any unspelling process comes in. It is perhaps best to suppose the
+trait a confused borrowing, without much meaning as it stands. The
+ransoming of the woman is closely connected with the benefits done
+the old man. That it occurs on the same journey has been shown by the
+variations in Jean de Calais to be a matter of little consequence. With
+respect to the standard and the ring, by which the hero restores his
+wife to her father, and later to himself, the tale is perfectly in
+accord with the prevalent form of the compound type; and so also in
+regard to the rescue of the hero by the ghost. No hint is given of
+any agreement of division between the hero and the ghost. The chief
+peculiarity of the variant, however, is the means by which the heroine
+is won. The feat recalls Simrock I., [154] even in details like the
+demand on the part of the bride for mural decoration. It again shows
+the combination of the present type with a theme akin to The Water
+of Life.
+
+Simrock III. has several points of contact with the above. Karl, the
+son of an English merchant, on his first voyage to Italy pays the
+debts of a merchant who has died bankrupt. On his way home he buys
+two sisters from some pirates at an inn. His father casts him off,
+so he marries the older of the maidens, who tells him that she is
+a princess. They start for Italy together, and on the way meet an
+Italian prince, who is a suitor for the wife's hand. The hero is cast
+overboard, but is brought to land by a great bird, which tells him
+that it is the ghost of the man whom he has buried. It directs him to
+go to court and give himself out as a painter. The bird again comes
+to him there with a dagger in its beak, and tells him to cut off its
+head. Unwillingly Karl obeys, and sees before him the spirit of the
+dead man. The ghost paints the room in which they are standing with the
+hero's history. So on the wedding-day of the princess with the traitor,
+Karl explains the meaning of the pictures and wins his bride again.
+
+This Swabian story has preserved the decapitation [155] in much better
+form than Bohemian, though the reason for its introduction is still
+hard to understand. The ghost is obviously released from some spell
+when it is beheaded, and is thus enabled to help the hero to better
+advantage than before. The episode also occurs in a more logical
+position than in Bohemian. It replaces the more ordinary and normal
+test of the hero by the ghost. Probably the introduction of it in
+the two cases is sporadic, though some connection between the two is
+conceivable. As far as The Grateful Dead and The Ransomed Woman proper
+are concerned, the variant has no peculiarities of special importance,
+being of the type in which the hero and heroine set out for court
+together. [156] It contains, however, the feat by which the bride is
+won, in the same form as in Simrock I. and Bohemian, which is due to
+an alliance with the type of The Water of Life. Yet it differs from
+them in making the ghost appear first as a bird, which connects it
+with Jean de Calais II., VII., and X., and with Simrock II. and VIII.,
+variants that have the thankful beast playing the role of ghost. [157]
+
+Simrock VII., together with some other peculiarities, again has the
+feat of winning the bride, though it is a feat of another sort. Wilhelm
+catches a swan-maiden, and later releases her from an enchanted
+mountain by hewing trees, separating grain, and finding his wife among
+three hundred women. Thus by her help he breaks the spell, and carries
+her back home. Later they journey together to her father's court. On
+the way Wilhelm pays the debts of a corpse, and has it buried. They
+meet two officers of the king, who toss Wilhelm overboard from the
+ship in which they sail, but he is saved by the ghost of the dead man
+and brought to court. He is recognized by the princess, and proves
+his identity to her father by means of a ring and a handkerchief.
+
+The most salient point here is the fact that the maiden is not ransomed
+at all, but instead is captured like any other swan-maiden. We have
+already met with the theme of The Swan-Maiden in combination with
+The Grateful Dead in simple form; [158] but Servian V. has evidently
+nothing to do with Simrock VII., since the part played by the borrowed
+motive is different in each. In the former it is introduced as the
+reward bestowed on the hero by the ghost, while in the latter the
+swan-maiden simply replaces the ransomed maiden, as is shown by the
+subsequent events of the story, which follow the normal order as far
+as she is concerned. The feats by which the hero disenchants her are
+essentially like those in Bohemian, Simrock I., and Simrock III.,
+though they are differently placed. Probably the introduction of this
+new material accounts for the transposition of the ransoming and the
+burial, as the latter is in other respects regular. It is curious
+to observe that the process of changing about various features, thus
+begun, continued in other ways, as in the matter of the signs by which
+the hero is recognized by his father-in-law and his wife. These things
+go to show, however, that back of the variant must have existed the
+compound type in a normal form.
+
+In Simrock V. the thankful beast again appears, but in a less
+complicated setting than in the case of Jean de Calais II., VII., and
+X., or Simrock II., III., and VIII. A widow's son on his way home from
+market pays the debts of a corpse and buries it, thus using all his
+money. The next time he goes to market, he gives all his proceeds to
+ransom a maiden, whom he marries. She does embroidery to gain money,
+and one day holds out a piece of it to the king, who is passing. He
+recognizes her as his daughter, and accepts the hero as son-in-law. The
+young couple start back home for the widow, but on the way the servants
+cast the young man into the sea. He escapes, however, to an island,
+where he is fed by an eagle. Later the eagle declares itself to be
+the ghost of the dead man, and brings its benefactor to court.
+
+Oldenburgian is a similar tale. A merchant's son while on a voyage pays
+thirty dollars to bury a man, and also buys a captive princess with
+her maid. Though ill-received by his father on his return, he marries
+the girl. Later he goes on another voyage, with his wife's portrait
+as the figure-head of his ship. This is recognized by the king, who
+sends him back for the princess in the company of a minister. The
+latter pitches him overboard, goes on for the princess, and does not
+tell her of her loss till they arrive at court. She finally consents
+to marry the traitor after five years. Meanwhile, the hero lives on an
+island, whither on the day appointed for the princess's bridal comes
+the ghost of the dead in the form of a snow-white dove. It takes him
+to the court, where he is recognized by a ring, a gift from his bride,
+which he drops into a cup that she offers him.
+
+Of these two variants, Oldenburgian is much better preserved than the
+Tyrolese story (Simrock V.). The latter is dressed in a homely fashion,
+which probably accounts for some of the changes, since the gap between
+the visits to market and the romantic or miraculous features of the
+couple's later adventures was too wide to be easily bridged. The
+disappointed suitor is not mentioned, which leaves the attempt on the
+hero's life without motivation, and clearly indicates some loss. [159]
+The trait is distinctly marked in Oldenburgian, as are all the other
+events connected with The Ransomed Woman, though Simrock V. provides
+an entirely original reason for the voyage of the young couple,--their
+wish to get the hero's mother. The features concerning the rescue by
+the ghost and the hero's return to court are better preserved again
+in Oldenburgian, though both lack the agreement to divide, which is
+probably obscured as elsewhere by the prominence given the rescued
+woman. The most striking similarity between the two, however, lies in
+the fact that the ghost first appears as a bird. This clearly shows
+the existence of a type of The Grateful Dead + The Ransomed Woman,
+on which The Thankful Beasts has had some influence.
+
+It remains to consider the general relations of the variants discussed
+in this chapter. The wide variety in detail of the incidents
+concerned with the history of the hero's wife, yet the essential
+uniformity which they show, would indicate clearly, for one thing,
+that The Ransomed Woman is a motive originally quite independent
+of The Grateful Dead,--that the type of story which is our present
+concern is a true compound. It would even be possible to reconstruct
+the independent theme in a form not unlike the Wendish folk-tale
+cited in the beginning of the chapter. The hero, while on a journey,
+ransoms a princess, takes her home, goes on another journey with some
+sign that attracts her father's notice, goes back to her and is cast
+into the sea by some man who hopes to marry her himself, is rescued,
+and returns to court to claim his bride, usually by means of a token.
+
+The points of contact between this motive and The Grateful Dead would
+seem to be, first, the journey which the hero undertakes at the opening
+of the plot. It will be noted that in the compound he usually makes
+two voyages, burying the dead on the first and ransoming the maiden on
+the second, though the two are sometimes welded. The second point of
+contact, I take it, was the rescue of the hero. In each story he did
+a good act for which he was rewarded in some way. It has been shown
+that this reward sometimes took the form of a rescue in the simple
+form of The Grateful Dead [160] and in the compound with The Poison
+Maiden. [161] What more natural than that it should lead to another
+combination with a story where the hero was saved from death? The
+difference in the case of the latter, of course, would be that the
+agency of rescue was of little importance. Could Simonides be shown
+to have anything more than a literary life in mediaeval Europe, I
+should be inclined to think that the rescue in that tale, even though
+the tale itself is not necessarily connected with The Grateful Dead
+as we know the theme, might have had some influence on the union. As
+the matter stands, however, it is probably better to believe that the
+two motives were united in eastern Europe, the one being Oriental
+and the other of uncertain derivation. That each motive had a wife
+as part of the hero's reward must be taken for granted, and it must
+have helped to combine them.
+
+It follows from this that the compound The Grateful Dead + The Ransomed
+Woman is quite independent of the one discussed in the previous
+chapter, and could not have proceeded from it as Hippe thought. [162]
+It would have been next to impossible for that combined type to divest
+itself of the features peculiar to The Poison Maiden, and to absorb
+in their place those of The Ransomed Woman without leaving some trace
+of the process. Thus the existence of the compound as an independent
+growth is assured. In this connection it is interesting to note that
+the rescue of the hero from drowning in consequence of an act of
+treachery (or from an island) occurs in all the variants of the type
+save four, Transylvanian, Trancoso, Gasconian, and Straparola I.,
+[163] but in no other version of The Grateful Dead as far as I know.
+
+From this general type developed minor varieties with traits borrowed
+from The Water of Life, The Thankful Beasts, and The Two Friends,
+or some such tale. Thus very complex variants arose. The question of
+the connection which these subsidiary elements sustain to the central
+theme cannot properly be discussed until they have been seen in other
+combinations. The part they play in the development of the story, it is
+evident, must have been a secondary one both in importance and in time.
+
+
+
+
+
+
+
+CHAPTER VI.
+
+THE GRATEFUL DEAD AND THE WATER OF LIFE OR KINDRED THEMES.
+
+
+The maerchen known in its various forms as The Water of Life [164]
+is based on the myth which goes by the same name. [165] The myth,
+as has been shown quite independently by two recent investigators,
+Dr. Wuensche [166] and Dr. E. W. Hopkins, [167] is of Semitic origin,
+and is found among the traditions of the Assyrio-Babylonian cycle. It
+is to be distinguished from the very similar myth of The Fountain of
+Youth, which apparently originated in India. [168] The latter concerns
+the magic properties of the "water of rejuvenation"; the former in
+its uncontaminated form, at least, deals with water which cures,
+revivifies, or revitalizes. The two have been frequently confused,
+not only in popular tradition of all ages, but in critical writings of
+contemporary date as well. It is the great merit of Professor Hopkins'
+article, to which reference has been made, that their essential
+difference in origin and character is clearly marked. Though he makes
+no pretence that his study of The Fountain of Youth is definitive,
+he has broken ground which sadly needed the plough, and incidentally
+has thrown light upon The Water of Life.
+
+The myth which is properly known by this name is intimately connected
+in origin and development with that of The Tree of Life, [169]
+which finds expression in the legends of the Cross. In the words of
+Dr. Wuensche: [170] "Wie wir aus den kosmogonischen und theogonischen
+Mythen und Sagen der Voelker das Rauschen des Lebensbaumes vernehmen,
+durch dessen Fruechte sich Goetter und Menschen ihre ungeschwaechte
+Lebenskraft und ewige Jugendfrische erhalten, so nicht minder das
+Sprudeln einer Quelle des Lebenswassers, die Leben schafft und
+zu Ende gehendes oder bereits erloschenes Leben wieder zu neuem
+Sein erweckt." Both myths are Semitic, and both have profoundly
+influenced Christian doctrine. It is with the "water of life,"
+however, that we are immediately concerned, and with that only as it
+has found embodiment in a widely disseminated and variously modified
+tale. Whence this maerchen came we must presently inquire, in order
+to reach some conclusion as to the point in space and time where it
+joined The Grateful Dead, but we must first fix its essential traits.
+
+Owing to the complex variations which the tale presents in its
+various combinations with really foreign themes, there is great
+difficulty in getting at the outline of the original story or even
+the characteristics common to all the known variants. To do this
+satisfactorily would require a searching and detailed study, which
+it is impossible to undertake here,--an examination with The Water
+of Life as the point of attack. It is possible, however, to arrive
+at a rough sketch of the theme.
+
+"Dans tous ces contes," says Cosquin, in his notes on The Water of
+Life, [171] "trois princes vont chercher pour leur pere l'eau de la
+vie ou un fruit merveilleux qui doit le guerir, et c'est le plus
+jeune qui reussit dans cette entreprise. Dans plusieurs ... les
+deux aines font des dettes, et ils sont au moment d'etre pendus,
+quand leur frere paie les creanciers (dans des contes allemands et
+dans les contes autrichiens, malgre l'avis que lui avait donne un
+hermite, un nain ou des animaux reconaissants, de ne pas acheter de
+'gibier de potence'). Il est tue par eux ou, dans un conte allemand
+(Meier, no. 5), jete dans un grand trou; mais ensuite il est rappele
+a la vie dans des circonstances qu'il serait trop long d'expliquer."
+
+Dr. Wuensche's summary is somewhat different: [172] "Gewoehnlich handelt
+es sich um einen Koenig und seine drei Soehne. Der Koenig leidet an einer
+schlimmen Krankheit, von der ihn kein Arzt zu heilen vermag. Da wird
+ihm durch irgendeine Gelegenheit die Kunde, dass er von seinem Siechtum
+durch das Lebenswasser eines fernen Landes befreit werden koenne. Aus
+Liebe zu ihrem Vater machen sich die drei Soehne nacheinander auf den
+Weg, das Lebenswasser zu holen. Doch die beiden aeltesten erliegen
+den auf dem Wege ihnen begegnenden Versuchungen, nur der juengste
+ist wegen seiner Standhaftigkeit und Bescheidenheit so gluecklich,
+es zu erhalten. Ein Riese, ein Zwerg, ein alter Mann oder ein alte
+Frau sind ihm zur Auffindung der Wunderquelle behilflich, indem sie
+ihm guten Rat erteilen und ihm sagen, wie er es anzufangen und wovor
+er sich in acht zu nehmen habe. Hier und da greifen auch dienstbare
+Tiere, Vierfuessler, Voegel und Fische hilfreich ein, indem sie dem
+Juenglinge genau die Oertlichkeit des Wassers angeben, oder auch selbst
+ihn mit Schnelligkeit dahin bringen. Die Lebensquelle sprudelt in
+einem Berge, der sich nur zu gewissen Zeiten, gewoehnlich gegen Mittag
+oder Mitternacht von 11-12 Uhr oeffnet. Im berge steht in der Regel
+in einem praechtigen Garten ein versunkenes Schloss, das die grossen
+Schaetze und Kostbarkeiten birgt, durch deren Anblick der Eintretende
+geblendet wird. In einem Gemache des Schlosses wieder ruht auf einem
+Bett eine Jungfrau von wunderbarer Schoenheit, die spaeter als Prinzessin
+hervortritt und den Prinzen, der durch das Schoepfen des Lebenswassers
+sie von ihrem Zauber geloest hat, zum Gemahle heischt. Der Prinz hat
+nur kurze Zeit bei ihr geruht oder ihr einen fluechtigen Kuss auf die
+Lippen gedrueckt. In vielen Faellen wird der Eingang zur Quelle von
+einem Drachen oder einem anderen Ungeheuer bewacht, die erst aus dem
+Wege geraeumt werden muessen. Es kostet einen schweren Kampf. Auf dem
+Heimweg trifft der juengste Koenigssohn gewoehnlich mit seinen aelteren
+Bruedern wieder zusammen, die ihr Leben durch tolle Streiche verwirkt
+haben und die er vom Tode loskauft. Zuweilen sind aber die Brueder
+durch ihre Unbedachtsamkeit in schwarze Steine verwandelt worden und
+liegen am Abhange des Zauberberges, oder stehen als Marmorsaeulen
+auf demselben, oder sind infolge ihres Hochmutes in einen tiefen
+Abgrund eingeschlossen. Auch in diesem Zustande werden sie durch den
+juengsten Bruder bald durch das geschoepfte Wasser des Lebens, bald auf
+seine Bitten hin wieder ins Leben gerufen. Vereint reisen sie nun mit
+ihrem Bruder nach Hause zum Koenige. Unterwegs aber erfasst die Beiden
+Falschen Neid und Missgunst, weil ihr Bruder allein in den Besitz
+des Lebenswasser gelangt ist und sie sich vergeblich darum gemueht
+haben. Daher vertauschen sie das Lebenswasser, waehrend der Bruder
+schlaeft, mit gewoehnlichem Wasser und eilen nun voraus und machen mit
+dem erbeuteten Trank den kranken Koenig gesund, oder sie erscheinen
+nach der Ankunft des Bruders, dessen vertauschtes Wasser den Koenig nur
+noch elender gemacht hat. Dabei raunen sie dem Koenige heimlich ins Ohr,
+dass der juengere Bruder ihn habe vergiften wollen, infolgedessen dieser
+vom Koenige verbannt oder gar zum Tode verurteilt wird. Derselbe lebt
+nun laengere Zeit zurueckgezogen in einer untergeordneten Stellung,
+bis endlich durch die von ihm entzauberte Prinzessin seine Unschuld
+an den Tag kommt."
+
+Dr. Wuensche gives as subsidiary types stories where a princess
+wishes the magic water for herself, and, when her two brothers fail
+to return with it, goes on a quest which results in obtaining the
+water and releasing the enchanted brothers; where a mother and son
+are the chief actors; where a bird, or fruit, or the water of death
+is substituted for the water of life; and where thankful beasts
+appear. All of these elements and more appear in the accessible
+variants, yet not all of them can be said rightly to represent The
+Water of Life as such. The basal traits of the story are much more
+simple than Dr. Wuensche would have us believe. They do not include,
+for example, the wonderful companions whom the hero finds nor the
+adventures with the enchanted princess, since these are in reality
+traits of originally separate themes, as will presently be shown. [173]
+
+On the other hand, Cosquin's outline seems to me defective in two
+ways. First, he does not recognize that there existed in the original
+theme some reward due the hero for his constancy and intelligence in
+the pursuit of his quest. A priori this conclusion would be expected
+from the general manner of folk-tales, and as a matter of fact it
+appears in all the versions which have come to my attention. The reward
+almost always takes the form of a princess, though the manner in which
+she is won varies very greatly. In the second place, Cosquin seems to
+regard The Golden Bird as a theme quite independent of The Water of
+Life. [174] This, I think, is to lose sight of the essential likeness
+between the two tales, despite their difference of introduction. As
+Dr. Wuensche notes, [175] not only a bird, but a fruit or the water of
+death may be substituted for the usual object of the quest. Indeed,
+certain variants have more than one of these magical forces. [176]
+To be sure, this superfluity of riches doubtless results from the
+fusion of subsidiary types, but none the less it points to the original
+unity of the central theme, which is all that I wish to suggest.
+
+From this discussion we emerge with an outline of The Water of Life in
+something like the following form: A sick king has three sons, who go
+out to seek some magical water (or bird, or fruit) for his healing. The
+two older sons fall by the way into some misfortune due to their own
+fault; but the youngest, not without aid of one sort or another from
+beings with supernatural powers, succeeds in the quest and at the
+same time wins a princess as wife. While returning, he rescues his
+brothers, and is exposed by their envy and ingratitude to the loss of
+all he has gained (sometimes even of his life). In the end, however,
+he comes to his own either because the cure cannot be completed
+without him or because his wife brings the older princes to book.
+
+This summary I should be unwilling to have considered as anything more
+than a tentative sketch, since a systematic study of the material
+may bring to light certain features which I have overlooked. [177]
+It will, however, serve its purpose here.
+
+This simple form of The Water of Life is not that with which The
+Grateful Dead has combined. Indeed, the opinion that this union was
+secondary to that of The Grateful Dead with The Poison Maiden and
+The Ransomed Woman [178] is strengthened by the fact that it is found
+with both of these compound types, and that The Water of Life almost
+invariably appears in a somewhat distorted form. In point of fact,
+the latter tale seems to have lent itself with remarkable facility
+to combination with other themes. Thus it is frequently found mixed
+with The Skilful Companions [179] (both with and without The Grateful
+Dead), The Lady and the Monster, [180] and The Thankful Beasts.
+
+The reason for the existence of the compounds just mentioned is
+not far to seek. With The Skilful Companions [181] there is a ready
+point of contact in the hero's need for aid in the accomplishment of
+his quest, another in the circumstance that three or more companions
+set out together with a common end in view, and still another in the
+fact that a maiden is rescued by them. To The Lady and the Monster,
+at least in those variants where The Grateful Dead appears, The Water
+of Life has the necessary approach in the role of the lady herself. As
+for The Thankful Beasts, their appearance at opportune moments when
+the heroes of folk-tales need assistance is too frequent to require
+justification in any particular case. It is with such combinations
+as these, intricate and involved, that many variants of The Grateful
+Dead are found joined. Sometimes one element, sometimes another,
+predominates, so that the threads which unite them are hopelessly
+snarled. Sometimes The Water of Life is lost in the entanglement,
+or only appears as a distorted trait, while The Skilful Companions
+or The Lady and the Monster come out more clearly. Through this
+labyrinth we must painfully take our way, exercising what caution
+we can. The present guide recognizes the danger of losing the road
+and does not pretend to more than a rough and ready knowledge of the
+wilderness. Accordingly, he undertakes only to conduct the curious
+wayfarer by the least difficult of the paths that traverse it.
+
+Let us first consider the tales into which The Poison Maiden and The
+Ransomed Woman do not enter, which have only The Grateful Dead + The
+Water of Life or some kindred theme. These include Maltese, Polish,
+Hungarian I., Rumanian II., Straparola II., Venetian, Sicilian,
+Treu Heinrich, and Harz II. They are as widely different in their
+characteristics as in their sources.
+
+Maltese has the following form: The three sons of a king successively
+go out in search of a bird, the song of which will make their father
+young. The elder two lose their all by gambling with a maiden in a
+palace by the way. The youngest brother pays four thousand pounds
+sterling to bury properly a man who has been dead eight months. He
+is warned against the maiden by a ghost, and so wins all from her (by
+using his own cards), thus rescuing his brothers. When he comes to the
+castle, the ghost again appears, and tells him to take the bird that
+he finds in a dirty cage. On the way back he is thrown overboard from
+the steamboat by his brothers, but is saved by the ghost, who appears
+in the form of a rock with a tree on it. He is rescued by another
+steamer, and comes home in rags, where he is recognized by the bird,
+which has hitherto refused to sing. The brothers are banished.
+
+According to the Polish story, a poor scholar pays his all for the
+burial of a corpse lying maltreated by the way. Later he goes to
+sleep under an oak, and on awaking finds his purse full of gold. He is
+robbed of this while crossing a stream, by some scoundrels who cast
+him into the water; but he is rescued by the ghost of the dead man,
+who appears in the form of a plank and gives him the power of turning
+himself into a crow, a hare, or a deer. He becomes a huntsman to a
+king, whose daughter lives on an inaccessible island. In her castle
+is a sword with which a man could overcome the greatest army. When
+war threatens, the king offers the princess to any man who can obtain
+the sword. By means of his power of metamorphosis the hero carries
+her a letter and wins her love. When he exhibits his magical powers,
+she cuts off a bit of the fur, or a feather, from each creature into
+which he turns. With the sword he then starts back to court, but on
+the way he is shot by a rival and robbed of the sword and a letter
+from the princess. He lies in the way in the form of a dead hare
+till the war is ended and the rival is about to marry the princess,
+when he is revived and warned by the ghost. At court he is recognized
+by the princess, who proves his tale by having him turn into various
+shapes and fitting the samples which she has taken.
+
+In Hungarian I. a soldier gave all he had to an old beggar, who in
+turn gave him the power to change at will into a dove, a fish, or a
+hare. He took service with a king, and one day was sent back to the
+castle for a magic ring. There he met the princess, and exhibited to
+her his powers of metamorphosis, permitting her to pull two feathers,
+take eight scales, and cut off his tail. While running back to the king
+in the form of a hare, he was shot by an envious comrade, who took the
+ring and was rewarded. The hero was restored to life by the old beggar,
+and returned to the castle, where he was brought to the princess. She
+succeeded in proving the truth of his story by means of the feathers,
+the scales, and the tail, which she had so fortunately preserved.
+
+Rumanian II., though changed into legendary form, does not differ
+greatly from the two variants just cited. A shepherd boy gave his
+one sheep to Christ, when He asked for food. In return, he received
+a knife with three blades. Later he took service with a man, with
+whom he entered the army of the emperor. One day the monarch found
+that he had forgotten his ring, and promised half his kingdom to
+anybody who could bring it to him from the palace within twenty-four
+hours. By means of his magical knife the hero changed into a hare,
+obtained the emperor's ring as well as one from the princess's own
+hand, and returned to the army. There he was met by his master, who
+plundered him, threw him into a spring, and went to the emperor for
+reward. When the battle was over and all had returned to the capital,
+the princess said that the man who was presented as her bridegroom
+was not he to whom she gave the ring. Meanwhile, Christ had rescued
+the hero from the spring and sent him to the palace in the form of
+a fox with his ring in a basket. The princess recognized from the
+token that he was her true bridegroom, and brought him to the emperor.
+
+Straparola II. introduces certain new elements to our notice. A king's
+son releases a wild man, whom his father has incarcerated, in order to
+get back an arrow that the man has taken from him. The man is really
+a disappointed lover, who had given himself up to a savage life. The
+boy's mother, in fear of the king, sends him away in the care of
+two faithful servants, with whom he lives in obscurity till he is
+sixteen years old. Covetous of his wealth, they are about to kill him,
+when the wild man, transformed into a splendid knight by a grateful
+fairy, joins them. They go to a beautiful city called Ireland, which
+is devastated by a ferocious horse and an equally savage mare. The
+traitorous servants plot to destroy the prince by giving out, first,
+that he has boasted that he can overcome the horse, and, second,
+the mare. By the advice of his unknown friend and the help of the
+latter's fairy horse, he accomplishes these labours. He is told by
+the king that he may have one of his daughters in marriage, if he
+can tell which has hair of gold. He is told by his companion that a
+hornet, which he has released, will appear at the test and fly three
+times around the head of the princess whom he is to choose. The man
+explains at the same time the cause of his benevolence,--gratitude
+because by him he has been delivered from death. The prince is thus
+enabled to pick out the princess with golden hair, and is married to
+her, while his companion receives the sister.
+
+In the Venetian tale, again a peculiar variant, twelve brothers
+seek twelve sisters as wives. Eleven of them go out at first, and
+are turned to stone. The youngest brother sets out after a year, and
+on the way has a poor dead man buried. Later, when he has saved his
+eleven brothers, they become envious, and throw him into a well. The
+thankful dead man then comes, draws him out with a cord, and explains
+who he is. The hero proceeds to his home and tells his story.
+
+Sicilian is more extended but less difficult to place. The three
+orphaned sons of a rich man try to win the daughter of a certain
+king, who has announced that he will marry the princess to anyone
+who can make a ship that will travel alike on land and water. The
+eldest and middle brothers are unsuccessful because they are unkind
+to the poor who ask for work. The youngest brother gives work to both
+old and young, and, when an old man (St. Joseph) appears, makes him
+overseer. After the work is done, he agrees to give half of what he
+obtains to the old man, and goes with him in the ship to court. On
+the way he takes in a man who is found putting clouds in a sack,
+another who is bearing half a forest on his back, another who has
+drunk half a stream, another who is aiming his bow at a quail in
+the underworld, and another who stands with one foot at Catania and
+the other at Messina. At the court the king refuses to give up his
+daughter till the hero can send a message to the underworld and get
+an answer in an hour, which he does by means of the long-strider
+and the shooter; and till he can find a man who will drink half
+the contents of his cellar in one day, which the drinker easily
+accomplishes. The king then offers as dowry only what one man can
+carry away, but he is foiled by the man who bore half the forest on
+his back, who now takes all the contents of the palace and departs
+with the hero, the princess, and their companions. The king pursues
+them, but is befogged by the man with the clouds. When they arrive
+at home, the saint demands his half, even of the king's daughter;
+but when the hero takes his sword to divide her, he cries out that
+he merely wished to test his faithfulness.
+
+In Treu Heinrich a noble youth lost his property through prodigality
+in tournaments. Finally he sold his all to enter a tourney for the
+hand of the daughter of the King of Cyprus, but he gave half to his
+faithful follower Heinrich. After they set out for Cyprus, they were
+joined by a knight, who shared the hero's hospitality for fourteen
+days, agreeing to do the same in return, but at last riding away. In
+destitution they arrived at Famagust in Cyprus. While Heinrich was in
+the city, the hero found a clear stone left by a bird, through which
+he obtained power to become a bird. He then established himself in
+the city, met the princess with the result that they fell in love,
+and flew to her chamber as a bird. He obtained from her not only his
+desire but an ornament which he gave to the strange knight, who had
+again joined him. Later he overcame this knight in the tourney, but
+the latter was mistaken for himself. Again he flew to the princess,
+who gave him a crown, and again, after giving it to the stranger,
+he overcame him in a fight. The princess now gave him a helmet,
+which he kept; and he was proclaimed victor of the jousting. Once
+more he flew to the princess, and obtained from her an ornament for
+his helmet, made by herself. Thus he won her as wife.
+
+In Harz II. our primary motive is far less obscure than in the version
+just summarized. A youth pays his all, thirty-eight dollars, to free a
+dead man from indebtedness. He goes his way, and meets a young fellow,
+who accompanies him. They fall in with a man bearing two trees, a man
+with a hat on one side, a man with a wooden leg, and a man with a blind
+eye. The six go together to a city, where the princess can be won only
+by performing feats, with the penalty of death attached to failure. The
+companions aid the hero by bringing water from a distant spring and
+by keeping a fiery furnace habitable, so that he wins the princess.
+
+These nine variants are, it will be seen, related in very different
+degrees to The Grateful Dead. What a debased type of the maerchen they
+represent is shown by the fact that in no less than five [182] the
+burial of the corpse, which is the most fundamental trait of the theme,
+has been lost. Yet for two reasons it is clear that they are really
+scions of the stock. In the first place, wherever the burial has been
+cut away, other elements of the motive in its simple form have been
+retained. Thus in Hungarian I. and Rumanian II. the deeds of the old
+beggar (or Christ) make his identity with the ghost unquestionable;
+in Straparola II., despite its sophistication, the wild man fills the
+same role, while his explanations at the end show that the burial
+has been merely blurred; in Sicilian both the agreement to divide
+and the division of the woman as a test are introduced; and in Treu
+Heinrich there is double division in a way, since the hero divides
+his property with his faithful follower to begin with and afterwards
+agrees to an exchange of hospitality with the helpful knight, going
+so far as actually to give him two of the four gifts received from
+the princess. In the second place, certain variants without the
+burial are very closely allied with others which retain it, [183]
+as will be seen in a moment. Thus all those treated here may safely
+be admitted to the group.
+
+The reader must, however, have been struck, while examining the
+summaries just given, with the great diversity of the residuum which
+would be left if the parts properly belonging to The Grateful Dead
+were taken away. Indeed, they may be separated on this score into
+four categories with a couple of minor divisions. Polish, Hungarian
+I., and Rumanian II. are very similar in respect to these matters,
+having a princess who is won by the feat of obtaining something left
+at home by her father (this feat made possible by the power given
+the hero to change his form) and a treacherous rival. Polish has the
+peculiarity that the article to be obtained by the hero is a magical
+sword. [184] Treu Heinrich stands a little apart from these, since
+the rival does not appear and the princess is won by a tourney; yet it
+has the curious metamorphosis, and must be considered as having some
+connection. Maltese and Venetian fall together. Venetian has retained
+from The Water of Life only the misfortune and the treachery of the
+older brothers, [185] while Maltese keeps also the magical bird
+and the features naturally connected therewith. The introduction
+of two steamboats in the latter is a curious illustration of the
+ease with which popular tales change details without altering
+essentials. Sicilian and Harz II. again are alike, both being
+compounded with The Skilful Companions, [186] and making the winning
+of the princess depend on feats really accomplished by the helpers
+characteristic to that tale. Straparola II. must be placed alone,
+having nearly all trace of The Water of Life lost in the traits of
+The Lady and the Monster, with a princess won by the hero's happily
+directed choice. [187]
+
+All of these features will appear again when we come to discuss
+variants which combine the compound types The Grateful Dead + The
+Poison Maiden or The Ransomed Woman with The Water of Life. They may,
+therefore, be passed over for the present, together with the question
+as to whether such a simple combination as The Grateful Dead + The
+Water of Life may be regarded as being the original from which the
+more complicated types have sprung. It is sufficient for the moment
+to recognize the tendency of the simpler variants to fall into groups
+on the basis of the residuum left by subtracting traits belonging to
+The Grateful Dead.
+
+Let us now consider the tales where a thankful beast plays the part
+of the grateful dead through at least a portion of the narrative,
+and where there is still no trace of either The Poison Maiden or The
+Ransomed Woman. The change of beast for ghost is so obvious and easy
+that the separation of these variants from the preceding appears at
+first sight to be of merely formal use. Yet thus considered, they may
+serve to define the sub-divisions already noticed. Nine such versions
+have come to my knowledge: Walewein, Lotharingian, Tuscan, Brazilian,
+Basque I., Breton IV., V., and VI., and Simrock IX. All but one are
+folk-tales, and that, curiously enough, an episode in a thirteenth
+century [188] Dutch romance translated from the French. [189]
+
+Walewein, the variant in question, has the following form: Walewein
+(or more familiarly Gawain) sets forth from Arthur's court to secure
+a magical chessboard. He is promised it by King Wonder if only he
+will get the sword of rings from King Amoris, who in turn will give
+that up if Walewein will bring him the princess of the Garden of
+India. On this quest the hero mortally wounds a certain Red Knight,
+who prays him for Christian burial and is properly interred. He then
+proceeds to the castle of King Assentin, whose daughter recognizes
+in him the ideal knight whom she has seen in a dream. He is led
+under the dark river which surrounds the castle by the Fox Roges,
+and wins the princess. The lovers and the fox (a prince transformed)
+escape by the help of the Red Knight's ghost. After many adventures
+they come together to the court with a chessboard, which is given up
+by King Wonder in exchange for the sword. Walewein is able to keep
+the princess for his own because of the death of Amoris.
+
+Lotharingian runs as follows: A king has three sons. He sends them
+successively to seek the water of life. Two of them refuse to help a
+shepherd on the way, and rest from their search in Pekin. The third,
+who is deformed, aids the shepherd, and receives from him some arrows,
+which will pierce well whatever they strike, and a flageolet, which
+will make everyone dance within hearing of it. Arrived at Pekin, the
+humpback pays the debts of a corpse, and has it buried. He goes on till
+his money is exhausted. When he is about to shoot a fox one day, he is
+stayed by pity, and is directed by the creature to the castle where
+the water of life is to be found. There he is detained by an ogre,
+and wins battles for him by the aid of the magical arrows. There
+is a princess in the castle, who refuses to marry the ogre. The
+hero makes her dance, and obtains from the ogre as recompense the
+promise of whatever he wishes. He asks for the most beautiful thing
+there and the right to circle the castle three times. So he takes
+the princess, a phial of the water of life, as well as the uglier of
+the two mules and of the two green birds, as the fox has told him,
+and flees away. He meets the fox again, and is warned not to help
+any one in trouble. Nevertheless, he rescues his two brothers from
+the scaffold in Pekin, and is cast into a well by them. They go home,
+but are not able to heal the king. Meanwhile, the prince is saved by
+the fox, and is made straight of body. He goes home, and at his coming
+the king becomes young again, while the brothers are burned. So the
+prince marries the lady.
+
+In Tuscan we learn that the youngest of three princes, while wandering,
+paid the debts of a man whose corpse was being insulted. When he had
+buried the man, he found himself without a farthing, and so slept in
+the forest. In the morning he was greeted by a hare (lieprina) with
+a basket of food in its mouth. He took this gladly, and reflected
+that the creature must be the soul of the man whom he had buried. He
+then came to an inn, and took service with the host, whose beautiful
+daughter he soon discovered to be a princess, who had been bought while
+an infant. After winning her love, the hero went on into two kingdoms,
+where he obtained a magical purse and a wonderful horse from two ugly
+daughters of innkeepers. With these possessions he returned to the
+princess, and started with her for his home. On the way he saved from
+death his two older brothers, who had gone out to seek adventures at
+the same time as himself. They repaid the kindness by trying to drown
+him and by carrying the princess off home, where only by feigning
+illness could she frustrate their plan that she choose one of them as
+husband. Meanwhile, the hero was rescued from drowning by the hare,
+and came home. By pretending to be a physician he obtained access to
+the princess, was recognized, and then revealed himself to his father.
+
+The Brazilian tale is brief but not unusual in type. A prince, while
+seeking a remedy for his father, passes through a town and sees a
+corpse, which is held for debt. He pays the creditors, and has the
+corpse buried. Later he is met by a fox, which helps him obtain not
+only the remedy for his father but in addition a princess as his
+wife. On its last appearance the beast declares that it is the soul
+of the man whom he buried.
+
+Basque I. has the following form: Three sons go out to seek a white
+blackbird by which their father can be healed. Two of them get into
+debt to the same three ladies, and, according to the custom of the
+land, are imprisoned. The third son resists the sirens, ransoms
+his brothers, and also pays the debts of a dead man, whose corpse
+is being maltreated. He arrives at the house of the king who has the
+white blackbird, and is told to get a certain young woman from another
+king. He goes far on till he comes near the castle, where he meets a
+fox and is instructed by it to enter a certain room, in which he will
+find the lady dressed in poor clothing. He must have her put on good
+clothes, and she will sing. He follows the advice, but is interrupted,
+while the lady is singing, by the king of the castle, who tells him
+that he must get a white horse from still another king. He meets the
+fox again, and is instructed that, when he finds the horse with an old
+saddle on it, he must put on a good one, so that it will neigh. Again
+he follows the fox's advice, and is interrupted by people who rush in
+when they hear the horse neigh. From them he obtains the steed, and
+retraces his steps, eloping with the lady at the second king's castle
+and at the first king's carrying off the blackbird. On his arrival
+at home he is thrown into a cistern by his treacherous brothers,
+who take his spoil to the king. He is saved by the fox, however,
+which draws him out with its tail. When he comes into the presence
+of his father, and not till then, is the healing accomplished.
+
+In Breton IV. we find again three sons of a king, who set forth to get
+the white blackbird and also the lady with locks of gold. Jeannot, the
+youngest of them, pays for the interment of a beggar on the way. Later
+a fox comes to him, saying that it is the soul of the poor man. It
+helps him procure the youth-giving blackbird and afterward the lady
+with the marvellous hair. He then meets his brothers, who for envy push
+him over a precipice, but he is saved and sent homeward by the fox.
+
+Breton V. does not differ materially from the preceding, though it
+has interesting minor variations. The three sons of a king seek the
+bird Dredaine in its golden cage in order to cure their father. The
+two elder brothers go to England, and there meet jolly companions,
+but find no trace of the bird. The third brother, the ugly one, comes
+thither, is mocked and robbed by them, but goes his way. One night
+he lodges in a forest hut, and there finds a man's body, which the
+widow cannot bury for lack of money to pay the priest. He is now poor,
+but pays for the interment of the corpse, and proceeds. He is followed
+by a white fox, which instructs him how to achieve his quest. He soon
+reaches the castle, traverses three courts, comes to one chamber where
+he finds a piece of inexhaustible bread, enters a second where he
+gets an unfailing pot of wine and makes love to a sleeping princess,
+and goes on to a third where he finds a magical sword and the bird. He
+hastens away with his booty, guided for a time by the fox, sells his
+bread and his wine to innkeepers on condition that they be given up to
+the princess if ever she comes for them, and arrives at the city where
+his brothers are now in prison. He ransoms them by helping the king,
+and pays their debts by selling his sword. On their way home he is
+thrown into a well by his brothers, who take the bird to their father,
+but do not succeed in curing him. Meanwhile, the hero is saved by the
+fox, which now explains that it is the soul of the man whom he has
+buried, and definitely disappears. He arrives at his home as a beggar,
+and takes service with his father. Later the princess comes thither
+with the son that is the fruit of their union, and brings with her
+the bread, wine, and sword which she has found on the way. The bird
+sings, the king is healed, and the wicked brothers are executed.
+
+Breton VI. lacks some of the interesting traits of the variant just
+given, but embroiders the theme with considerable grace. The three sons
+of a king set out to find the princess of Hungary, who has the only
+remedy that will cure their father. The eldest forgets his purpose, and
+wastes his money in rioting. The second finds him just as he is being
+led to death on account of debt, ransoms him, and shares his riotous
+pleasures. The third brother, a humpback, goes out with little money,
+but on his way procures burial for a man's corpse, which the widow has
+been unable to do because of lack of money to pay the priest. The next
+day a fox with a white tail meets him, and in return for a bit of cake
+leads him to the castle of a princess. There the prince resists the
+lady's advances, which he suspects are derisive, and is sent to her
+sister's castle, where he has the same experience. When he arrives
+at the castle of the third sister, he yields to her proposals,
+is given the remedy for his father and a magical sword, and is
+told how to go home. On the way he rescues his brothers from the
+scaffold by waving his sword, and is robbed and thrown into a well
+by them. Thence he is rescued by the fox, which comes at his call,
+and before it disappears explains that it is the ghost. Meanwhile, the
+older brothers have cured the king by the water of life in a phial;
+so when the hero comes home he is not believed. In a year and a day
+the princess arrives there according to her promise, and with a little
+son. At a feast she proclaims the truth, cuts her husband into bits,
+sprinkles the heap of fragments with the water of life, and marries
+the handsome youth who at once arises--the humpback transformed. [190]
+
+According to Simrock IX., finally, the three sons of a king seek
+the bird phoenix to cure their blind father. The two elder enter the
+castle of a beautiful maiden, and are lost; but the youngest resists
+the temptation, and takes lodging at an inn. There at night he is
+startled by a ghost, which tells him that it is the spirit of a man
+whom the host has buried in the cellar for non-payment of a score,
+and which implores his help. The youth arranges for payment of the
+debt and for proper burial, then goes his way. In the wood he meets a
+wolf, which instructs him how to find the bird phoenix in a cage in the
+magical castle, and carries him thither. Because he fails to take the
+worse-looking bird according to instructions, he has to get a steed
+as swift as wind for the lord of the castle. Again he is disobedient
+when told to take the worst-looking horse only, and so has to get the
+most beautiful woman in the world for the lord of this castle. Again
+he is brought by the wolf to a castle, where he obediently chooses a
+black maiden instead of one who is apparently beautiful. With maiden,
+horse, and bird he turns home. The wolf in parting from him explains
+that it is the ghost of the dead man, and warns him not to buy gallows
+flesh. When he meets his brothers on their way to be hanged, however,
+he forgets this, and ransoms them. In return he is nearly murdered
+by them and left for dead, but is rescued and healed by the wolf,
+and so at last reaches his destination.
+
+In none of these nine stories is the burial of the dead, one of
+the two most fundamental features of our leading motive, in any way
+obscured. They are thus less difficult to treat than was the preceding
+group, in spite of the added complications introduced by the advent
+of the helpful animal. This creature should naturally take the role
+of the ghost, appear as the embodiment of the dead man's soul indeed;
+and with but two exceptions [191] it actually fulfils the part. In
+those two there has been, apparently, imperfect amalgamation, so that
+the helper is duplicated, and the motivation obscured. In Walewein,
+a literary version, consciously adapted to the requirements of a
+roman d'aventure, this need excite no wonder. The ghost does its
+part properly, and the fox is merely an additional agency in the
+service of the hero, acting out of pure kindness of heart [192]
+as far as one can see. Lotharingian, not contented with duplicating
+the trait, triplicates it. The fox, as in the ordinary form of The
+Thankful Beasts, helps the hero because of a benefit received; the
+shepherd bestows magical gifts, as in a common type of The Water of
+Life, because of the hero's kindness; while the dead debtor remains
+inactive after the burial, and plays no further part in the narrative.
+
+As for The Water of Life, there are fewer complications in this
+group than in that where the thankful beast does not appear. In all
+of the variants some of the fundamental traits of the theme remain
+intact. In all save Walewein and Brazilian (which is a degenerate
+form presumably carried across the sea by Spaniards or Portuguese)
+the three brothers set out from home in quite the normal way. Walewein
+again lacks the water of life, which Brazilian retains. All the other
+versions, save Tuscan, keep this water or replace it by some other
+restorative agency. Two variants only fail to make the older brothers
+act treacherously towards the hero, these being again Walewein and
+Brazilian. The former thus lacks three of the essentials of the theme,
+the latter two. Yet since Walewein makes the hero win his princess
+by going on from adventure to adventure quite in the normal manner,
+and since Brazilian makes him obtain both water of life and princess,
+though with loss of interesting details, we are surely justified in
+placing both in this category.
+
+It is worth our while to note in this connection that all these nine
+variants come from southern Europe, directly or by derivation. [193]
+Geographical proximity, though not sufficient in itself as a basis of
+classification, adds welcome confirmation to other proof in cases like
+this, where a small group of highly complicated tales is found to exist
+in neighbouring countries only. That Walewein can be connected with
+this specialized sub-division has important bearings on the question
+whence the material for that romance was taken. In view of the limited
+territory which this form of the story has covered as a folk-tale
+in six hundred years, and the fact that France would be the centre
+of the region, it seems fair to assume that some thirteenth century
+French writer took a maerchen of his own land as the basis for his work,
+thus elaborating with native material the adventures of a Celtic hero.
+
+The question now arises as to what light the group just considered
+throws upon the variants which combine the simple theme of The Grateful
+Dead with The Water of Life or some such motive. It appeared, the
+reader will remember, that according to the elements foreign to the
+main motive they must be separated into four classes. Reference to
+these classes [194] will show that the variants with The Thankful
+Beasts are in many respects different from any one of them as far
+as the features peculiar to The Water of Life, or kindred themes,
+are concerned. Yet because Maltese and the brief Venetian, though
+otherwise transformed, are the only tales aside from these [195] that
+preserve the treachery of the hero's brothers, it is safe to class
+them together. Both Maltese and Venetian come, it will be observed,
+from the same general region as all the other members of the group.
+
+Since the elements left by subtracting The Grateful Dead from the
+variants of the four categories thus discovered are very diverse,
+we cannot postulate a parent form from which all four classes might
+have sprung. Indeed, the evidence thus far obtained all points to a
+separate combination of already developed themes with The Grateful
+Dead. The test of this will be found in an examination of those
+variants of those larger compounds, which have also traces of The
+Water of Life or some allied motive.
+
+Turning first to such versions of the combination The Grateful Dead
++ The Poison Maiden, we find eleven on our list, all of which have
+already been summarized and discussed in connection with the simple
+compound. [196] These are Esthonian II., Rumanian I., Irish I., Irish
+II., Irish III., Danish III., Norwegian II., Simrock X., Harz I., Jack
+the Giant-Killer, and Old Wives' Tale. Since we know definitely that
+Danish III. (the tale by Christian Andersen) was taken from Norwegian
+II., it may be left out of account. Ten variants thus remain to be
+studied with reference to the subsidiary elements.
+
+In Esthonian II. the hero releases a princess, who goes with devils
+every night to church, by watching in the church for three nights
+with three, six, and twelve candles on successive nights. In Rumanian
+I. the hero wins a princess by explaining why she wears out twelve
+pairs of slippers every night; and he accomplishes this by the aid
+of his helper, who follows the lady in the form of a cat, and picks
+up the handkerchief, spoon, and ring which she drops in the house of
+the dragons. According to Irish I. the helper obtains for the hero
+horses of gold and silver, a sword of light, a cloak of darkness,
+and a pair of slippery shoes; he helps him keep over night a comb
+and a pair of scissors, in spite of enchantment, and finally gets the
+lips of the giant enchanter, so that the hero unspells and wins the
+lady of his quest. In Irish II. the hero is joined by a green man
+(the grateful dead), a gunner, a listener, a blower, and a strong
+man. By the aid of the first he gives his princess a pair of scissors,
+a comb, and the enchanter's head; by the aid of the others he obtains
+water from the well of the western world, and is enabled to walk over
+three miles of needles. Irish III. has a helper who obtains for the
+hero a sword, a cloak of darkness, and swift shoes, rescues a pair
+of scissors, and obtains the enchanter's head, while the hero wins
+a race by the aid of the shoes. According to Norwegian II. the hero
+and helper get a sword, a ball of yarn, and a hat, while the latter
+follows the princess and rescues a pair of scissors and a ball,
+finally obtaining the troll's head. In Simrock X. the helper secures
+three rods, a sword, and a pair of wings, follows the princess, and
+learns how to answer her riddles, emphasizing his knowledge by getting
+the wizard's head. Harz I. has the helper give wings and a rod to the
+hero, who flies with the princess and learns to guess her riddles,
+cutting off the monster's head. In Jack the Giant-Killer Jack obtains
+gold, a coat and cap, a sword, and a pair of slippers for his master,
+follows the princess, and secures the handkerchief and the demon's
+head, which are requisite to the unspelling. Finally, according to
+Old Wives' Tale, the helper, while invisible, slays the conjuror,
+and so obtains the princess for his master.
+
+It will at once be recognized that all of these variants are of one
+type as far as the traits just specified are concerned. The basal
+element is the hero's success in winning an enchanted princess either
+by accomplishing difficult feats or answering riddles. The water of
+life, as such, appears in only one story, Irish II., and there not
+as the prime goal of the hero's quest, but merely as the object of
+a subsidiary labour. Clearly these tales not only form a group by
+themselves, but have in combination with The Grateful Dead and The
+Poison Maiden a theme which is not properly The Water of Life. This
+theme is as clearly The Lady and the Monster, [197] which is closely
+allied to The Water of Life, but is essentially distinct. It has
+already been found compounded with the simple form of The Grateful
+Dead in the somewhat degenerate and literary Straparola II., [198]
+though the method by which the enchanted princess was won in that
+variant was different from that given in the present group.
+
+Within the group there are minor differences with reference to the
+manner of unspelling the princess, which resolve themselves either, on
+the one hand, into the hero's keeping or obtaining something for her,
+or, on the other, into his guessing the object of her thoughts. These
+details are not, however, of much importance for the purpose in hand,
+though they might become so if an attempt were made to sub-divide the
+group. Thus Esthonian II. is decidedly unusual in its treatment of
+the matter just mentioned. Irish I. has traces of the Sword of Light
+[199] and of The Two Friends. [200] In Harz I. the hero himself follows
+the princess instead of leaving the actual work of unspelling to the
+helper, as is elsewhere the case. Irish II., finally, is peculiar not
+only in bringing in The Water of Life, as mentioned above, but also
+the motive of The Skilful Companions, which we have already met with
+in Sicilian and Harz II. [201]
+
+Irish II. is, indeed, of great importance to our study at this
+point. It is in some way a link between Sicilian and Harz II. and the
+subdivision now under discussion. Furthermore, the fact that Straparola
+II. has some traits of The Lady and the Monster in common with all the
+members of the group under consideration shows that it can safely be
+placed in the same category as Sicilian and Harz II. Though the feats
+by which the princess is won are somewhat different in the last-named
+variants from the feats in Straparola II. on the one hand and in the
+compound The Grateful Dead + The Poison Maiden + The Water of Life
+(The Lady and the Monster) on the other, there can be little doubt,
+it seems to me, that all of them belong together. Irish II. by the
+introduction of The Skilful Companions thus furnishes a clue by which
+the tales having the compound just mentioned may be classed with two
+varieties of the simple combination, and permits us to reduce the
+total number of categories with reference to The Water of Life from
+four to three.
+
+Before proceeding to a general discussion of the means by which this
+theme was brought into connection with The Grateful Dead and the
+comparative date of the combination or series of combinations, it is
+necessary to examine four other versions,--those which have the form
+The Grateful Dead + The Ransomed Woman + The Water of Life. Like the
+group just treated, all of them have been summarized and discussed
+with reference to the prime features of the compound. [202] They are
+Bohemian, Simrock I., Simrock III., and Simrock VII.
+
+The elements of these variants, apart from those due to the main
+compound, are as follows. In Bohemian the hero is given a flute
+and a captive princess by his helper, and escapes with them from
+prison. Later he is cast into the sea by a rival, but is rescued by
+the helper and given a wishing ring. By means of this ring he turns
+first into an eagle and afterwards into an old man, and succeeds in
+winning the princess by building and painting a church. In Simrock
+I. the hero is rescued by the helper after being cast overboard by
+a rival, and is given the power of obtaining his wishes. Thereby he
+paints three rooms to the liking of the princess, and is recognized
+by her. Simrock III. differs from this only in making the helper
+do the painting and in having one room painted instead of three. In
+Simrock VII., finally, the hero releases a princess by hewing trees,
+separating grain, and choosing his mistress among three hundred women,
+all without aid. Later he is rescued from the sea and recognized by
+means of a ring and a handkerchief.
+
+The first three of these variants clearly show in the subsidiary
+elements just enumerated their relationship to The Water of Life. They
+lack the quest for some magical fountain or bird, to be sure, but they
+preserve the quest for the lady, which is an important factor in the
+maerchen. Of the three, Bohemian has the most extended and probably
+the best presentation of the details of the difficult courtship;
+and it gives the hero that power of metamorphosis which was noted
+in four variants of the type The Grateful Dead + The Water of Life
+simply. It may, therefore, on the basis of general and particular
+resemblance be classed with Polish, Hungarian I., Rumanian II., and
+Treu Heinrich. [203] Along with it, of course, go the briefer Simrock
+I. and Simrock III. There is this important difference between the
+two sets of tales, that in the simpler form the princess is won by
+the hero's success in bringing something from a distance, in the more
+complicated form by building and decorating. Yet the resemblance is
+sufficient to warrant the classification proposed.
+
+With Simrock VII. the case is altogether different. There the
+subsidiary elements are connected with The Lady and the Monster rather
+than The Water of Life proper, yet not with that theme as it appears in
+combination with The Poison Maiden, [204] since in that group the hero
+disenchants the princess by guessing some secret, here by performing
+two feats of prowess or discrimination and by choosing the proper
+lady from a host of maidens. With Straparola II., however, which has
+the simpler combination The Grateful Dead + The Lady and the Monster,
+the resemblance is very close, [205] as both have the happily directed
+choice. The complicated Simrock VII. thus falls into the same category
+with reference to this matter as Straparola II., Sicilian, and Harz
+II., and the group having the form The Grateful Dead + The Poison
+Maiden + The Water of Life (The Lady and the Monster specifically).
+
+A summary of our three categories will be of service in discussing
+their relations to one another and to the themes with which The Water
+of Life or The Lady and the Monster are combined.
+
+
+
+Class I.
+
+    Polish.
+    Hungarian I.
+    Rumanian II.
+    Treu Heinrich.
+    Bohemian.       |
+    Simrock I.      + (With The Ransomed Woman.)
+    Simrock III.    |
+
+Class II.
+
+    Sicilian.
+    Harz II.
+    Straparola II.
+    All recorded variants with The Poison Maiden.
+    Simrock VII. (With The Ransomed Woman.)
+
+Class III.
+
+    Maltese.
+    Venetian.
+    All variants with The Thankful Beasts.
+
+
+
+Class I. forms a territorially homogeneous group, all the members
+of it coming from eastern and central Europe. It is not altogether
+homogeneous in content, but preserves the theme of The Water of
+Life proper in a form where the hero wins a princess by means, among
+other feats, of metamorphosis. Class II. is the most widespread of
+all territorially, as its members come from all parts of Europe. It
+has instead of The Water of Life proper what must be regarded, in the
+present state of the evidence, as the closely allied theme of The Lady
+and the Monster. Class III., the most compact of all in the region
+that it inhabits, preserves The Water of Life better than any other
+group, though not without frequent admixture and, in many instances,
+the loss of some elements.
+
+It has been stated above [206] that it would be hard to imagine such
+various traits coming from a single type of story. This becomes
+even more evident from the tabulation just made. To suppose that
+The Grateful Dead first united with The Water of Life, and that this
+compound gave rise to the varieties, as enumerated, would involve us in
+the direst confusion. If such were the case, how could Class II. with
+its introduction of The Lady and the Monster be explained? Why,
+moreover, should one variant having The Ransomed Woman fall into
+Class II., while three others fall into Class I.? Such an assumption,
+it is clear, would be self-destructive.
+
+The only alternative is to suppose that The Water of Life entered
+into combination with simple or compound types of The Grateful Dead
+at more than one time and in more than one region. That The Grateful
+Dead united with The Poison Maiden and The Ransomed Woman rather
+early and quite independently abundant evidence goes to show; that
+The Water of Life is an independent motive and that, like at least two
+of the other themes, it was of Asiatic origin has likewise been made
+clear; that the latter could not have united with The Grateful Dead
+so early as did The Poison Maiden and The Ransomed Woman is proved
+by the discrepancies noted above. If it be assumed, on the contrary,
+that after the compounds The Grateful Dead + The Poison Maiden and
+The Ransomed Woman had arisen, both they and the simple theme in one
+or another form came into connection with one or another form of The
+Water of Life our difficulties are in great measure resolved.
+
+With this in mind let us consider the three categories. Sometime
+before the fourteenth century [207] The Water of Life, perhaps in
+a rather peculiar form, came into contact with The Grateful Dead,
+both simple and combined with The Ransomed Woman, [208] in eastern or
+central Europe. With each form it seems to have united, giving rise
+in the century named to the German romance of Treu Heinrich and the
+legend of Nicholas by Gobius, as well as, sooner or later, to the
+folk-tales with which it has been found combined in those regions
+within the past hundred years. The territorial limitation of the
+resulting type is a point in the favour of the proposed theory, though
+I cannot but be aware that this may be disturbed by a variant outside
+the seemingly fixed circle. Yet even so, the relation of the variants
+of Class I. to the themes concerned appears to be pretty definitely
+established. With Class III. the matter is even simpler. According to
+my view, some form of The Grateful Dead, more or less confused with
+one of the countless versions of The Thankful Beasts met with a very
+clear type of The Water of Life in southern or south-western Europe
+by or before the thirteenth century. [209] With this it united and
+gave rise to an Old French romance (later turned into Dutch) and to
+a considerable body of folk-tales, which have not strayed far from
+the point of departure save in one instance, [210] where the means of
+transmission is not difficult to ascertain. Apparently the thankful
+beast was not absolutely in solution, since in Maltese and Venetian
+the human ghost resumes its characteristic role. [211] With Class
+II. the case is different and more difficult of explanation. Here
+the compound has no definite territorial limits, and it is besides
+of a very complicated character. We have to suppose that The Lady
+and the Monster, a maerchen allied to The Water of Life, was afloat
+in Europe somewhat before the early sixteenth century. [212] There
+it met and united with The Grateful Dead, in its simple form on the
+one hand, giving rise to three of our variants, and on the other hand
+separately with the compounds having The Poison Maiden and The Ransomed
+Woman. The former double compound must have been made fairly early,
+[213] since it has been found in such widely separated countries as
+Rumania and Ireland, and furnished one of the most important elements
+to the making of a sixteenth century English play, Peele's Old Wives'
+Tale. The second of the double compounds is unfortunately represented
+on our list by a single folk-tale only, and may possibly be a later
+formation.
+
+Such, then, seems to be the relationship of The Water of Life and
+allied motives to the main theme of our study,--purely subsidiary
+and relatively late. The theory which has been proposed involves
+the necessity of placing the entrance of the Semitic maerchen into
+Europe not much earlier than the twelfth century, though such
+matters of chronology must be left somewhat to speculation; it
+shows the points of contact between the various motives concerned;
+and it avoids contradictions of space and time. Writer and reader may
+perhaps congratulate themselves on finding so clear a road through the
+maze. Should subsequent discovery of material necessitate modification
+of the views here expressed, it should be welcomed by both with
+equal pleasure.
+
+
+
+
+
+
+
+CHAPTER VII.
+
+THE RELATIONS OF THE GRATEFUL DEAD TO THE SPENDTHRIFT KNIGHT, THE
+TWO FRIENDS, AND THE THANKFUL BEASTS.
+
+
+We have met at various points in our study with tales in which the
+motive of the hero's fateful journey was his impoverishment through
+extravagance; we have seen that many variants make the division of a
+child part of the agreement between the ghost and the hero; and we have
+noted the appearance of the ghost in the form of a beast in a large
+number of instances. The bearing of these phenomena we shall do well
+to investigate before proceeding to general conclusions. Occurring
+as they do in versions which have been assigned on other accounts to
+different categories, are they of sufficient importance to disturb
+the classification already proposed? Furthermore, what cause can be
+found for their introduction? Are they in reality sporadic, or are they
+the result of some determinable factor in the history of the cycle?
+
+Eleven variants, namely, Richars, Oliver, Lope de Vega, Dianese, Old
+Swedish, Icelandic I., Icelandic II., Rittertriuwe, Treu Heinrich,
+and Sir Amadas, have more or less clearly expressed the motive of a
+knight who has exhausted his patrimony and goes out to recruit his
+fortunes by winning a princess in a tourney. The figure of such a
+knight or adventurer is not an uncommon one in the fiction of Europe,
+and scarcely requires illustration. Of the variants just named all
+except Oliver, Lope de Vega, and Old Swedish actually state that the
+hero sets out from home on account of his poverty. In the two former
+the motive of the incestuous stepmother is introduced in place of this,
+and in Old Swedish the trait is obscured without any substitution,
+implying that the hero is led merely by ambition to undertake the
+tourney. On the other hand, the tourney occurs in all save Icelandic
+I. and II., which are the only folk-tales in the list. The second
+of these, moreover, makes the hero a merchant instead of a knight;
+but since the two come from the same island and are in other respects
+rather similar, [214] this is perhaps not very significant.
+
+Looking at the matter from another point of view, we find that Richars,
+Lion de Bourges, Dianese, Old Swedish, Rittertriuwe, and Sir Amadas
+form a group by themselves, [215] and are uncompounded with any
+one of the themes with which The Grateful Dead is most frequently
+allied. Oliver and Lope de Vega are treated under the compound with
+The Ransomed Woman, where on account of the rescue of the hero by
+the ghost they probably belong; [216] and Icelandic I. and II. are
+clearly of that type. Treu Heinrich [217] shows the combination of
+the central theme with The Water of Life, and can in the nature of
+the case have no direct connection with the other romance stories
+under consideration, even though it belongs to a class in which The
+Ransomed Woman sometimes appears. [218] In view of these discrepancies
+of position with reference to compounds which are clearly established,
+we are certainly not justified in assuming that The Spendthrift
+Knight has had anything more than a superficial relationship to The
+Grateful Dead. To make it a basis of classification or to attach
+any considerable weight to its appearance here and there would be
+contrary to the only safe method of procedure, which is to follow the
+evidence of events in sequence rather than isolated traits. The very
+fact that none of the compounds with The Poison Maiden contains any
+such motive as this of the knight and the tourney shows that it must
+be comparatively late and really an interloper in the family.
+
+As to the way by which it entered the cycle, one must conclude that
+it was afloat in Europe before the thirteenth century, [219] and
+furnished a very natural opening for a tale in which a youth goes
+into the world to seek adventure or profit. Were a lady to be won by
+the help of the ghost, it would magnify the hero's part, if he were
+given an opportunity to take some very direct share in the wooing. So
+in the group of which Richars and Sir Amadas are members the new
+theme supplied the means of winning a lady, which would otherwise be
+lacking. In Oliver and Lope de Vega it has perhaps supplanted the
+ransom of a maiden, which is the trait to be expected, if they are
+rightly placed among the variants of the type The Grateful Dead +
+The Ransomed Woman. It will be noted that in the two Icelandic tales,
+which conform closely to the type, the tourney does not appear. There
+seems to be reason, therefore, for supposing that the new material
+touched our central theme at least twice, combining with the prototype
+of the Amadas group and of the Icelandic folk-stories. The authors
+of Oliver and Treu Heinrich may have adopted it consciously, and so
+these variants should be left out of account.
+
+Before leaving the matter, however, it must be noted that in Tobit the
+hero leaves home on account of the poverty of his father to seek the
+help of a relative. The ever-recurring possibility of a recollection
+of Tobit on the part of the European story-tellers [220] should not be
+forgotten. To argue that the suggestion of adapting The Spendthrift
+Knight was due to a conscious or unconscious recollection of the
+Apocrypha would be laying too much stress upon what can at best be
+nothing more than conjecture, but there can be no harm in the surmise
+that such may have been the case.
+
+The matter of the division of his child or children by the hero to
+fulfil the bargain made with his helper must next be discussed. This
+occurs in twenty-five of the variants which we have considered, namely:
+Lithuanian II., Transylvanian, Lope de Vega, Oliver, Jean de Calais
+I.-X., Basque II., Gaelic, Irish I., Breton I., III., and VII., Simrock
+I., II., and VIII., Sir Amadas, and Factor's Garland. With reference to
+one group where the trait appears [221] I have already spoken at some
+length of The Two Friends, and I have referred to the introduction
+of the children as they have appeared in scattered variants. I now
+wish to call the reader's attention to the general aspects of the
+question. What relation has the use of this trait in versions of The
+Grateful Dead to the theme which I call The Two Friends?
+
+It must first be noted that the motive as it appears in Amis and
+Amiloun requires [222] that the hero slay his children for the healing
+of his foster-brother and sworn friend. Now of the twenty-five
+variants of The Grateful Dead just named only Oliver and Lope de
+Vega have this factor,--the others merely state that the helper
+asked the hero to fulfil his bargain by giving up his only child,
+[223] or giving up one of his two children, [224] or dividing his
+only child, [225] or dividing his three children. [226] The query
+at once suggests itself as to whether the simple division of the
+child or children as part of the hero's possessions gave rise to
+the introduction of the whole theme of The Two Friends in Oliver
+and Lope de Vega, or whether the twenty-two folk-tales have merely
+an echo of the theme as there found. To put the question is almost
+equivalent to answering it. One sees at once that the former is the
+case. Lope de Vega derives directly from Oliver, [227] and to the
+author of that romance must be due the combination of the two themes
+there presented. Reference to the earlier discussion of the variant
+[228] will show that he was a conscious adapter of his material.
+
+Yet it by no means follows that the suggestion for the combination
+was not present in the version of The Grateful Dead, which was
+used in making Oliver. Indeed, it seems probable that this source
+or prototype had the division of the child in somewhat the form in
+which it appears in so many tales. That such was the case is likely
+from the fact that of the twenty-two folk variants which refer to the
+child all but two are of the type The Grateful Dead + The Ransomed
+Woman, to which Oliver is approximated. Considering the alterations
+which the theme was likely to suffer at the hands of a writer who was
+more or less consciously combining various material in a romance,
+the wonder is that the type was not more changed than it seems to
+have been. In point of fact, the position of Oliver and its literary
+successors as examples of the compound comes out more clearly [229]
+through this examination of their relationship to The Two Friends.
+
+As to the introduction of the child, the trait by means of which,
+according to my theory, the actual combination of motives came about,
+the two folk-tales of the type The Grateful Dead + The Poison Maiden as
+well as Sir Amadas, are of great importance. Since the great majority
+of the variants which have the child belong clearly to the compound
+type with The Ransomed Woman, it is only by reference to these three
+that one can say with assurance that the modified trait indicates no
+vital connection with The Two Friends. Yet with these in mind there
+can be little doubt about the matter. The story-tellers have simply
+extended the division of the hero's possessions from property and
+wife to child, a process perhaps made easier by the existence of such
+stories as The Child Vowed to the Devil [230] and some forms of the
+Souhaits Saint Martin. [231] This might have happened to any particular
+variant with equal facility. At the same time, the fact that the
+change was made in only three cases outside the group, which has The
+Ransomed Woman in combination, gives that family additional solidarity.
+
+In Oliver, Lope de Vega, and Sir Amadas the motive of The Spendthrift
+Knight appears together with the change or combination just referred
+to. At first sight, it might appear that there was some essential
+connection between these two elements foreign to the main theme. Such
+does not seem to be the case, however, when the matter is further
+considered. At any rate, I am unable to discover any such link,
+and am inclined to ascribe the simultaneous appearance of these two
+factors to chance pure and simple. Neither one is more than a rather
+late and comparatively unimportant phenomenon as far as The Grateful
+Dead is concerned.
+
+Not infrequently in the course of this study attention has been called
+to the substitution of a beast for the helping friend of the hero,
+and in a few cases to the transference of the ghost's entire role to an
+animal. While considering matters of greater importance, it seemed best
+to ignore this in order to avoid unnecessary confusion. The matter is
+of considerable importance, however, and must here be considered. The
+question that concerns us is whether the appearance of the beast is
+of any real moment in the development of the theme.
+
+It is sufficiently clear that the well-known stories of grateful
+animals and ungrateful men, which were first traced by Benfey,
+[232] have general outlines different from that of The Grateful
+Dead. Benfey's contention, however, that "konnte der Gedanke von der
+Dankbarkeit der Thiere schon tief genug auch im Occident einwurzeln,
+um auch in andere Maerchen einzudringen und vielleicht selbst sich
+in Bildung von verwandten zur Anschauung zu bringen" [233] should be
+kept in mind. This statement is truer than his later remark [234] that
+fairies and other superhuman creations of fancy are substituted for
+animals, instancing our theme as such a case. To argue relationship
+from the entrance of either helpful beasts, fairies, or ghosts would
+be dangerous unless the stories in question had the same motive,
+since they are so frequently found in folk-literature. Indeed, as I
+have already remarked, [235] one is scarcely called upon to explain
+the intrusion of thankful or helpful animals at any given point, in
+view of the fact that the device is almost universally known. Yet if
+it does not require justification, it may well be of service in the
+grouping of particular variants.
+
+It is certainly worthy of notice that in eighteen forms of The
+Grateful Dead a beast appears. That these are of several different
+compound types would show, if it were not clear from what has been
+said above, that the appearance of an animal furnishes of itself no
+evidence of any actual amalgamation of narrative themes. It is rather
+a case where one stock figure of imagination's realm is substituted
+for another. The better-known character is perhaps more likely to
+replace the less-known than vice versa, but the latter event may
+happen if the obscurer figure will serve to enliven the tale.
+
+Of the twenty variants in our cycle which have a thankful beast,
+Jewish has the simple theme; Servian IV. the combination with The
+Poison Maiden; Jean de Calais II., VII., and X., Simrock II., III., V.,
+and VIII., and Oldenburgian the combination with The Ransomed Woman;
+and Walewein, Lotharingian, Tuscan, Brazilian, Basque I., Breton IV.,
+V., and VI., and Simrock IX. the combination with The Water of Life.
+
+Now in Jewish [236] the hero is saved from shipwreck [237] by a
+stone, carried home by an eagle, and there met by a white-clad man,
+who explains the earlier appearances. This is mere reinforcement of
+the tale by triplication, and implies nothing more than a certain
+vigour of imagination on the part of the story-teller. In Servian IV.,
+[238] where the hero spares a fish which he has caught, there appears,
+on the contrary, to be actual combination with The Thankful Beasts
+as a motive. The fish comes on the scene in human form, and fulfils
+the part of the grateful dead till the very end, when it leaps back
+into its element. As for the variants of the compound type with
+The Ransomed Woman there is considerable diversity, yet all of them
+have merely substitution, not combination. So in Jean de Calais II.,
+VII. and X., [239] which are closely allied with other members of
+the group so named, the beast appears, but in one case as a white
+bird, in the second as a fox, and in the third as a crow. That
+this is anything more than a substitution due to the story-teller's
+individuality cannot be admitted, though knowledge of The Thankful
+Beasts as a motive is not barred out. Simrock II. and VIII. [240]
+are likewise nearly related to one another and to Jean de Calais,
+and they have the same adventitious substitution. Simrock V. and
+Oldenburgian are a similar pair, [241] while Simrock III., [242]
+which is otherwise allied to Bohemian, cannot be shown to have any
+vital connection with The Thankful Beasts as a motive. Of all these
+tales it can be said that they show some influence from such a theme
+without actual combination. Finally, all the variants of the type The
+Grateful Dead + The Water of Life, which have the animal substituted,
+[243] belong to a well-defined and centralized group [244] which
+has had independent existence for centuries. Here the entrance of
+the beast is of considerable importance to the classification and
+development of the theme.
+
+Of the part which The Thankful Beasts as a motive has played in
+connection with The Grateful Dead it must be said that, on the whole,
+it has been of very secondary importance. It illustrates, as do The
+Spendthrift Knight and The Two Friends, how one current theme may
+touch and even influence another at several different points without
+becoming embodied with it. This trait or that may be absorbed as the
+motives meet, yet the two waves may go their way without mingling.
+
+
+
+
+
+
+
+CHAPTER VIII.
+
+CONCLUSION.
+
+
+In considering the general development and relations of The Grateful
+Dead, to which we must now turn, it is proper to inquire first of
+all as to its origin. Hitherto the existence of the story-theme as
+such has been taken well nigh for granted, though the discussion
+of variants in simple form necessitated some reference [245] to the
+point of separation between the maerchen and whatever beliefs or social
+customs lie beyond. Now that the tale has been followed through its
+various modifications and has been proved by a systematic study of
+its forms to be, if I may use the expression, a living organism,
+the debateable land outside can be entered with measurable security.
+
+There can be no doubt that The Grateful Dead as a theme is based upon
+beliefs about the sacred duty of burial and upon the customs incident
+to withholding burial for the sake of revenge or recompense. To study
+these phenomena in detail is not necessary to the scheme of this book,
+but belongs rather to the province of primitive religion and law. It
+is sufficient for our purpose to show the nature and extent of such
+observances and beliefs for the sake of the light which they may
+throw on the genesis of the tale itself.
+
+The belief that no obligation is more binding on man than that he pay
+proper respect to the dead is as old as civilization itself. Indeed,
+it probably antedates what we ordinarily call civilization, since
+otherwise it could not well be found so widely distributed over the
+earth in historical times. It evidently rests upon the notion that
+the soul, when separated from the body, could find no repose. [246]
+Herodotus tells [247] of the Egyptian law, which permitted a man to
+give his father's body in pledge, with the proviso that if he failed
+to repay the loan neither he nor any of his kin could be buried at
+all. The story, also related by Herodotus, [248] of Rampsinit and the
+thief which turns on the latter's successful attempt to rescue his
+brother's body, illustrates again the value that the Egyptians set upon
+burial. Their notion seems to have been that the more honour paid the
+dead, the more bearable would be their lot, though it was regarded as
+unenviable at best. [249] Among the Magi of Persia, though both burial
+and burning were prohibited because of the sanctity of earth and fire,
+the bodies of the dead were cared for according to the strictest of
+codes, being left to the sun and air on elevated structures. [250]
+In India the Rig-Veda [251] bears witness to similar carefulness in
+the performance of this sacred duty.
+
+In classical times belief in the necessity of proper burial was
+widespread. Patroclus, it will be remembered, appears to his friend
+Achilles, and admonishes him that he should not neglect the dead, at
+the same time giving a dire picture of the state of the unburied. [252]
+Pausanias speaks [253] of the conduct of Lysander as reprehensible
+in not burying the bodies of Philocles and the four thousand slain at
+Aegospotami, saying that the Athenians did as much for the Medes after
+Marathon, and even Xerxes for the Lacedaemonians after Thermopylae. The
+story told by Cicero [254] of Simonides gives definite proof of
+the concrete nature of the reverential feeling among both Greeks
+and Romans. Suetonius in his life of Caligula relates that when the
+emperor's body was left half burned and unburied, ghosts filled the
+palace and garden.
+
+An example of the mediaeval belief is found in the Middle High German
+Kudrun, written at the end of the twelfth century or the beginning
+of the thirteenth.
+
+
+    "Daz hast wol geraten," sprach der von Sturmlant.
+    "ja sol man verkoufen ir ros und ir gewant,
+    die da ligent tote, daz man der armen diete
+    nach ir libes ende von ir guote disen frumen biete."
+        Do sprach der degen Irolt: "sol man ouch die begraben,
+    die uns den schaden taten, od sol man si die raben
+    und die wilden wolve uf dem werde lazen niezen?"
+    do rieten daz die wisen, daz sie der einen ligen niht
+    enliezen. [255]
+
+
+The Annamite tale cited in the third chapter [256] and Servian VI.,
+likewise summarized in connection with variants having the story-theme
+in simple form, [257] bear witness to the effect that the widespread
+belief has had upon folk-tales now in circulation. The connection
+of these two tales with the maerchen as such is so vague that
+they serve the end of illustrating its growth from popular belief
+rather than the relationship of one form to another. So also the
+story from Brittany, printed by Sebillot, [258] which tells how a
+ghost came to workmen in a mill demanding Christian interment for
+its body then buried under the foundations, serves the same end,
+though no reward is mentioned. Sometimes the neglect of burial by a
+person brings unpleasant results to him, as is witnessed by a tale
+from Guernsey. [259] A fisherman neglected to bury a body which he
+encountered on the coast, and, when he reached his home, found the
+ghost awaiting him. An Indian tale illustrates the belief that the
+dead become vampires when funeral rites are not performed. [260]
+
+In most versions of The Grateful Dead a corpse is left unburied either
+because creditors remain unpaid or the surviving relatives cannot pay
+for Christian burial. From sixteenth century Scotland we have evidence
+that the latter trait is based on actual custom. Sir David Lyndesaye,
+in The Monarche, while describing the exactions of the clergy, says:
+
+
+            Quhen he hes all, than, vnder his cure,
+            And Father and Mother boith ar dede,
+            Beg mon the babis, without remede:
+            They hauld the Corps at the kirk style;
+            And thare it moste remane ane quhyle,
+            Tyll thay gett sufficient souerte
+            For thare kirk rycht and dewite. [261]
+
+
+This evidence for the widespread belief in the pious duty of burial
+and for the custom of withholding burial in cases where the dead man
+was poor, though it might easily be increased in bulk, makes very
+clear at least two matters. The tale of The Grateful Dead might have
+arisen almost anywhere and in almost any age since the time of the
+Egyptians. Again, when once it had been formed, it was likely to be
+reinforced or changed by the beliefs and customs prevalent in the
+lands to which it came.
+
+The first matter at once suggests the question as to whether,
+after all, the maerchen has not been more than once discovered by the
+imagination of story-tellers,--whether it has not sprung up again and
+again in different parts of the world like different botanical species,
+instead of being a single plant which has propagated itself through
+many centuries. In spite of the evident possibility that such sporadic
+development might have taken place, I cannot believe that it happened
+so. If we had to do with some vaguely outlined myth in which only
+the underlying idea was the same in the several groups of variants,
+and if this vague tale were narrated among peoples of absolutely no
+kinship to one another, say by the Indians of North America and the
+Zulus, one could have no reasonable doubt that similar conditions had
+produced similar tales. Such stories exist in numbers sufficient to
+render untenable the old hypothesis of Oriental origins in anything
+like the form in which it was held by Benfey or even Cosquin.
+
+In cases like that of The Grateful Dead, however, the matter is
+entirely different. The theme is comparatively a complicated one, and
+it is found only in lands whose inhabitants are connected either by
+blood or by social and political intercourse. [262] It has preserved
+its integrity for nearly a score of centuries, though suffering
+many changes of details, and a variety of combinations with other
+themes. To my mind such an involved relationship as that worked out
+in the preceding chapters proves conclusively that the story is one,
+that the connection between variants is more than fortuitous. Inductive
+logic makes the belief inevitable. Any other theory would involve
+us in a bewildering net of contradictions, from which escape could
+be found only in the avowal that nothing whatever can be known about
+narrative development.
+
+If the seemingly inevitable conclusion be accepted that The Grateful
+Dead is an organism with a life history of its own, the question at
+once suggests itself as to when and where it came into being. As to
+its ultimate origin, however, only a very imperfect answer can be
+given. Surmise and theory are all that can aid us here. Liebrecht was
+of the opinion that the story was of European rather than Oriental
+origin, [263] even though he did not accept Simrock's theory that
+it was Germanic. Notwithstanding the fact that most variants are
+European, this hypothesis seems to me very improbable. Tobit, the
+earliest variant which we possess, [264] is distinctly Semitic in
+origin and colouring. Other versions from Asia, like Jewish, Armenian,
+and Siberian, though modern folk-tales, add weight to the evidence of
+the apocryphal story, especially since the one last named comes from
+a somewhat remote region where European narratives could not without
+difficulty have much direct influence. Of course it is possible to
+suppose that the theme came to the Semites from the West, and was by
+them disseminated in Asia; [265] but the early date of Tobit renders
+it unlikely that such was the case. Certainly it is more reasonable
+from the evidence at hand to believe in the Oriental origin of the
+maerchen. As to the particular region of Asia where it was probably
+first related, nothing can be said with security. Yet since there
+is no evidence that it has ever been known in India, Western Asia,
+and perhaps the region inhabited by the Semites, may be considered,
+at least tentatively, its first home.
+
+The age of the theme cannot definitely be measured. It is possible,
+however, to say that it must have existed at least as early as the
+beginning of our era. Tobit is of assistance again here. As the
+book is believed to have been written during the reign of Hadrian
+(76-138 A.D.) and as it has the motive in a compound form, which is
+unlikely to have arisen immediately after the simple story was first
+set afloat, there is little danger of over-statement in saying that
+the latter must have been known at least as early as the first part of
+first century A.D., or more probably before the birth of Christ. Any
+statement beyond this would rest on idle speculation.
+
+After The Grateful Dead was once established as a narrative, its
+development can be traced with some degree of precision, though
+not without many gaps here and there. Its history is largely a
+matter of combinations with originally independent themes, with an
+occasional landmark in the form of a literary version. The most notable
+compounds into which it has entered are those with The Poison Maiden,
+The Ransomed Woman, and certain types connected with The Water of
+Life. That it entered into other minor compounds at various stages
+gives evidence that it retained its independence long after the first
+union took place, even though examples of the simple type are so hard
+to find and in some cases of such doubtful character.
+
+Probably the first combination of the theme was with The Poison Maiden,
+which the valuable evidence of Tobit enables us to date as taking place
+as early as the middle of the first century and in western Asia. The
+Poison Maiden probably came originally from India by way of Persia,
+[266] and was certainly widely distributed. Among the Semites it would
+naturally first meet any tale which had other than Indian origin,
+so that the existence of Tobit at so early a date is only what one
+would expect, looking at the matter in this retrospective fashion. The
+amalgamation of these two themes, when once they had come into the
+same region, was natural. They had the necessary point of contact
+in the treatment of the hero's wife by a helpful friend, who played
+an important part in each. In The Poison Maiden she received short
+shrift, being possessed of a poisonous glance or bite, or of snakes
+ready to destroy the man who married her. [267] In The Grateful Dead
+she was innocent, but had to be divided to satisfy the claims of a
+being who had helped her husband. [268] The part of the friend was
+less well motivated in The Poison Maiden than in The Grateful Dead,
+so that it was natural for the themes to unite at a common point
+and produce a compound at once more complete and more thrilling than
+were the simpler forms. This combination must have been made not by a
+conscious literary worker, for, had it been, Tobit would surely stand
+less independent of the later versions than is actually the case,
+but by the tellers of folk-tales, in a manner quite unconscious and
+altogether unstudied. The stories combined of themselves, so to say.
+
+From Semitic lands, if it was indeed there made, the compound seems to
+have travelled into Europe as well as into other parts of Asia. [269]
+It has spread during the intervening centuries throughout the length
+and breadth of Europe, always remaining a genuinely popular tale. As
+far as my knowledge goes, it did not appear in literature from the time
+when the Hebrew book of Tobit was written till Peele's Old Wives' Tale
+was presented some fifteen centuries later on the English stage. In
+the nineteenth century it again appeared to the reading public in
+the version which the Dane Andersen made from a Norse folk-tale. Yet
+the story in all versions of the compound extant is unmistakably the
+same, though it has suffered more changes in detail than would be
+worth while to enumerate here, since they have already been noted in
+the chapter dealing with the type. The most important modification
+which it sustained was due to its meeting The Lady and the Monster
+and absorbing elements of that tale. How early this took place it
+is impossible to say, since George Peele's play is the only literary
+monument that helps to fix any date. A considerable stretch of time
+must, however, be allowed for the passage of a folk-tale from the
+extreme east of Europe to England. That the secondary combination
+was indeed made in eastern Europe admits of definite proof. All
+the known variants of The Grateful Dead + The Poison Maiden from
+the west have The Lady and the Monster as well, while three Slavic
+east-European versions [270] are of this type. It follows that the
+compound must have been formed in the east and carried to the west,
+since otherwise the distribution should be precisely the opposite
+of that which obtains. Moreover, had the compound been made in Asia,
+it is improbable that it would have left such a comparatively feeble
+trace in the eastern part of the continent of Europe and later have
+conquered all the west. Other combinations, primary and secondary,
+have also arisen; but, if the collection of variants hitherto made
+is at all adequate, they are of inconsiderable importance.
+
+Meanwhile, the simple theme of The Grateful Dead passed into Europe
+by other paths. Once over the border, it met a tale with which it
+readily combined, producing a type not less influential than the one
+just mentioned. This new motive was The Ransomed Woman, the origin of
+which is at present quite unknown. Though it is seemingly Oriental in
+character, all versions yet unearthed come from Europe, so that its
+provenance must be left in uncertainty. At all events, it was known
+in eastern Europe, and it was there in all probability that it became
+amalgamated with The Grateful Dead. How early this took place cannot
+be stated, but long enough before the fourteenth century to allow the
+passage of the compound type to France by that time, when it was retold
+by Gobius with a good deal of mutilation in his Scala Celi. [271] The
+points of contact, which led to the combination, have already been
+discussed in the chapter dealing with the type. [272] Suffice it to
+say at this point that they were, in brief, the journey of the hero,
+his rescue, and the wife whom he gained at the end of the story. As
+in the case of The Poison Maiden, the compound seems to have arisen
+quite naturally by means of these correspondences, with the end of
+making a more romantic and satisfactory tale. That it took place
+quite unconsciously seems clear, but that the result was successful
+is proved by the solidarity of the type thus produced, though it has
+subsequently been carried into every part of Europe. The relationship
+of versions, between thirty and forty in number, is unmistakable.
+
+That the simple motive of The Grateful Dead was not exhausted by
+the two remarkable combinations just treated, that it retained
+its individuality and independence, is shown by the various minor
+combinations discussed in the third chapter. It is altogether probable
+that other examples of such simple compounds as those containing
+The Swan-Maiden, Puss in Boots, and a story like that told of Pope
+Gregory [273] are in existence, and may be found by later study. One
+can speak only with reference to material at command. Very likely
+other combinations than those treated here are in existence and
+may also appear, either in sporadic cases or in groups. But, the
+reader may ask, if the motive is found in so many compounds, both
+with and without The Poison Maiden and The Ransomed Woman, why does
+it not occur more frequently, at least in folk-literature, without
+combination? To this I should reply that the story is an ancient
+one, which has many points of correspondence with other themes. By
+reason of these traits it has absorbed, or has been absorbed by,
+these other tales, until now it is difficult to find examples of the
+simple form. A thousand years ago, or some such matter, they may,
+indeed, have been frequently retold by the firesides of Europe,
+though now they are practically unknown. The constant tendency of
+folk-tales to change from simplicity to complexity would in time
+cause the pure theme to be generally forgotten. Nevertheless, its
+existence could be proved, even though no example still remained,
+for the various independent compounds would be inexplicable on any
+other theory. In the case of The Grateful Dead, the tales, to which
+it has been joined, have been so interwoven with its substance that
+it is quite impossible to believe, for example, that the combination
+with The Ransomed Woman proceeded from that with The Poison Maiden.
+
+But these simple compounds with a single foreign theme do not complete
+the tale. When once they were formed, they in turn had each a history
+of its own, with infinite possibilities of absorbing traits from other
+stories or even entire themes. In the case of the latter, a reason
+could always be found in such points of contact as I have already
+mentioned, or so I believe, if the material were sufficient for proper
+comparison. In this way arose the complicated types treated in chapter
+six, where the manner of combination is readily seen. [274] Sometimes,
+it is probable, subtraction has taken place as well as addition,
+but apparently only when it has not involved the disentangling of
+various traits. For example, many variants have been noted where one
+of the two most striking features of our central theme, the burial
+of the dead debtor, has disappeared; yet in every case the rest of
+the plot has remained unimpaired. The more complicated the variant,
+the better able is the investigator to place its kinship to other
+variants, provided that he has the requisite material and the patience
+to follow up the clues that every such labyrinth affords.
+
+The most striking facts of general import to the study of
+folk-narrative that have developed in the course of this prolonged
+consideration of The Grateful Dead may be briefly summarized in
+conclusion. It has been shown once again that the story has an organic
+life of its own, whether it comes from the East or the West, whether
+it be founded upon some fact of social custom or belief, or on the
+imaginings of a moralist of antiquity. [275] Once started, it will
+go its way through divers lands and ages, yet retain unaltered the
+essential features of its plot. Call it story-skeleton, or better,
+living organism, it always keeps its structural integrity, no matter
+whether told as a pious legend or a conte a rire. Of no less importance
+than this is the fact that whatever serious changes take place in
+its form are not fortuitous, mere whimsical alterations due to the
+fancy of story-tellers, but are due to capabilities of expansion or
+combination in the plot itself. Whenever two themes with points of
+resemblance, or contact come into the same region, they are in the
+long run pretty certain to unite, each retaining its individuality,
+but merging in the other. This principle is well illustrated in the
+history of The Grateful Dead. The marriages of stories seem never to
+be merely for convenience, except in the hands of conscious writers,
+but to be the result of attraction and real compatibility. That,
+I take it, is why and how narratives develop.
+
+Were it necessary to justify such studies as the present, one might
+add that, apart from helping to the settlement of such more general
+questions as those just mentioned, they throw light on the sources
+of particular literary works, better than does the haphazard search
+for parallels, and they often enable the student to see the relations
+between the literatures of neighbouring countries more clearly than
+he would be able to do without the perspective gained by a comparative
+consideration of a single theme in many lands. In ways like these the
+author hopes that this history of The Grateful Dead may be serviceable.
+
+
+
+                                THE END.
+
+
+
+
+
+
+
+NOTES
+
+
+[1] 1856.
+
+[2] Guter Gerhard, as will be seen later, does not follow the theme
+at all.
+
+[3] P. 114.
+
+[4] 1859, i. 219-221.
+
+[5] Ghost-Thanks or The Grateful Unburied, A Mythic Tale in its Oldest
+European Form, Sir Amadace, 1860.
+
+[6] P. 9.
+
+[7] P. 7.
+
+[8] Germania, iii. 199-210, xii. 55 ff.; Or. u. Occ. ii. 322-329,
+iii. 93-103; Arch. f. slav. Phil. ii. 631-634, v. 40 ff.; Gonzenbach,
+Sicilianische Maerchen, 1870, ii. 248-250.
+
+[9] Heidelberger Jahrbuecher der Lit. 1868, lxi. 449-452, 1872,
+lxv. 894 f.; Germania, xxiv. 132 f.
+
+[10] P. 449.
+
+[11] Altbayerischer Sagenschatz zur Bereicherung der indogermanischen
+Mythologie, 1876, pp. 678-689.
+
+[12] Contes populaires de Lorraine, i. 214, 215.
+
+[13] Archiv f. d. Stud. d. neueren Sprachen, lxxxi. 141-183.
+
+[14] P. 167. "Ein Juengling zeigt sich menschenfreundlich gegen die
+Leiche eines Unbekannten (indem er dieselbe vor Schimpf bewahrt,
+bestattet, etc.). Der Geist des Toten gesellt sich darauf zu ihm
+und erweist sich ihm dankbar, indem er ihm zu Reichtum und zum
+Besitze des von ihm zur Frau begehrten Maedchens verhilft, jedoch
+unter der Bedingung, dass er dereinst alles durch ihn Gewonnene mit
+ihm teile. Der Juengling geht auf diesen Vertrag ein, und der Geist
+stellt sich nach einer gewissen Zeit wieder ein, um das Versprochene
+entgegenzunehmen, verlangt aber nicht die Haelfte des gewonnene Gutes,
+sondern die der Frau. (Schluss variabel.)"
+
+[15] See p. x. above.
+
+[16] P. 180.
+
+[17] See his scheme on p. 181.
+
+[18] Der Dank des Todten in der englischen Literatur, Jahresbericht
+der Staats-Oberrealschule in Troppau, 1894.
+
+[19] Marburg diss. 1894, pp. 43-63.
+
+[20] Folk-Lore, ix. 226-244 (1898).
+
+[21] I have to thank the kindness of Professor Leo Wiener for my
+knowledge of the content of Russian V. and VI., which he was good
+enough to translate for me from the dialect of White Russia.
+
+[22] What the two Bohemian variants contain, which are mentioned by
+Benfey, Pantschatantra, i. 221, note, by Stephens, p. 10, by Koehler,
+Germania, iii. 199-209, and Or. und Occ. ii. 328, note, and by Hippe,
+p. 146, I have been unable to ascertain.
+
+[23] On pp. 194-201 is found a curious "Echo de l'histoire de Tobie."
+
+[24] Hippe's first Lithuanian tale is a variant of The Water of Life
+and will be treated in another connection.
+
+[25] Hippe speaks of "zwei spanische Romanzen." Had he consulted the
+Spanish text or read Koehler's note more attentively, he would have seen
+that a single story runs through nos. 1291 and 1292 of the Romancero.
+
+[26] My attention was called to this variant by the kindness of
+Professor F. De Haan, and I was supplied with a first summary from
+the 1693 edition by the friendly aid of Professor G. T. Northup.
+
+[27] See Crane, Exempla of Jacques de Vitry, 1890, p. lxxxvi.
+
+[28] P. Paris, Manuscrits francois, 1840, iii. 1, and Foerster,
+Richars li Biaus, 1874, p. xxvii, date it from the fifteenth century;
+Suchier, Oeuvres poetiques de Philippe de Beaumanoir, 1884, p. lxxxiv,
+and Wilhelmi, p. 15, from the fourteenth century.
+
+[29] P. Paris, place cited, and Foerster, place cited, say the
+sixteenth century, but Wilhelmi, place cited, the fifteenth.
+
+[30] See Wilhelmi, p. 43.
+
+[31] Foulche-Delbosc, pp. 589, 590.
+
+[32] Work cited, pp. 587, 588.
+
+[33] Place cited.
+
+[34] My attention was first called to this story by the kindness of
+Professor A. C. L. Brown.
+
+[35] An edition with an almost identical title "Printed and sold by
+Larkin How, in Petticoat Lane," of which a copy is in the Harvard
+College library, does not contain our story.
+
+[36] My attention was called to this variant by the kindness of
+Professor Kittredge.
+
+[37] Miss Petersen's conclusion, Sources of the Nonne Prestes Tale,
+p. 109, note, is not altogether convincing, since the vogue of Valerius
+Maximus was so great that other authors than Holkot are likely to
+have quoted Cicero's stories from him. The book may yet be found in
+which the one follows the other "right in the nexte chapitre."
+
+[38] Given by Hippe, pp. 143 f. Wherever Hippe's summaries are adequate
+and careful, I shall refer the reader to his monograph for comparison.
+
+[39] This story has nothing in common with the mediaeval tale of the
+compact between two friends that the first to die shall appear to
+the other. See the writer's North-English Homily Collection, 1902,
+pp. 27-31.
+
+[40] Apparently beneficent spirits, whose nature is half fairy and
+half angel. See Servian V. below.
+
+[41] See chapter viii. and Sepp, pp. 678-680 for illustrations of
+the belief.
+
+[42] One can conceive of separate generation of a very simple story
+under similar conditions, but not, I think, that a series of events
+showing combination of themes or detailed correspondence would
+so arise.
+
+[43] Carnoy and Nicolaides, Traditions populaires de l'Asie Mineure,
+1889, pp. 57-74.
+
+[44] See Baring-Gould's Curious Myths, 2nd ed. 1869, pp. 561 ff. for
+a popular account. The philosophical basis of the tale is discussed
+by Liebrecht, Zur Volkskunde, 1879, pp. 54 ff. (from Germania,
+xiii. 161 ff.), and by Hartland, Science of Fairy Tales, 1891,
+pp. 255-332, 337-347.
+
+[45] See Hippe, p. 148.
+
+[46] Or. und Occ. ii. 176.
+
+[47] Kinder- und Hausmaerchen, no. 28. See notes (ed. 1856), iii. 55,
+56; also Koehler, Kleinere Schriften, i. 49, 54.
+
+[48] See Hippe, p. 155. This analysis includes only the second of two
+well-defined parts. The first section is related to the English Sir
+Degarre (ed. from Auchinleck MS. for the Abbotsford Club, 1849; from
+Percy Folio, Hales and Furnivall, Percy Folio MS., 1868, iii. 16-48;
+early prints by Wynkyn de Worde, Copland, and John King; see G. Ellis,
+Specimens of Early English Metrical Romances, 1811, iii. 458 ff.,
+J. Ashton, Romances of Chivalry, 1887, pp. 103 ff., Paul's Grundriss,
+ii. i. 643). This connection was pointed out by Foerster, p. xxiii. The
+same material was used also in a Dutch chapbook, Jan wt den vergiere,
+of which a copy printed at Amsterdam is preserved at Goettingen. See
+the article "Niederlaendische Volksbuecher," by Karl Meyer, in Sammlung
+bibliothekswissenschaftlicher Arbeiten, ed. Dziatzko, viii. 17-22,
+1895. I am indebted for this last reference to the kindness of
+Dr. G. L. Hamilton.
+
+[49] See Hippe, pp. 152 f.
+
+[50] See Hippe, pp. 158 f.
+
+[51] This trait recalls the first of Chaucer's two stories in the
+Nun's Priest's Tale, Cant. Tales, B. 4174-4252, where the comrade is
+found buried with dung on a cart.
+
+[52] For a fuller analysis see Hippe, pp. 160-164.
+
+[53] In Richars, Lion de Bourges, Dianese, and Sir Amadas he pays his
+all, even to his equipment for war, the most logical and, on the whole,
+probably the earlier form of the story.
+
+[54] In all except Old Swedish and Sir Amadas the man was a knight;
+in these he was a merchant, the husband of the woman at whose house
+the hero lodges.
+
+[55] "V le femme u l'auoir ares," v. 5316.
+
+[56] Though in Lion de Bourges he excepts the lady specifically.
+
+[57] See Ueber Lion de Bourges, particularly pp. 46-54.
+
+[58] See chapter vii.
+
+[59] The Trentall of St. Gregory. The Old French text has been edited
+by P. Meyer, Romania, xv. 281-283. The English versions, of which the
+first seems to be taken from this, are found in the following MSS.:
+(A) Vernon MS. fol. 230, ed. Horstmann, Engl. Stud. viii. 275-277, and
+The Minor Poems of the Vernon MS. i., E.E.T.S. 98, 1892, pp. 260-268;
+Vernon MS. fol. 303, variants given in Horstmann's ed. for E.E.T.S.;
+MS. Cotton Caligula A II., ed. Furnivall, Political, Religious, and
+Love Poems, E.E.T.S. 15, 1866, pp. 83-92, reprinted by Horstmann,
+E.E.T.S. pp. 260-268; MS. Lambeth 306, variants given by Furnivall;
+a critical text with variants of the four was made by A. Kaufmann,
+Trentalle Sancti Gregorii, Erlanger Beitraege, iii. 29-44, 1889. (B)
+MS. 19, 3, 1, Advocates' Libr., Edinburgh, ed. Turnbull, The Visions
+of Tundale, 1843, pp. 77 ff., and Buelbring, Anglia, xiii. 301-308;
+MS. Kk. I, 6, Camb. Univ. Libr., ed. Kaufmann, pp. 44-49. Kaufmann in
+his introduction discusses the relations of the versions. See further
+Varnhagen, Anglia, xiii. 105 f. Another legend of Gregory in popular
+fiction is treated by Bruce in his edition of De Ortu Waluuanii,
+Publications Mod. Lang. Ass. xiii. 372-377. The story in the Gesta
+Romanorum to which Luzel, i. 83, note, refers is this rather than
+our tale.
+
+[60] i. 83 and 90, notes.
+
+[61] Or. und Occ. iii. 99 f.
+
+[62] See Das Maerchen vom gestiefelten Kater, Leipzig, 1843; Benfey,
+Pantschatantra, i. 222; Grimm, Kinder- und Hausmaerchen, iii. 288;
+Liebrecht, Dunlop's Geschichte der Prosadichtungen, 1851, p. 286;
+Polivka, Arch. f. slav. Phil. xix. 248; etc.
+
+[63] Chapter vi.
+
+[64] An unnecessarily nauseating reason is given by one of them
+(Act i. sc. i.), but this seems to be of Massinger's invention.
+
+[65] P. 8.
+
+[66] It is interesting also to note that a Viennese dramatist of our
+own day has adapted Massinger's drama, retaining a vague reminiscence
+of the thankful dead. The curious may see Der Graf von Charolais by
+Richard Beer-Hofmann, 1905.
+
+[67] See pp. 1 and 2.
+
+[68] P. 181.
+
+[69] Abhandlungen der k. bayerischen Akademie der Wissenschaften,
+1893, pp. 89-166. Reprinted, with some additional notes by the editor,
+in Gesammelte Abhandlungen von Wilhelm Hertz, ed. F. von der Leyen,
+1905, pp. 156-277.
+
+[70] The existing versions go back to the pseudo-Aristotelian De
+secretis secretorum or De regimine principum, which was taken from
+the Arabic in the twelfth century (Hertz, p. 92). It is probable,
+however, that the tale existed far earlier than this and came from
+India (Hertz, pp. 151-155).
+
+[71] Pp. 115 ff.
+
+[72] Two Asiatic parallels not cited by Hertz will serve to illustrate
+the theme further. One of these is "The Story of Swet-Basanta" from
+Lal Behari Day, Folk-tales of Bengal, 1883, pp. 100 f. The hero is
+found by an elephant and made king of a land, where the successive
+sovereigns are killed every night mysteriously. He watches and sees
+something like a thread coming from the queen's nostrils. This proves
+to be a great serpent, which he kills, thus remaining as king. The
+other is from J. H. Knowles, Folk-tales of Kashmir, 1888, pp. 32 ff.,
+"A Lach of Rupees for a Bit of Advice." A prince pays a lach of rupees
+for a paper containing four rules of conduct. His father exiles him
+for this extravagance. In his wanderings the prince finds a potter
+alternately laughing and crying because his son must soon marry a
+princess, who has to be wedded anew each night. So the prince marries
+the woman instead and kills two serpents that come from her nostrils,
+thus retaining the kingdom. In these two stories there is no question
+of aid coming to the hero; he is saved by his own watchfulness.
+
+[73] Tobit, Danish III. (Andersen's tale), and Peele's Old Wives' Tale.
+
+[74] For example, it appears in Schischmanoff's Legendes religieuses
+bulgares, 1896, pp. 194-201, side by side with our Bulgarian tale.
+
+[75] I summarize from Koehler's reprint in Germania, iii. pp. 202 ff.
+
+[76] Paspati's tale on pp. 605 ff. also has a dragon slain on a
+wedding night by a youth, who keeps watch. This single trait in a
+totally different setting must be borrowed from a Gypsy form of the
+simple or compound theme.
+
+[77] See Annamite, Greek, Oliver, and Walewein. There is something
+approaching it in Rumanian I.
+
+[78] Icelandic I.
+
+[79] Simrock IV.
+
+[80] See Hippe, p. 145.
+
+[81] References to this story have been collected by G. Polivka,
+and printed in Archiv f. slav. Phil. xix. 251, in citing our
+Russian V. He says: "Vgl. Romanov, iv. S. 124, Nr. 65; Weryho,
+Pod. bialoruskie, S. 46; Khudyakov, i. Nr. 11, 12;
+Sadovnikov, S. 44, 310; Manzhura, 61; Dragomanov Mapor. Priep,
+S. 268 f.; Dowojna Sylwestrowicz, ii. 129 f.; Karlowicz, Nr. 19;
+Kolberg, viii. S. 138 f., Nr. 55, 56; xiv. S. 72 f., Nr. 16, 17;
+Ciszewski, i. Nr. 128; Kulda, iii. Nr. 14; Strohal, Nr. 18, 19;
+Kres, iv. S. 350, Nr. 19; Th. Vernaleken, Oesterr. K.H.M. S. 44 f.;
+Ul. Jahn, i. 92, 356; Proehle, Maerchen fuer die Jugend, S. 42; Wolf,
+D.H.M. 258 f.; Sebillot, Contes des marins, S. 38." As far as I have
+been able to ascertain, these references are all to the tale sketched
+above, uncompounded with The Grateful Dead. I must thank Professor
+Wiener for my knowledge of the Slavic forms, which he very generously
+examined for me as far as the books were available, viz. Romanov,
+Khudyakov, Sadovnikov, Manzura, Dragomanov, Sylwestrowicz, and Kolberg.
+
+[82] See Hippe, pp. 145 f.
+
+[83] For the test of friendship with an apple, see Koehler's
+notes in Gonzenbach, Sicil. Maerchen, ii. 259 f., and in
+Arch. f. slav. Phil. v. 44 ff.
+
+[84] Hippe is in error, however, when he says (p. 178) that the
+division is everywhere modified in the European variants. See Russian
+II., IV., V. and VI., Bulgarian, and Esthonian II. Moreover, I believe
+that Hippe's theory puts the cart before the horse--that the actual
+division is not so ancient a trait as it seems. See pp. 74, 75 below.
+
+[85] See Hippe, p. 146.
+
+[86] See chapter vii.
+
+[87] See p. 47, note, above.
+
+[88] P. 19.
+
+[89] See Hippe, pp. 148 f.
+
+[90] See note by Schott, p. 473, in which he gives evidence based
+on personal knowledge, and Grimm, Geschichte der deutschen Sprache,
+p. 92. I have touched on the matter in Engl. Stud. xxxvi. 195-201.
+
+[91] This trait is found not infrequently in other settings. See, for
+example, Vernaleken, Oesterreichische Kinder- und Hausmaerchen, p. 141.
+
+[92] This trait recalls Puss in Boots, which is otherwise compounded
+with The Grateful Dead. See preceding chapter, p. 42, and p. 70 below.
+
+[93] See chapter vii.
+
+[94] Kennedy says, p. 38: "In some versions of 'Jack the Master,'
+etc., Jack the servant is the spirit of the dead man."
+
+[95] Chapter vi.
+
+[96] See chapter vii.
+
+[97] The three rods with which the princess is flogged are found in
+Harz I. See pp. 69, 70 below.
+
+[98] See p. 62, note 2.
+
+[99] Pp. 10 f.
+
+[100] Gayley, Representative English Comedies, 1903, pp. 333-384.
+
+[101] P. 345.
+
+[102] Pp. 176-178.
+
+[103] Russian V. and VI. are, of course, exceptions, since the woman
+is there a vampire.
+
+[104] See his scheme on page 181.
+
+[105] See above, p. 1.
+
+[106] See above, pp. 2 and 5.
+
+[107] Pp. 170-175.
+
+[108] P. 173.
+
+[109] See also the school drama cited by Koehler, Germania III. 208
+f. The elements of Der gute Gerhard, foreign to The Ransomed Woman,
+I have treated in the Publications of the Modern Lang. Ass. 1905,
+xx. 529-545.
+
+[110] The same is true of the story related of St. Catharine,
+analyzed by Simrock, pp. 110-113, and cited by Hippe, p. 166, from
+Scala Celi, by Johannes Junior (Gobius), under Castitas. Hippe,
+as shown by his scheme on p. 181, places this under "Legendarische
+Formen mit Loskauf." As a matter of fact, it is plainly a specimen
+of The Calumniated Woman.
+
+[111] Hippe's "Lithuanian II."
+
+[112] Breton III., though placed here, has peculiar traits, which
+require special consideration.
+
+[113] Koehler, followed by Hippe, p. 145, makes the hero live for
+fifteen years on the island, while Mme. Mijatovich gives the time as
+stated. As I have no knowledge of Servian, I cannot tell which is in
+the right. Hippe's analysis is otherwise faulty.
+
+[114] See Hippe, p. 151.
+
+[115] Ibid.
+
+[116] Hippe fails to note that the hero used all his money on the
+first journey in burying the dead, and that it was on a second trip
+that he bought the king's daughter.
+
+[117] Origenes de la Novela, ii. xcv.
+
+[118] An odd inconsistency appears in the statement of the Latin
+that after the hero's second voyage "pater suus et mater" were angry
+with him.
+
+[119] So, too, with Transylvanian. See above, pp. 79f.
+
+[120] See Hippe, p. 150.
+
+[121] See Hippe, p. 158.
+
+[122] Hippe's brief analysis, p. 159, fails to give a satisfactory
+outline.
+
+[123] Hippe's analysis, p. 159, is not quite adequate.
+
+[124] Russian I. is the only other variant that I know which makes
+the dead man uneasy in his grave.
+
+[125] So also in Servian I. and Icelandic II., cited above, as well
+as Bohemian and Simrock VII., for which see below.
+
+[126] See pp. 79 f.
+
+[127] See pp. 85-87.
+
+[128] See Amis et Amiles und Jourdains de Blaivies, ed. K. Hofmann, 2nd
+ed. 1882; Amis und Amiloun zugleich mit der altfranzoesischen Quelle,
+ed. E. Koelbing, 1884, with the comprehensive discussion of versions
+in the introduction; also Koelbing, "Zur Ueberlieferung der Sage von
+Amicus und Amelius," in Paul und Braune's Beitraege iv. 271-314; etc.
+
+[129] Hippe's analysis, p. 156, is different from mine, and is taken
+from a less trustworthy source. I use the summary of the Ghent text.
+
+[130] See p. 49 for other tales in which the dead man is a friend of
+the hero's.
+
+[131] Geschichte des spanischen Nationaldramas, i. 141.
+
+[132] Sir Amadas, for which see p. 37.
+
+[133] Irish I., for which see pp. 62 and 64, Breton I., p. 65, and
+Sir Amadas.
+
+[134] vii.
+
+[135] Hippe's Lithauische III.
+
+[136] See Hippe, pp. 156 f.
+
+[137] Thus III. makes the princess a daughter of the King of Portugal,
+as in I.; IV. gives no names whatever; and V. makes the heroine's
+father King of England.
+
+[138] From Gascony, like III., IV., and V.
+
+[139] The portraits are not displayed on the ship, but on Jean's
+carriage,--a curious deviation.
+
+[140] See pp. 27 and 57.
+
+[141] See chapter vii.
+
+[142] See pp. 104 f.
+
+[143] II. is the only version which has Jean make his first two voyages
+on land, a trait which contradicts the general testimony of the tales
+throughout the chapter.
+
+[144] See pp. 85 f.
+
+[145] P. 146.
+
+[146] See The Legend of Perseus, E. S. Hartland, 1896, volume iii.
+
+[147] See p. 103 above.
+
+[148] In Jean de Calais IX. they set out together, but to the hero's
+home.
+
+[149] So also in Transylvanian. Similarly the hero offers to give
+all of his wife, instead of dividing her, in Dianese, Old Swedish,
+and Old Wives' Tale.
+
+[150] See pp. 100-102.
+
+[151] See pp. 85 f.
+
+[152] See pp. 105 f.
+
+[153] See the paper by Kittredge, Journal of American Folk-Lore,
+xviii. 1-14, 1905.
+
+[154] See pp. 107 f.
+
+[155] In this connection it is cited by Kittredge in the study above
+mentioned, pp. 9 f.
+
+[156] See p. 108.
+
+[157] See p. 101.
+
+[158] See pp. 31 f.
+
+[159] The same loss is evident in Catalan, Spanish, Simrock I.,
+and Simrock VII.
+
+[160] See p. 27 for Jewish.
+
+[161] That is, the rescue of the bridegroom from the creatures which
+possess the bride.
+
+[162] See p. 4 above.
+
+[163] Of course this excludes the group connected with Oliver, which
+has no proper connection with the compound type.
+
+[164] The most adequate treatment of the motive yet published
+is by August Wuensche, Die Sagen vom Lebensbaum und Lebenswasser,
+1905, pp. 90-104. This is the same study which had previously been
+printed in the Zts. f. vergleichende Litteraturgeschichte, 1899,
+N.F. xiii. 166-180, but is furnished with a new introduction and a
+few additional illustrations. Dr. Wuensche's monograph, thoroughgoing
+and conclusive as it is with reference to the myths of the Tree of
+life and the Water of Life, leaves much to be desired as an account
+of the folk-tale based on the latter belief. He himself says in his
+preface, p. iv: "Man sieht auch daraus, dass es sich um Wanderstoffe
+handelt, an die sich immer neue Elemente ankristallisiert haben." These
+elements he has not studied with any degree of completeness. Thus,
+for example, he does not use Cosquin's valuable contributions in
+Contes populaires de Lorraine, i. 212-222, which would have given
+him valuable assistance. The theme yet awaits definitive treatment.
+
+[165] See Wuensche, p. 92.
+
+[166] P. 71.
+
+[167] "The Fountain of Youth," Journal of the American Oriental
+Society, xxvi. 1st half, 19 and 55.
+
+[168] Hopkins, pp. 19, 42, 55, etc.
+
+[169] Wuensche, p. iii: "Es sind altorientalische Mythen, die in
+alle Kulturreligionen uebergangen sind. Zeit und Ort haben ihnen ein
+sehr verschiedenes Gepraege gegeben, der Grundgedanke ist derselbe
+geblieben."
+
+[170] P. 71. See also Hopkins, p. 55.
+
+[171] Contes populaires de Lorraine, i. 213.
+
+[172] Pp. 90 f.
+
+[173] See pp. 125-127 below.
+
+[174] Pp. 212-214. He regards the story in Wolf, Hausmaerchen, p. 230,
+as linking the two.
+
+[175] P. 91. Cosquin, it will be noted, makes the fruit an alternative
+of the water of life.
+
+[176] For example, "The Baker's Three Daughters" in Mrs. M. Carey's
+Fairy Legends of the French Provinces, 1887, pp. 86 ff., unites the
+water of life with both the magical apples and the bird.
+
+[177] The need of such a study may be shown by stating that, while
+Wuensche has treated about thirty variants, I know at present of
+something like four times that number.
+
+[178] See p. 118 above.
+
+[179] This well-known maerchen has been treated by various scholars,
+most recently by G. L. Kittredge, in Arthur and Gorlagon (Studies and
+Notes in Philology and Literature, viii.) 1903, pp. 226 f., from whom
+I take the liberty of transcribing the following references, some of
+which would otherwise be unknown to me. In note 2 to p. 226 he says:
+"See Benfey, Das Maerchen von den 'Menschen mit den wunderbaren
+Eigenschaften,' Ausland, 1858, pp. 969 ff. (Kleinere Schriften
+II. iii. 94 ff.); Wesselofsky, in Giovanni da Prato, Il Paradiso
+degli Alberti, 1867, I. ii. 238 ff.; d'Ancona, Studj di Critica
+e Storia Letteraria, 1880, pp. 357-358; Koehler-Bolte, Ztsch. des
+Ver. f. Volkskunde, vi. 77; Koehler, Kleinere Schriften, i. 192 ff.,
+298 ff., 389-390, 431, 544; ii. 591; Cosquin, Contes pop. de Lorraine,
+i. 23 ff.; Crane, Italian Popular Tales, p. 67; Nutt, in MacInnes, Folk
+and Hero Tales, pp. 445 ff.; Laistner, Raetsel der Sphinx ii. 357 ff.;
+Steel, Tales of the Punjab, pp. 42 ff.; Jurkschat, Litauische Maerchen,
+pp. 29 ff.; etc." A peculiarly interesting specimen is that in Blade,
+Contes pop. de la Gascogne, 1886, iii. 12-22. See also Luzel, Contes
+pop. de Basse-Bretagne, 1887, iii. 296-311; Carnoy and Nicolaides,
+Traditions pop. de l'Asie Mineure, 1889, pp. 43-56; and Goldschmidt,
+Russische Maerchen, 1883, pp. 69-78.
+
+[180] So I venture to call the story of the woman, who through
+enchantment or her own bad taste is the mistress of an ogre or some
+other monster. She is rescued by a hero, who is able to solve the
+extraordinary riddles or to accomplish the apparently impossible tasks
+which she sets him at the advice of the monster, after other suitors
+have perished in the attempt. See Kittredge, Arthur and Gorlagon,
+p. 250 (note to p. 249); Wesselofsky, Arch. f. slav. Phil. vi. 574. A
+good specimen tale is "The Magic Turban" in R. Nisbet Bain's Turkish
+Fairy Tales, 1901, pp. 102-111.
+
+[181] Kittredge thus summarizes the tale (work cited, p. 226):
+"Three or more brothers (or comrades) are suitors for the hand
+of a beautiful girl. While her father is deliberating, the girl
+disappears. The companions undertake to recover her. One of them,
+by contemplation (or by keenness of sight), finds that she has been
+stolen by a demon (or dragon) and taken to his abode on a rock in the
+sea. Another builds a ship by his magic (or possesses a magic ship)
+which instantly transports them to the rock. Another, who is a skilful
+climber, ascends the castle and finds that the monster is asleep with
+his head in the maiden's lap. Another, a master thief, steals the
+girl without waking her captor. They embark, but are pursued by the
+monster. One of the companions, an unerring shot, kills the pursuer
+with an arrow. The girl is restored to her parents." This analysis
+would not hold for all variants, even when uncompounded (e.g. Grimm,
+Kinder- und Hausmaerchen, No. 71, "Sechse kommen durch die ganze Welt")
+but a better could scarcely be made without a systematic study of the
+type. As Kittredge notes, the companions are not at all constant in
+number and function.
+
+[182] Hungarian I., Rumanian II., Straparola II., Sicilian, and
+Treu Heinrich.
+
+[183] Thus Hungarian I. and Rumanian II. with Polish, Sicilian with
+Harz II.
+
+[184] Possibly a trace of some such story as The Quest of the Sword
+of Light discussed by Kittredge, Arthur and Gorlagon, pp. 214 ff.
+
+[185] Since twelve brothers set out to win twelve sisters, there
+is probably a union here with the widespread tale of The Brothers
+and Sisters.
+
+[186] The ship that will travel equally well on land and water is
+seemingly a common trait in forms of The Skilful Companions. See the
+variant cited from Blade on p. 125, note 3. It occurs in a curious
+tale from Mauritius, given by Baissac, Le Folk-lore de l'Ile-Maurice,
+1888, p. 78.
+
+[187] For examples of stories in which a king's son liberates one
+or more prisoners, and has the service returned in an emergency,
+see Child, English and Scottish Popular Ballads, v. 42-48.
+
+[188] See Jonckbloet, ii. 131 ff.
+
+[189] Paris, Hist. litt. de la France, xxx. 82.
+
+[190] The only instance known to me where such transformation occurs
+with reference to the hero.
+
+[191] Walewein and Lotharingian.
+
+[192] Like the wolf in Guillaume de Palerne, which is likewise a
+transformed prince.
+
+[193] Lotharingian comes from a region farther north than any
+other, since the Dutch romance is merely a translation from Old
+French. Simrock IX. is from Tyrol.
+
+[194] See pp. 133-135.
+
+[195] I include all the tales treated in this chapter.
+
+[196] See pp. 58-73.
+
+[197] See p. 126, note 1.
+
+[198] See p. 134.
+
+[199] See p. 133, note 2.
+
+[200] See pp. 92 ff. above, and pp. 156-158 below.
+
+[201] With the form The Grateful Dead + The Water of Life simply.
+
+[202] Pp. 107 f., 111-115.
+
+[203] See pp. 133 f.
+
+[204] See pp. 145-147.
+
+[205] See pp. 146 f.
+
+[206] P. 143.
+
+[207] The date of Treu Heinrich. This gives the date a quo.
+
+[208] The compound existed before the fourteenth century certainly. See
+pp. 117 f.
+
+[209] The date is here determined by the existence of Walewein.
+
+[210] Brazilian.
+
+[211] Venetian has, however, united with other material, which may
+account for this in the one case.
+
+[212] The date of Straparola, one of whose stories belongs to this
+class.
+
+[213] The compound The Grateful Dead + The Poison Maiden had been in
+existence since the end of the first century, as Tobit proves.
+
+[214] See pp. 89 f.
+
+[215] See pp. 33-40.
+
+[216] See pp. 92-96.
+
+[217] See pp. 131-134.
+
+[218] P. 149.
+
+[219] The date of Richars.
+
+[220] See pp. 50, 58.
+
+[221] See pp. 92-111.
+
+[222] See p. 92.
+
+[223] As in Lithuanian II., Breton VII., Simrock I., and Factor's
+Garland.
+
+[224] As in Transylvanian.
+
+[225] As in Jean de Calais I.-X., Basque II., Irish I., Breton I. and
+III., Simrock II. and VIII., and Sir Amadas.
+
+[226] As in Gaelic.
+
+[227] See p. 95.
+
+[228] See pp. 93 f.
+
+[229] See p. 94.
+
+[230] See references in Publ. Mod. Lang. Ass. xx. 545.
+
+[231] See my article in Publ. Mod. Lang. Ass. xix. 427, 430-432.
+
+[232] Pantschatantra, i. Sec.71.
+
+[233] i. 207.
+
+[234] i. 219.
+
+[235] Pp. 126 f.
+
+[236] See p. 27.
+
+[237] So in Polish of the type The Grateful Dead + The Water of Life
+the ghost appears as a plank. See p. 128.
+
+[238] See p. 57.
+
+[239] See pp. 100-102, 104 f.
+
+[240] See pp. 108 ff.
+
+[241] See pp. 115 f.
+
+[242] See pp. 112 f.
+
+[243] See pp. 135 ff.
+
+[244] See also p. 151.
+
+[245] See pp. 28 f.
+
+[246] See the comment of von der Leyen,
+Arch. j. d. St. d. n. Spr. cxiv. 12.
+
+[247] ii. 136.
+
+[248] ii. 121. The story, however, belongs to the domain of general
+literature.
+
+[249] See A. Wiedemann, Die Toten und ihre Reiche im Glauben der
+alten Aegypter, p. 21 (Der alte Orient, ii, 1900).
+
+[250] Zend-Avesta, Vendidad, chaps, v. xii.
+
+[251] x. 18. 1.
+
+[252] Iliad, xxiii. 71 ff.
+
+[253] ix. 32.
+
+[254] See pp. 26 f.
+
+[255] Ed. Bartsch, xviii. st. 910 and 911.
+
+[256] P. 27.
+
+[257] P. 28.
+
+[258] Traditions et superstitions de la Haute-Bretagne, 1882, i. 238 f.
+
+[259] MacCulloch, Guernsey Folk Lore, 1903, pp. 283 f.
+
+[260] See W. Crooke in Folk-Lore, xiii. 280-283.
+
+[261] Book iii. w. 4726 ff. of the whole poem (2nd ed. J. Small,
+1883, E. E. T. S. orig. ser. 11, p. 153).
+
+[262] Annamite is an exception, but it cannot be regarded as having
+any organic connection with the cycle.
+
+[263] See Heidelberger Jahrbuecher, 1868, p. 449.
+
+[264] Ruling out Simonides, of course, as not clearly belonging to
+the cycle.
+
+[265] Siberian, it will be remembered, is of the same type as Tobit.
+
+[266] See Hertz, pp. 151-155.
+
+[267] For examples, see Hertz, pp. 106-115.
+
+[268] It is not clear whether she was actually divided in the primitive
+forms, or merely threatened. In either case the union would take
+place as stated.
+
+[269] Armenian and Siberian give adequate evidence as to the truth
+of the latter statement, though more Asiatic variants of this type
+are to be desired.
+
+[270] Servian III., Esthonian II., and Rumanian I.
+
+[271] See p. 82.
+
+[272] See pp. 116 f.
+
+[273] See pp. 40 f.
+
+[274] See pp. 125-127, 151 f.
+
+[275] See the author's study, "Forerunners, Congeners, and Derivatives
+of the Eustace Legend" in Publ. Mod. Lang. Ass. xix. 335-448.
+
+
+
+
+
+
+End of Project Gutenberg's The Grateful Dead, by Gordon Hall Gerould
+
+*** END OF THIS PROJECT GUTENBERG EBOOK THE GRATEFUL DEAD ***
+
+***** This file should be named 39408.txt or 39408.zip *****
+This and all associated files of various formats will be found in:
+        http://www.gutenberg.org/3/9/4/0/39408/
+
+Produced by Jeroen Hellingman and the Online Distributed
+Proofreading Team at http://www.pgdp.net/ for Project
+Gutenberg (This file was produced from images generously
+made available by The Internet Archive/American Libraries.)
+
+
+Updated editions will replace the previous one--the old editions
+will be renamed.
+
+Creating the works from public domain print editions means that no
+one owns a United States copyright in these works, so the Foundation
+(and you!) can copy and distribute it in the United States without
+permission and without paying copyright royalties.  Special rules,
+set forth in the General Terms of Use part of this license, apply to
+copying and distributing Project Gutenberg-tm electronic works to
+protect the PROJECT GUTENBERG-tm concept and trademark.  Project
+Gutenberg is a registered trademark, and may not be used if you
+charge for the eBooks, unless you receive specific permission.  If you
+do not charge anything for copies of this eBook, complying with the
+rules is very easy.  You may use this eBook for nearly any purpose
+such as creation of derivative works, reports, performances and
+research.  They may be modified and printed and given away--you may do
+practically ANYTHING with public domain eBooks.  Redistribution is
+subject to the trademark license, especially commercial
+redistribution.
+
+
+
+*** START: FULL LICENSE ***
+
+THE FULL PROJECT GUTENBERG LICENSE
+PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
+
+To protect the Project Gutenberg-tm mission of promoting the free
+distribution of electronic works, by using or distributing this work
+(or any other work associated in any way with the phrase "Project
+Gutenberg"), you agree to comply with all the terms of the Full Project
+Gutenberg-tm License (available with this file or online at
+http://gutenberg.org/license).
+
+
+Section 1.  General Terms of Use and Redistributing Project Gutenberg-tm
+electronic works
+
+1.A.  By reading or using any part of this Project Gutenberg-tm
+electronic work, you indicate that you have read, understand, agree to
+and accept all the terms of this license and intellectual property
+(trademark/copyright) agreement.  If you do not agree to abide by all
+the terms of this agreement, you must cease using and return or destroy
+all copies of Project Gutenberg-tm electronic works in your possession.
+If you paid a fee for obtaining a copy of or access to a Project
+Gutenberg-tm electronic work and you do not agree to be bound by the
+terms of this agreement, you may obtain a refund from the person or
+entity to whom you paid the fee as set forth in paragraph 1.E.8.
+
+1.B.  "Project Gutenberg" is a registered trademark.  It may only be
+used on or associated in any way with an electronic work by people who
+agree to be bound by the terms of this agreement.  There are a few
+things that you can do with most Project Gutenberg-tm electronic works
+even without complying with the full terms of this agreement.  See
+paragraph 1.C below.  There are a lot of things you can do with Project
+Gutenberg-tm electronic works if you follow the terms of this agreement
+and help preserve free future access to Project Gutenberg-tm electronic
+works.  See paragraph 1.E below.
+
+1.C.  The Project Gutenberg Literary Archive Foundation ("the Foundation"
+or PGLAF), owns a compilation copyright in the collection of Project
+Gutenberg-tm electronic works.  Nearly all the individual works in the
+collection are in the public domain in the United States.  If an
+individual work is in the public domain in the United States and you are
+located in the United States, we do not claim a right to prevent you from
+copying, distributing, performing, displaying or creating derivative
+works based on the work as long as all references to Project Gutenberg
+are removed.  Of course, we hope that you will support the Project
+Gutenberg-tm mission of promoting free access to electronic works by
+freely sharing Project Gutenberg-tm works in compliance with the terms of
+this agreement for keeping the Project Gutenberg-tm name associated with
+the work.  You can easily comply with the terms of this agreement by
+keeping this work in the same format with its attached full Project
+Gutenberg-tm License when you share it without charge with others.
+
+1.D.  The copyright laws of the place where you are located also govern
+what you can do with this work.  Copyright laws in most countries are in
+a constant state of change.  If you are outside the United States, check
+the laws of your country in addition to the terms of this agreement
+before downloading, copying, displaying, performing, distributing or
+creating derivative works based on this work or any other Project
+Gutenberg-tm work.  The Foundation makes no representations concerning
+the copyright status of any work in any country outside the United
+States.
+
+1.E.  Unless you have removed all references to Project Gutenberg:
+
+1.E.1.  The following sentence, with active links to, or other immediate
+access to, the full Project Gutenberg-tm License must appear prominently
+whenever any copy of a Project Gutenberg-tm work (any work on which the
+phrase "Project Gutenberg" appears, or with which the phrase "Project
+Gutenberg" is associated) is accessed, displayed, performed, viewed,
+copied or distributed:
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org/license
+
+1.E.2.  If an individual Project Gutenberg-tm electronic work is derived
+from the public domain (does not contain a notice indicating that it is
+posted with permission of the copyright holder), the work can be copied
+and distributed to anyone in the United States without paying any fees
+or charges.  If you are redistributing or providing access to a work
+with the phrase "Project Gutenberg" associated with or appearing on the
+work, you must comply either with the requirements of paragraphs 1.E.1
+through 1.E.7 or obtain permission for the use of the work and the
+Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
+1.E.9.
+
+1.E.3.  If an individual Project Gutenberg-tm electronic work is posted
+with the permission of the copyright holder, your use and distribution
+must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
+terms imposed by the copyright holder.  Additional terms will be linked
+to the Project Gutenberg-tm License for all works posted with the
+permission of the copyright holder found at the beginning of this work.
+
+1.E.4.  Do not unlink or detach or remove the full Project Gutenberg-tm
+License terms from this work, or any files containing a part of this
+work or any other work associated with Project Gutenberg-tm.
+
+1.E.5.  Do not copy, display, perform, distribute or redistribute this
+electronic work, or any part of this electronic work, without
+prominently displaying the sentence set forth in paragraph 1.E.1 with
+active links or immediate access to the full terms of the Project
+Gutenberg-tm License.
+
+1.E.6.  You may convert to and distribute this work in any binary,
+compressed, marked up, nonproprietary or proprietary form, including any
+word processing or hypertext form.  However, if you provide access to or
+distribute copies of a Project Gutenberg-tm work in a format other than
+"Plain Vanilla ASCII" or other format used in the official version
+posted on the official Project Gutenberg-tm web site (www.gutenberg.org),
+you must, at no additional cost, fee or expense to the user, provide a
+copy, a means of exporting a copy, or a means of obtaining a copy upon
+request, of the work in its original "Plain Vanilla ASCII" or other
+form.  Any alternate format must include the full Project Gutenberg-tm
+License as specified in paragraph 1.E.1.
+
+1.E.7.  Do not charge a fee for access to, viewing, displaying,
+performing, copying or distributing any Project Gutenberg-tm works
+unless you comply with paragraph 1.E.8 or 1.E.9.
+
+1.E.8.  You may charge a reasonable fee for copies of or providing
+access to or distributing Project Gutenberg-tm electronic works provided
+that
+
+- You pay a royalty fee of 20% of the gross profits you derive from
+     the use of Project Gutenberg-tm works calculated using the method
+     you already use to calculate your applicable taxes.  The fee is
+     owed to the owner of the Project Gutenberg-tm trademark, but he
+     has agreed to donate royalties under this paragraph to the
+     Project Gutenberg Literary Archive Foundation.  Royalty payments
+     must be paid within 60 days following each date on which you
+     prepare (or are legally required to prepare) your periodic tax
+     returns.  Royalty payments should be clearly marked as such and
+     sent to the Project Gutenberg Literary Archive Foundation at the
+     address specified in Section 4, "Information about donations to
+     the Project Gutenberg Literary Archive Foundation."
+
+- You provide a full refund of any money paid by a user who notifies
+     you in writing (or by e-mail) within 30 days of receipt that s/he
+     does not agree to the terms of the full Project Gutenberg-tm
+     License.  You must require such a user to return or
+     destroy all copies of the works possessed in a physical medium
+     and discontinue all use of and all access to other copies of
+     Project Gutenberg-tm works.
+
+- You provide, in accordance with paragraph 1.F.3, a full refund of any
+     money paid for a work or a replacement copy, if a defect in the
+     electronic work is discovered and reported to you within 90 days
+     of receipt of the work.
+
+- You comply with all other terms of this agreement for free
+     distribution of Project Gutenberg-tm works.
+
+1.E.9.  If you wish to charge a fee or distribute a Project Gutenberg-tm
+electronic work or group of works on different terms than are set
+forth in this agreement, you must obtain permission in writing from
+both the Project Gutenberg Literary Archive Foundation and Michael
+Hart, the owner of the Project Gutenberg-tm trademark.  Contact the
+Foundation as set forth in Section 3 below.
+
+1.F.
+
+1.F.1.  Project Gutenberg volunteers and employees expend considerable
+effort to identify, do copyright research on, transcribe and proofread
+public domain works in creating the Project Gutenberg-tm
+collection.  Despite these efforts, Project Gutenberg-tm electronic
+works, and the medium on which they may be stored, may contain
+"Defects," such as, but not limited to, incomplete, inaccurate or
+corrupt data, transcription errors, a copyright or other intellectual
+property infringement, a defective or damaged disk or other medium, a
+computer virus, or computer codes that damage or cannot be read by
+your equipment.
+
+1.F.2.  LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
+of Replacement or Refund" described in paragraph 1.F.3, the Project
+Gutenberg Literary Archive Foundation, the owner of the Project
+Gutenberg-tm trademark, and any other party distributing a Project
+Gutenberg-tm electronic work under this agreement, disclaim all
+liability to you for damages, costs and expenses, including legal
+fees.  YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
+LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
+PROVIDED IN PARAGRAPH 1.F.3.  YOU AGREE THAT THE FOUNDATION, THE
+TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
+LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
+INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
+DAMAGE.
+
+1.F.3.  LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
+defect in this electronic work within 90 days of receiving it, you can
+receive a refund of the money (if any) you paid for it by sending a
+written explanation to the person you received the work from.  If you
+received the work on a physical medium, you must return the medium with
+your written explanation.  The person or entity that provided you with
+the defective work may elect to provide a replacement copy in lieu of a
+refund.  If you received the work electronically, the person or entity
+providing it to you may choose to give you a second opportunity to
+receive the work electronically in lieu of a refund.  If the second copy
+is also defective, you may demand a refund in writing without further
+opportunities to fix the problem.
+
+1.F.4.  Except for the limited right of replacement or refund set forth
+in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER
+WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
+WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.
+
+1.F.5.  Some states do not allow disclaimers of certain implied
+warranties or the exclusion or limitation of certain types of damages.
+If any disclaimer or limitation set forth in this agreement violates the
+law of the state applicable to this agreement, the agreement shall be
+interpreted to make the maximum disclaimer or limitation permitted by
+the applicable state law.  The invalidity or unenforceability of any
+provision of this agreement shall not void the remaining provisions.
+
+1.F.6.  INDEMNITY - You agree to indemnify and hold the Foundation, the
+trademark owner, any agent or employee of the Foundation, anyone
+providing copies of Project Gutenberg-tm electronic works in accordance
+with this agreement, and any volunteers associated with the production,
+promotion and distribution of Project Gutenberg-tm electronic works,
+harmless from all liability, costs and expenses, including legal fees,
+that arise directly or indirectly from any of the following which you do
+or cause to occur: (a) distribution of this or any Project Gutenberg-tm
+work, (b) alteration, modification, or additions or deletions to any
+Project Gutenberg-tm work, and (c) any Defect you cause.
+
+
+Section  2.  Information about the Mission of Project Gutenberg-tm
+
+Project Gutenberg-tm is synonymous with the free distribution of
+electronic works in formats readable by the widest variety of computers
+including obsolete, old, middle-aged and new computers.  It exists
+because of the efforts of hundreds of volunteers and donations from
+people in all walks of life.
+
+Volunteers and financial support to provide volunteers with the
+assistance they need, are critical to reaching Project Gutenberg-tm's
+goals and ensuring that the Project Gutenberg-tm collection will
+remain freely available for generations to come.  In 2001, the Project
+Gutenberg Literary Archive Foundation was created to provide a secure
+and permanent future for Project Gutenberg-tm and future generations.
+To learn more about the Project Gutenberg Literary Archive Foundation
+and how your efforts and donations can help, see Sections 3 and 4
+and the Foundation web page at http://www.pglaf.org.
+
+
+Section 3.  Information about the Project Gutenberg Literary Archive
+Foundation
+
+The Project Gutenberg Literary Archive Foundation is a non profit
+501(c)(3) educational corporation organized under the laws of the
+state of Mississippi and granted tax exempt status by the Internal
+Revenue Service.  The Foundation's EIN or federal tax identification
+number is 64-6221541.  Its 501(c)(3) letter is posted at
+http://pglaf.org/fundraising.  Contributions to the Project Gutenberg
+Literary Archive Foundation are tax deductible to the full extent
+permitted by U.S. federal laws and your state's laws.
+
+The Foundation's principal office is located at 4557 Melan Dr. S.
+Fairbanks, AK, 99712., but its volunteers and employees are scattered
+throughout numerous locations.  Its business office is located at
+809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
+business@pglaf.org.  Email contact links and up to date contact
+information can be found at the Foundation's web site and official
+page at http://pglaf.org
+
+For additional contact information:
+     Dr. Gregory B. Newby
+     Chief Executive and Director
+     gbnewby@pglaf.org
+
+
+Section 4.  Information about Donations to the Project Gutenberg
+Literary Archive Foundation
+
+Project Gutenberg-tm depends upon and cannot survive without wide
+spread public support and donations to carry out its mission of
+increasing the number of public domain and licensed works that can be
+freely distributed in machine readable form accessible by the widest
+array of equipment including outdated equipment.  Many small donations
+($1 to $5,000) are particularly important to maintaining tax exempt
+status with the IRS.
+
+The Foundation is committed to complying with the laws regulating
+charities and charitable donations in all 50 states of the United
+States.  Compliance requirements are not uniform and it takes a
+considerable effort, much paperwork and many fees to meet and keep up
+with these requirements.  We do not solicit donations in locations
+where we have not received written confirmation of compliance.  To
+SEND DONATIONS or determine the status of compliance for any
+particular state visit http://pglaf.org
+
+While we cannot and do not solicit contributions from states where we
+have not met the solicitation requirements, we know of no prohibition
+against accepting unsolicited donations from donors in such states who
+approach us with offers to donate.
+
+International donations are gratefully accepted, but we cannot make
+any statements concerning tax treatment of donations received from
+outside the United States.  U.S. laws alone swamp our small staff.
+
+Please check the Project Gutenberg Web pages for current donation
+methods and addresses.  Donations are accepted in a number of other
+ways including checks, online payments and credit card donations.
+To donate, please visit: http://pglaf.org/donate
+
+
+Section 5.  General Information About Project Gutenberg-tm electronic
+works.
+
+Professor Michael S. Hart is the originator of the Project Gutenberg-tm
+concept of a library of electronic works that could be freely shared
+with anyone.  For thirty years, he produced and distributed Project
+Gutenberg-tm eBooks with only a loose network of volunteer support.
+
+
+Project Gutenberg-tm eBooks are often created from several printed
+editions, all of which are confirmed as Public Domain in the U.S.
+unless a copyright notice is included.  Thus, we do not necessarily
+keep eBooks in compliance with any particular paper edition.
+
+
+Most people start at our Web site which has the main PG search facility:
+
+     http://www.gutenberg.org
+
+This Web site includes information about Project Gutenberg-tm,
+including how to make donations to the Project Gutenberg Literary
+Archive Foundation, how to help produce our new eBooks, and how to
+subscribe to our email newsletter to hear about new eBooks.
diff --git a/39408.zip b/39408.zip
new file mode 100644
index 0000000..757c316
--- /dev/null
+++ b/39408.zip
diff --git a/LICENSE.txt b/LICENSE.txt
new file mode 100644
index 0000000..6312041
--- /dev/null
+++ b/LICENSE.txt
@@ -0,0 +1,11 @@
+This eBook, including all associated images, markup, improvements,
+metadata, and any other content or labor, has been confirmed to be
+in the PUBLIC DOMAIN IN THE UNITED STATES.
+
+Procedures for determining public domain status are described in
+the "Copyright How-To" at https://www.gutenberg.org.
+
+No investigation has been made concerning possible copyrights in
+jurisdictions other than the United States. Anyone seeking to utilize
+this eBook outside of the United States should confirm copyright
+status under the laws that apply to them.
diff --git a/README.md b/README.md
new file mode 100644
index 0000000..a94dcb9
--- /dev/null
+++ b/README.md
@@ -0,0 +1,2 @@
+Project Gutenberg (https://www.gutenberg.org) public repository for
+eBook #39408 (https://www.gutenberg.org/ebooks/39408)