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+} +</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, &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—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,—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.</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> “<span lang="de">Wo nur noch eine von beiden +das Thema zu bilden scheint</span>,” he said, “<span lang= +"de">da hat die Ueberliefertung gelitten.</span>” 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’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 “any direct connection” +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> “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.”</p> +<p>In a series of notes beginning in the year 1858 Köhler<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—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’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’s work. He neglects altogether +Cosquin’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 “<span lang="de">Sage vom +dankbaren Toten und der Frau mit den Drachen im +Leibe</span>”<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’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’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’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’s <i>Old +Wives’ Tale</i> 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 <i lang="de">Studien über 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. +219–221.</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. 199–210, xii. 55 ff.; <i lang="de">Or. u. +Occ</i>. ii. 322–329, iii. 93–103; <i lang="de">Arch. f. +slav. Phil</i>. ii. 631–634, v. 40 ff.; <i>Gonzenbach</i>, +<span lang="de">Sicilianische Märchen</span>, 1870, ii. +248–250.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e454" href="#xd20e454src" name="xd20e454">9</a></span> <i lang= +"de">Heidelberger Jahrbücher der Lit</i>. 1868, lxi. +449–452, 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. 678–689.</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. +141–183.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e504" href="#xd20e504src" name="xd20e504">14</a></span> P. 167. +“<span lang="de">Ein Jüngling 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 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.)</span>”</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. 43–63.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e560" href="#xd20e560src" name="xd20e560">20</a></span> +<i>Folk-Lore</i>, ix. 226–244 (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 Köhler, +<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 Köhler, <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 Köhler, 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. +86–99. Summarized by Gaster, <i>Germania</i>, xxvi. +200–202, 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 légendes annamites</i>, 1886, +pp. 162, 163, “<span lang="fr">La reconnaissance de +l’étudiant mort.</span>” A modern folk-tale.</p> +<p><span class="sc">Siberian.</span></p> +<p>Radloff, <i lang="de">Proben der Volkslitteratur der türkischen +Stämme Süd-Siberiens</i>, 1866, i. 329–331. See +Köhler, <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’s Priest’s +Tale, Cant. Tales</i>, B, 4257–4294. For the relationship of +Chaucer’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. +106–117. Connected with <i>The Grateful Dead</i> by Freudenberg +in a review of Simrock in <i lang="de">Jahrbücher des Vereins von +Alterthumsfreunden im Rheinlande</i>, xxv. 172. See also Köhler, +<i>Germania</i> iii. 209, Liebrecht in <i lang="de">Heidelberger +Jahrbücher 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">Études sur les +Tchinghianés ou Bohémiens de l’Empire Ottoman</i>, +1870, pp. 601–605, 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. 1–3. Summarized by +Köhler, <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 +Märchen</i>, 1864, no. 53, pp. 288–295, “<span lang= +"de">Belohnte Treue</span>.” Summarized in part by Hippe, p. 149. +See also Liebrecht, <i lang="de">Heid. Jahrbücher</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 Märchen, Gedichte und +Rätsel</i>, 1904, no. 12, pp. 39–45.</p> +<p><span class="sc">Russian I.</span></p> +<p>Afansjew, <i lang="de">Russische Volksmärchen</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 +Köhler, <i lang="de">Or. und Occ.</i> iii. 93–103, and Sepp, +p. 684.</p> +<p><span class="sc">Russian II.</span></p> +<p>Chudjakow, <i lang="de">Grossrussische Märchen</i>, Heft 3, pp. +165–168. Translation by Schiefner, <i lang="de">Or. und Occ.</i> +iii. 93–96 in article by Köhler. In English by Groome, +<i>Folk-Lore</i>, ix. 229 ff. Summarized by Köhler, <i>Arch. f. +slav. Phil.</i> v. 43, and (with an important omission) by Hippe, pp. +144, 145. See Köhler’s notes in Gonzenbach, <i lang= +"de">Sicilianische Märchen</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. Jagić, <i lang="de">Arch. f. slav. +Phil.</i> v. 480, and by Hippe, p. 145. Jagić 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 Volksmärchen in den Urschrift +gesammelt</i>, 1831, no. 16, pp. 199–207. 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. 179–186. “<span lang= +"de">Sila Zarewitsch und Iwaschka mit dem weissen Hemde.</span>” +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 Köhler, <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. Šejn, <i lang="de">Materialien zur Kenntniss der +russischen Bevölkerung von Nordwest-Russland</i>, 1893, ii. +66–68, no. 33. Cited by Polívka in <i lang="de">Arch. f. +slav. Phil.</i> xix. 251.</p> +<p><span class="sc">Russian VI.</span></p> +<p>P. V. Šejn, <i>work cited</i>, ii. 401–407, +no<span class="corr" id="xd20e872" title="Not in source">.</span> 227. +Cited by Polívka, <i lang="de">Arch. f. slav. Phil.</i> xix. +262.</p> +<p><span class="sc">Servian I.</span></p> +<p>Vuk Stefanović Karadžić, 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 +Köhler, <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. Stefanović’s collection, 1871, no. +15, by Jagić in <i lang="de">Arch. f. slav. Phil.</i> v. 40 f. +with the title “<span lang="de">Vlatko und der dankbare +Todte.</span>” Thence by Hippe, p. 145.</p> +<p><span class="sc">Servian III.</span></p> +<p>Jagić in <i lang="de">Arch. f. slav. Phil.</i> v. 41 f, from +Stojanović’s collection, no. 31. Hippe’s summary, p. +146, is exceedingly brief and faulty.</p> +<p><span class="sc">Servian IV.</span></p> +<p>Jagić, <i lang="de">Arch. f. slav. Phil.</i> v. 42, from +<i>Matica</i>, B. 105 (<span class="sc">A.D.</span> 1863, St. +Novaković). Summary of this by Hippe, p. 146. Jagić calls the +tale “<span lang="de">Ein Goldfisch</span>.”</p> +<p><span class="sc">Servian V.</span></p> +<p>Krauss, <i lang="de">Sagen und Märchen der Südslaven</i>, +1883, i. 385–388, “<span lang="de">Der +Vilaberg</span>.” 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. 114–119. “<span lang= +"de">Fuhrmann Tueguts Himmelswagen.</span>” 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">Böhmisches Märchenbuch</i>, 1860, pp. +213–241. Mentioned by Köhler, <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. Wójcicki, <i lang="pl">Klechdy, Starożytne +podania i powieści ludowe</i>, 2nd ed., Warsaw, 1851. Translated +into German by F. H. Lewestam, <i lang="de">Polnische Volkssagen und +Märchen</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 Köhler, +<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 Schischmánoff, <i lang="fr">Légendes religieuses +bulgares</i>, 1896, no. 77, pp. 202–209,<a class="noteref" id= +"xd20e1021src" href="#xd20e1021" name="xd20e1021src">3</a> +“<span lang="fr">Le berger, son fils, et +l’archange</span>.”</p> +<p><span class="sc">Lithuanian I.</span></p> +<p>L. Geitler, <i lang="de">Litauische Studien</i>, 1875, pp. +21–23. Analyzed by Köhler, <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 “Lithuanian II.”</p> +<p><span class="sc">Lithuanian II.</span></p> +<p>Köhler, <i lang="de">Arch. f. slav. Phil.</i> ii. 633 f. From +Prussian Lithuania. Summarized by Hippe, p. 147, as his +“Lithuanian III.” <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 Märchen</i>, 1850, +pp. 110–122. Mentioned by Köhler, <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 Volksmärchen</i>, 1857, pp. +153–167. Summarized by Köhler, <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 Märchen</i>, in +Hackländer and Hoefer’s <i lang="de">Hausblätter</i>, +1857, iv. 470–473. 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">Romänische Märchen und Sagen aus +Siebenbürgen</i>, in <i lang="de">Das Ausland</i>, 1858, p. 117. +Mentioned by Köhler, <i>Germania</i>, iii. 202, and by Hippe, p. +147.</p> +<p><span class="sc">Transylvanian.</span></p> +<p>Haltrich, <i lang="de">Deutsche Volksmärchen aus dem +Sachsenlande in Siebenbürgen</i>, 1856, pp. 42–45. Analyzed +by Köhler, <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. 186–192, from <i lang="de">Ein +Ausflug nach Esthland im Junius 1807</i>. Reprinted by Kletke, <i lang= +"de">Märchensaal</i>, 1845, ii. 60–62. 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 Labrós, <i lang="ca">Lo Rondollayre: Quentos +populars catalans</i>, <span lang="ca">Segona Série</span>, +1872, no. 5, pp. 34–37. Analyzed by <span class="pagenum">[<a id= +"pb13" href="#pb13" name="pb13">13</a>]</span>Liebrecht, <i lang= +"de">Heid. Jahrbücher der Lit</i>. lxv. 894 (1872), and after him +by Hippe, p. 151. Mentioned by d’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>, 1849–51, ii. +299–302, nos. 1291, 1292. Summarized by Köhler, <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">Catálogo de comedias y autos de +Frey Félix 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’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 +españoles</i>, lii. Schaeffer, pp. 141, 142, gives a careful +summary of the play, and Köhler, <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 españoles</i>, xiv. 471–488, +and in <i lang="es">Comedias escogidas de los mejores ingenios de +España</i>, 1657, ix. 53–84. Analyzed by Köhler, +<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 +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, <i lang= +"es">Orígenes de la Novela (Nueva Biblioteca de autores +españoles</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. +63–128, 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. 106–109. 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 Köhler, <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. +18–38. 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 épopées +françaises</i>, 1st ed. 1865, i. 471–473, 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–xcix, Simrock, pp. 104–106, and Hippe, p. +154. See E. Müller, <i lang="de">Überlieferung 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’Algarbe</i>, a +French prose romance composed before 1472, according to +Foulché-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 Gröber, <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’s work is +given by Frölicher, <i lang="de">Thüring von +Ringoltingen’s “Melusine,” Wilhelm Ziely’s +“Olivier und Artus” und “Valentin und +Orsus,”</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">Mélanges tirés +d’une grande bibliothèque</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. Angélique de Gomez, <i lang="fr">Histoire de Jean de +Calais</i>, 1723. Sketched in the <i lang="fr">Bibliothèque +universelle des romans</i>, Dec. 1776, pp. 134 ff. Köhler, +<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 “<span lang="fr">tiré d’un livre +qui a pour titre: <i>Histoire fabuleuse de la Maison des Rois de +Portugal.</i>”</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 +Köhler in Gonzenbach, <i lang="de">Sicil. Märchen</i>, ii. +250.</p> +<p>II. Bladé, <i lang="fr">Contes populaires de la Gascogne</i>, +1886, ii. 67–90. 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 Rivière</i>, 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. <span class="pagenum">[<a id= +"pb17" href="#pb17" name="pb17">17</a>]</span></p> +<p>VI. P. Sébillot, <i lang="fr">Contes populaires de la +Haute-Bretagne</i>, <span lang="fr">3me. série</span>, 1882, pp. +164–171.</p> +<p>VII. Wentworth Webster, <i>Basque Legends</i>, 1877, pp. +151–154. See Luzel, <i lang="fr">Légendes +chrétiennes</i>, p. 90, note.</p> +<p>VIII. A. Le Braz, <i lang="fr">La légende de la mort chez les +Bretons armoricains</i>, <span lang="fr">nouv. éd.</span>, 1902, +ii. 211–231.</p> +<p>IX. L. Giner Arivau, <i lang="es">Folk-Lore de Proaza</i> (Asturia), +in <i lang="es">Biblioteca de las tradiciones populares +españolas</i>, viii. 194–201 (1886).</p> +<p>X. Gittée and Lemoine, <i lang="fr">Contes populaires du pays +Wallon</i>, 1891, pp. 57–61.</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. +82–84, and by W. P. Ker, <i>The Roman van Walewein (Gawain)</i> +in <i>Folk-Lore</i>, v. 121–127 (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. +208–212 (no. xix). Noted by Hippe, p. 157.</p> +<p><span class="sc">Gasconian</span>.</p> +<p>Cénac Moncaut, <i lang="fr">Contes populaires de la +Gascogne</i>, 1861, pp. 5–14, “<span lang="fr">Rira bien +qui rira le dernier.</span>” Summarized by Köhler, <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’Ancona and Sforza, 1868. Analyzed by Liebrecht, <i lang= +"de">Heid. Jahrbücher der Lit</i>. lxi. 450 (1868), by +d’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’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, +<i>Richars li Biaus</i>, p. xxiv, and Wilhelmi, pp. 44 and 57.</p> +<p><span class="sc">Stellante Costantina</span>.</p> +<p>D’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 Hausmärchen</i>, 1856, +iii, 289; and rather too briefly by Simrock, pp. 98–100, and +Hippe, p. 153. See Benfey, <i>Pant</i>. i. 221, Köhler in +Gonzenbach, <i lang="de">Sicil. Märchen</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. +430–437, no. lii. A folk-tale from the neighbourhood of Pistoia. +See Webster, <i>Basque Legends</i>, pp. 182–187, 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’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. +131–136, 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 <i>Fiabe</i>, etc., d’Ancona as above.</p> +<p><span class="sc">Venetian</span>.</p> +<p>G. Bernoni, <i lang="it">Tradizioni populari veneziane</i>, 1875, +pp. 89–96. 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 Märchen</i>, 1870, +ii. 96–103. 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>Roméro 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. 182–187. +See Cosquin, <i lang="fr">Contes populaires</i>, i. 215, and Luzel, +<i lang="fr">Légendes chrétiennes</i>, p. 90, note.</p> +<p><span class="sc">Basque</span> II.</p> +<p>Webster, <i>work cited</i>, pp. 146–150. 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. 121–140, no. 32, “The Barra Widow’s Son.” +Summarized by Köhler, <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 Köhler in Gonzenbach, <i lang="de">Sicil. +Märchen</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. +155–167, “Beauty of the World.” 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. 18–47, “The King of +Ireland’s Son.”<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. +32–38, “Jack the Master and Jack the Servant.”</p> +<p><span class="sc">Breton</span> I.</p> +<p>Souvestre, <i lang="fr">Le foyer breton, contes et récits +populaires</i>, <span lang="fr">nouv. <span class="corr" id="xd20e1814" +title="Source: ed.">éd.</span></span> 1874, ii. 1–21. +Analyzed by Simrock, pp. 94–98, by Sepp, p. 685, and in part by +Hippe, p. 149. See Luzel, <i lang="fr">Légendes +chrétiennes</i>, i. 90, note.</p> +<p><span class="sc">Breton</span> II.</p> +<p>F. M. Luzel, <i lang="fr">Légendes chrétiennes de la +Basse-Bretagne</i>, 1881, i. 68–90, “<span lang="fr">Le +fils de Saint Pierre.</span>” 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. 40–58. Mentioned by von Weilen, +<i>place cited</i>, and analyzed by Hippe, p. 150. The title, slightly +misquoted by Hippe, is “<span lang="fr">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.</span>”</p> +<p><span class="sc">Breton</span> IV.</p> +<p>P. Sébillot, <i lang="fr">Contes populaires de la +Haute-Bretagne</i>, 1880, pp. 1–8. 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. 176–194, “La princesse Marcassa.”</p> +<p><span class="sc">Breton</span> VI.</p> +<p>F. M. Luzel, <i>work cited</i>, ii. 209–230, “La +princesse de Hongrie.”</p> +<p><span class="sc">Breton</span> VII.</p> +<p>F. M. Luzel, <i>work cited</i>, i. 403–424, “<span lang= +"de">Iouenn Kerménou, l’homme de parole.</span>”</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 1265–1270 is analyzed by Hippe, pp. 158 f.</p> +<p><span class="sc">Swedish</span>.</p> +<p>P. O. Bäckström, <i lang="se">Svenska Folkböcker</i>, +1845–48, ii. 144–156, from H—d (Hammarsköld) and +I—s (Imnelius), <i lang="se">Svenska Folksagor</i>, 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, <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. 77–80, “<span lang="da">Det fattige +Lig.</span>” 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 Köhler, <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. 105–108, “<span lang= +"da">De tre Mark.</span>” Summarized by Köhler, <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, “<span lang="da">Reisekammeraten</span>,” in +<i lang="da">Samlede Skrifter</i>, xx. 54 ff. (1855). Found in most +English editions of Andersen’s tales as “The Travelling +Companion.” Based on <i>Norwegian II</i>. Analyzed by Sepp, p. +678. Cited by Köhler, <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>Asbjörnsen, <i lang="no">Iuletraeet</i>, 1866, no. 8, and +<i lang="no">Norske Folke-Eventyr</i>, 1871, no. 99, pp. 198–201. +Summarized by Liebrecht, <i lang="de">Heid. Jahrbücher 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>Asbjörnsen, <i lang="no">Illustreret Kalender</i>, 1855, pp. +32–39, <i lang="no">Iuletraeet</i>, no. 9, and <i lang= +"no">Norske Folke-Eventyr</i>, no. 100, pp. 201–214. Translated +by Dasent, <i>Tales from the Fjeld</i>, 1874, pp. 71–88. 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. Jahrbücher 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>Árnason, <i lang="is">Íslenzkar +þjósögur og <span class="corr" id="xd20e2033" title= +"Source: Æfintýri">æfintýri</span></i>, 1864, +ii. 473–479. English translation in Powell and Magnússon, +<i>Legends Collected by Jón. Arnason</i>, 1866, pp. +527–540. German translation in Poestion, <i lang= +"de">Isländische Märchen</i>, 1884, p. 274. Cited by +Liebrecht<span class="corr" id="xd20e2042" title="Source: .">,</span> +<i lang="de">Heid. Jahrbücher</i>, lxi. 451, and <i>Germania</i>, +xxiv. 131, and by Wilhelmi, p. 45. Summary by Köhler, <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 neuisländischen +Volksmärchen</i>, 1902, no. 57, pp. 232–235. From MS. 537, +Landesbibliothek, Reykjavík. <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. +105–128, no. 6. A poem of 866 lines from the fourteenth century. +Summaries in Benfey, <i>Pant</i>. i. 221, in Simrock, pp. +100–103, 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. 197–255, 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 Hausmärchen</i>, 1858, pp. +243–250, contributed by W. von Plönnies. Summary by Simrock, +pp. 46–51, by Köhler, <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 Plönnies in <i lang="de">Zts. f. deutsche Myth</i>. 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.</p> +<p><span class="sc">Simrock</span> III.</p> +<p>E. Meier, <i lang="de">Deutsche Volksmärchen aus Schwaben</i>, +1852, no. 42. pp. 143–153. Summarized by Simrock, pp. +54–58, Köhler, <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. Pröhle, <i lang="de">Kinder- und Volksmärchen</i>, +1853, pp. 239–246. Summary by Simrock, pp. 58–62. See +Hippe, p. 165.</p> +<p><span class="sc">Simrock</span> V.</p> +<p>Simrock, pp. 62–65, 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, Märchen und Gebräuche aus Tirol</i>, +1859, pp. 444 f., and in <i lang="de">Kinder- und Hausmärchen aus +Tirol</i>, 2nd ed., 1870, pp. 261–267. 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. 65–68, from Xanten. See Hippe, p. 165.</p> +<p><span class="sc">Simrock</span> VII.</p> +<p>Simrock, pp. 68–75, 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. 46–50, +from Grafschaft Mark. Given by Simrock, pp. 75–80. Analyzed by +Sepp, p. 685, who inadvertently speaks of it as “<span lang= +"de">nach irischer Sage</span>.” See Hippe, p. 165.</p> +<p><span class="sc">Simrock</span> IX.</p> +<p>Simrock, pp. 80–89, contributed by Zingerle, who afterwards +printed it in <i lang="de">Sagen, Märchen und Gebräuche aus +Tirol</i>, 1859, pp. 446–450, and in <i lang="de">Kinder- und +Hausmärchen aus Tirol</i>, 2nd ed., 1870, pp. 254–260. See +Stephens, p. 9, Hippe, pp. 165 f., and Wilhelmi, p. 45.</p> +<p><span class="sc">Simrock</span> X.</p> +<p>Simrock, pp. 89–94, from the foot of the Tomberg. Summarized +by Köhler, <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">Harzmärchenbuch</i>, 1862, pp. 64–74. +Summary by Köhler, <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. 113–118. Summary by Köhler, +<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. 241–275, +Robson, <i>Three Early English Metrical Romances</i>, 1842, pp. +27–56, 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 +Köhler, <i lang="de">Or. und Occ.</i> ii. 325, by Foerster, +<i>Richars li Biaus</i>, pp. xxiv–xxvi, by Groome, +<i>Folk-Lore</i>, ix. 236, and by Hippe (with great care), pp. +160–164. 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’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. 67–77. 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 Köhler, <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’">Factor’s</span> Garland.</span><a class= +"noteref" id="xd20e2340src" href="#xd20e2340" name= +"xd20e2340src">16</a></p> +<p><i>The Factor’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. 809–815, +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’ Tale.</span></p> +<p>George Peele, <i>The Old Wives’ Tale</i> (1590), published in +1595, Ed. by Dyce, 1828 and 1861, by Bullen, 1888, and by Gummere in +Gayley’s <i>Representative English Comedies</i>, 1903, pp. +349–382. 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. +87–182.</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 +Köhler, <i>Germania</i>, iii. 199–209, 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. +194–201 is found a curious “<span lang="fr">Écho de +l’histoire de Tobie</span>.”</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e1042" href="#xd20e1042src" name="xd20e1042">4</a></span> +Hippe’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 “<span lang="de">zwei spanische Romanzen</span>.” +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 <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 françois</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 poétiques 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> +Foulché-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 “Printed and sold by +Larkin How, in Petticoat Lane,” 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: +“<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>” 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 <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’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">trạng <span class="corr" id="xd20e2442" title= +"Source: nguyen">nguyên</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 “Vile,”<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’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,—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,—to the <i>märchen</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’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 <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’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 <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’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’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 <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’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.</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—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 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.</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’ <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’s bones. The Esthonian tale +has, however, only the latter circumstance, combined with a simple form +of <i>The Grateful Dead</i>. 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.</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’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’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. <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’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.</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’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’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’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’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’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’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’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’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—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—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.</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 Köhler.<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’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—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,<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—Massinger’s <i>Fatal Dowry</i> and +Rowe’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’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’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.</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’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’s stories from him. The book may yet be found in +which the one follows the other “right in the nexte +chapitre.”</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’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’s <i>North-English Homily Collection</i>, 1902, +pp. 27–31.</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. 678–680 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’Asie +Mineure</i>, 1889, pp. 57–74.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e2560" href="#xd20e2560src" name="xd20e2560">8</a></span> See +Baring-Gould’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. 255–332, 337–347.</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 Hausmärchen</i>, no. 28. See notes (ed. +1856), iii. 55, 56; also Köhler, <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. 16–48; 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’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 +Göttingen. See the article “<span lang= +"de">Niederländische Volksbücher</span>,” by Karl +Meyer, in <i lang="de">Sammlung bibliothekswissenschaftlicher +Arbeiten</i>, ed. Dziatzko, viii. 17–22, 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’s two stories in the +<i>Nun’s Priest’s Tale, Cant. Tales</i>, B. +4174–4252, 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. 160–164.</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> +“<span lang="fr">V le femme u l’auoir ares</span>,” +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">Über Lion de Bourges</i>, particularly pp. +46–54.</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. 281–283. 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. 275–277, and <i>The Minor Poems of the Vernon +MS.</i> 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, <i>Political, Religious, and Love +Poems</i>, 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, <i lang="la">Trentalle Sancti Gregorii, <span lang= +"de">Erlanger Beiträge</span></i>, iii. 29–44, 1889. (B) MS. +19, 3, 1, Advocates’ Libr., Edinburgh, ed. Turnbull, <i>The +Visions of Tundale</i>, 1843, pp. 77 ff., and Bülbring, +<i>Anglia</i>, 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, <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. 372–377. 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 Märchen vom gestiefelten Kater</i>, Leipzig, +1843; Benfey, <i>Pantschatantra</i>, i. 222; Grimm, <i lang= +"de">Kinder- und Hausmärchen</i>, iii. 288; Liebrecht, <i lang= +"de">Dunlop’s Geschichte der Prosadichtungen</i>, 1851, p. 286; +Polívka, <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’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’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 Giftmädchen</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’ 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’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.</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’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.</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’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’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’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 rôle 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’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’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’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’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’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 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<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’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’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.</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’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’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’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. <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’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’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>—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’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.</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>—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’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>märchen</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’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’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’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’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’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’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’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 <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’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’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 +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.</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>,—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’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’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’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. <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’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’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.</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’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 <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’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—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—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’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’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.</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’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 <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’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<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’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’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’ 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’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">“Bestowe thy almes, give more than all,</p> +<p class="line">Till dead men’s bones come at thy +call.”</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 +“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.</p> +<p>Dutz has already shown<a class="noteref" id="xd20e3773src" href= +"#xd20e3773" name="xd20e3773src">33</a> that <i>Old Wives’ +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’ 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’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’ 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’ 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—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 <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. 89–166. 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. 156–277.</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. 151–155).</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 “The Story of Swet-Basanta” 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’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., “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.</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’s tale), and Peele’s +<i>Old Wives’ 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 Schischmánoff’s <i lang= +"fr">Légendes religíeuses bulgares</i>, 1896, pp. +194–201, 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 Köhler’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’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. Polívka, and +printed in <i lang="de">Archiv f. slav. Phil.</i> xix. 251, in citing +our <i>Russian V.</i> He says: “Vgl. <span class="sc"><span lang= +"ru">Романовъ</span></span>, +iv. S. 124, Nr. 65; Weryho, <i lang="pl">Pod. białoruskie</i>, S. +46; <span lang= +"ru">Худяковъ</span>, +i. Nr. 11, 12; <span lang= +"ru">Садовниковъ</span>, +S. 44, 310; <span lang= +"ru">Манжура</span>, 61; +<span lang= +"ru">Драгомановъ +Мапор. +Преп</span>, S. 268 f.; Dowojna Sylwestrowicz, +ii. 129 f.; Karłowicz, 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; +Pröhle, <i lang="de">Märchen für die Jugend</i>, S. 42; +Wolf, <i>D.H.M.</i> 258 f.; Sébillot, <i lang="fr">Contes des +marins</i>, S. 38.” 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, Manžura, 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 Köhler’s notes in +Gonzenbach, <i>Sicil. Märchen</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’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.</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. 195–201.</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 +Hausmärchen</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: “In some versions of ‘Jack the Master,’ +etc., Jack the servant is the spirit of the dead man.”</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. 333–384.</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. +176–178.</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’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—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’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’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.<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’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 <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’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’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’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—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 <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—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’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’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 <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’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,<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’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’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 ’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’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.</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’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’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’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 Båtsman, 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’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’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. 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 <span class="pagenum">[<a id="pb90" href="#pb90" name= +"pb90">90</a>]</span>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.</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’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.</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’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.</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’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.</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’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’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’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>—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 <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’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 <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’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’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’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, <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’s ghost, nevertheless, lays siege for +Clarinda’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’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.</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’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’s +son be divided. In general outline it is scarcely distinguishable from +<i>Lithuanian II.</i>, 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.</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’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’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.</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’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’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.</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’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,—<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’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’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’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 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 <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’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.</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’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’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.</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’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’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 <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’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 <span class="pagenum">[<a id="pb108" href= +"#pb108" name="pb108">108</a>]</span>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.</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’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’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’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’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.</p> +<p>Like <i>Gaelic</i><a class="noteref" id="xd20e4959src" href= +"#xd20e4959" name="xd20e4959src">47</a> and <i>Simrock +VIII.</i>—the latter just discussed—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’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’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 <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’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.</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 rôle 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’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’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’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.</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’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.<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,—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 <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’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>,—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 +<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’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. +170–175.</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 Köhler, <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. 529–545.</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. +110–113, 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 “<span lang= +"de">Legendarische Formen mit Loskauf</span>.” 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’s “Lithuanian II.”</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> +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.</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’s daughter.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e4144" href="#xd20e4144src" name="xd20e4144">13</a></span> +<i>Orígenes 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’s second voyage “pater suus et mater” 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’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’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. +85–87.</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 +altfranzösischen Quelle</i>, ed. E. Kölbing, 1884, with the +comprehensive discussion of versions in the introduction; also +Kölbing, “<span lang="de">Zur Ueberlieferung der Sage von +Amicus und Amelius</span>,” in Paul und Braune’s <i lang= +"de">Beiträge</i> iv. 271–314; etc.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e4409" href="#xd20e4409src" name="xd20e4409">25</a></span> +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.</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’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’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’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’s +carriage,—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’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’ Tale</i>.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e4921" href="#xd20e4921src" name="xd20e4921">46</a></span> See pp. +100–102.</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. +1–14, 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">märchen</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. +Wünsche<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 “water of rejuvenation”; 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’ 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. Wünsche:<a class="noteref" id= +"xd20e5323src" href="#xd20e5323" name="xd20e5323src">7</a> +“<span lang="de">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.</span>” 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 <i lang="de">märchen</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,—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>“<span lang="fr">Dans tous ces contes,</span>” says +Cosquin, in his notes on <i>The Water of Life</i>,<a class="noteref" +id="xd20e5351src" href="#xd20e5351" name="xd20e5351src">8</a> +“<span lang="fr">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.</span>”</p> +<p>Dr. Wünsche’s summary is somewhat different:<a class= +"noteref" id="xd20e5361src" href="#xd20e5361" name="xd20e5361src">9</a> +“<span lang="de">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 <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, 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 +<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 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.</span>”</p> +<p>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 <i>The Water of +Life</i> 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.<a class="noteref" id="xd20e5376src" href="#xd20e5376" name= +"xd20e5376src">10</a></p> +<p>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 <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. Wünsche +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’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 rôle 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’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.</p> +<p><i>Straparola II.</i> 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 <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’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.</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’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’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">märchen</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 rôle, 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’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’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. <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’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.</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 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 <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’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’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.<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 phœnix 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 phœnix 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’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’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’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">märchen</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’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’ 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’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’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’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’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’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’s head, which are requisite to the unspelling. Finally, +according to <i>Old Wives’ 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’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’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’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,—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>märchen</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’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 +rôle.<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>märchen</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’s <i>Old Wives’ 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,—purely +subsidiary and relatively late. The theory which has been proposed +involves the necessity of placing the entrance of the Semitic +<i>märchen</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 +Wünsche, <i lang="de">Die Sagen vom Lebensbaum und +Lebenswasser</i>, 1905, pp. 90–104. This is the same study which +had previously been printed in the <i lang="de">Zts. f. vergleichende +Litteraturgeschichte</i>, 1899, N.F. xiii. 166–180, 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: +“<span lang="de">Man sieht auch daraus, dass es sich um +Wanderstoffe handelt, an die sich immer neue Elemente ankristallisiert +haben.</span>” These elements he has not studied with any degree +of completeness. Thus, for example, he does not use Cosquin’s +valuable contributions in <i lang="fr">Contes populaires de +Lorraine</i>, i. 212–222, 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 +Wünsche, 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> +“The Fountain of Youth,” <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> +Wünsche, p. iii: “<span lang="de">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.</span>”</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. +125–127 below.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e5392" href="#xd20e5392src" name="xd20e5392">11</a></span> Pp. +212–214. He regards the story in Wolf, <i lang= +"de">Hausmärchen</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, “The Baker’s Three Daughters” in Mrs. M. +Carey’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 Wünsche +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">märchen</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: “See Benfey, <span lang= +"de"><i>Das Märchen von den</i> ‘Menschen mit den +wunderbaren Eigenschaften,’ <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’Ancona, <i lang="it">Studj di Critica e Storia +Letteraria</i>, 1880, pp. 357–358; Köhler-Bolte, <i lang= +"de">Ztsch. des Ver. f. Volkskunde</i>, vi. 77; Köhler, <i lang= +"de">Kleinere Schriften</i>, i. 192 ff., 298 ff., 389–390, 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">Rätsel der Sphinx</i> ii. 357 ff.; Steel, <i>Tales of the +Punjab</i>, pp. 42 ff.; Jurkschat, <i lang="de">Litauische +Märchen</i>, pp. 29 ff.; etc.” A peculiarly interesting +specimen is that in Bladé, <i lang="fr">Contes pop. de la +Gascogne</i>, 1886, iii. 12–22. See also Luzel, <i lang= +"fr">Contes pop. de Basse-Bretagne</i>, 1887, iii. 296–311; +Carnoy and Nicolaides, <i lang="fr">Traditions pop. de l’Asie +Mineure</i>, 1889, pp. 43–56; and Goldschmidt, <i lang= +"de">Russische Märchen</i>, 1883, pp. 69–78.</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 “The Magic Turban” in R. Nisbet Bain’s +<i>Turkish Fairy Tales</i>, 1901, pp. 102–111.</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): +“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 +(<i>e.g.</i> Grimm, <i lang="de">Kinder- und Hausmärchen</i>, No. +71, “<span lang="de">Sechse kommen durch die ganze +Welt</span>”) 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 Bladé on p. 125, note 3. It occurs in a curious tale +from Mauritius, given by Baissac, <i lang="fr">Le Folk-lore de +l’Île-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’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. 42–48.</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. +133–135.</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. +58–73.</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. 156–158 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., 111–115.</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. +145–147.</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’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’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’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’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,—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’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’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’s +entire rôle 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’s contention, however, that +“<span lang="de">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</span>”<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’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’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. +33–40.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e6754" href="#xd20e6754src" name="xd20e6754">3</a></span> See pp. +92–96.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e6766" href="#xd20e6766src" name="xd20e6766">4</a></span> See pp. +131–134.</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. +92–111.</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’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, 430–432.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e7041" href="#xd20e7041src" name="xd20e7041">19</a></span> +<i>Pantschatantra</i>, i. §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. +100–102, 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">märchen</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’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’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.<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’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">“Daz hâst wol gerâten,” sprach +der von Sturmlant.</p> +<p class="line">“jâ sol man verkoufen ir ros und ir +gewant,</p> +<p class="line">die dâ ligent tôte, daz man der armen +diete</p> +<p class="line">nâch ir lîbes ende von ir guote disen +frumen biete.”</p> +<p class="line xd20e7310">Dô sprach der degen Îrolt: +“sol man ouch die begraben,</p> +<p class="line">die uns den schaden tâten, od sol man si die +raben</p> +<p class="line">und die wilden wolve ûf dem wérde +lâzen niezen?”</p> +<p class="line">dô rieten daz die wîsen, 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>märchen</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 Sébillot,<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">märchen</i> 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, <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’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>märchen</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 +(76–138 <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’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’s <i>Old Wives’ 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’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 +à 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>, Vendîdâd, 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. 280–283.</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 Jahrbücher</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. 151–155.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e7495" href="#xd20e7495src" name="xd20e7495">23</a></span> For +examples, see Hertz, pp. 106–115.</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. +125–127, 151 f.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e7623" href="#xd20e7623src" name="xd20e7623">31</a></span> See the +author’s study, “Forerunners, Congeners, and Derivatives of +the Eustace Legend” in <i>Publ. Mod. Lang. Ass.</i> xix. +335–448.</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>–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>–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>–101, <a href="#pb103" class= +"pageref">103</a>–105, <a href="#pb107" class= +"pageref">107</a>–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>–37, <a href="#pb41" class= +"pageref">41</a>–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>–70, <a href="#pb78" class= +"pageref">78</a>–80, <a href="#pb85" class="pageref">85</a>, +<a href="#pb86" class="pageref">86</a>, <a href="#pb88" class= +"pageref">88</a>–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>–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>–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>–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>–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’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>–5, <a href= +"#pb44" class="pageref">44</a>, <a href="#pb56" class="pageref">56</a>, +<a href="#pb75" class="pageref">75</a>–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>–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>–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>–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>–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>–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>–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>–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>–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>–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’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>Köhler, 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>–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>–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>–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>–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>Menéndez 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>–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’ 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>–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>–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>–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>–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>–147, +<a href="#pb149" class="pageref">149</a>–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>–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>–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>–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>–53, <a href="#pb55" class= +"pageref">55</a>–58, <a href="#pb77" class= +"pageref">77</a>–80, <a href="#pb86" class= +"pageref">86</a>–91, <a href="#pb96" class= +"pageref">96</a>–106, <a href="#pb108" class= +"pageref">108</a>–111, <a href="#pb113" class= +"pageref">113</a>–115, <a href="#pb128" class= +"pageref">128</a>–130, <a href="#pb136" class= +"pageref">136</a>–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>–39, <a href="#pb153" class= +"pageref">153</a>–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>–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>–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>–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>–75.</p> +<p><i>Russian VI., <a href="#pb10" class="pageref">10</a></i>, <a href= +"#pb52" class="pageref">52</a>–54, <a href="#pb73" class= +"pageref">73</a>–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>–114, <a href="#pb116" class="pageref">116</a>, +<a href="#pb147" class="pageref">147</a>–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>–116, <a href="#pb147" class= +"pageref">147</a>–149.</p> +<p><i>Simrock VIII., <a href="#pb23" class="pageref">23</a></i>, +<a href="#pb109" class="pageref">109</a>–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>–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>–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>–39, <a href="#pb96" class="pageref">96</a>, +<a href="#pb153" class="pageref">153</a>–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>–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>–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>–101, <a href="#pb103" class= +"pageref">103</a>–105, <a href="#pb107" class= +"pageref">107</a>–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>–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>–143, <a href="#pb149" class="pageref">149</a>, +<a href="#pb151" class="pageref">151</a>, <a href="#pb158" class= +"pageref">158</a>–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>–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>–169.</p> +<p>Tourney for hand of lady, <a href="#pb33" class= +"pageref">33</a>–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>–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>–97, <a href="#pb118" +class="pageref">118</a>, <a href="#pb146" class="pageref">146</a>, +<a href="#pb156" class="pageref">156</a>–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>–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>–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>–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>–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>Wünsche, A., <a href="#pb119" class= +"pageref">119</a>–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">éd.</td> +</tr> +<tr> +<td class="width20"><a class="pageref" href="#xd20e2033">21</a></td> +<td class="width40 bottom">Æfintýri</td> +<td class="width40 bottom">æfintýri</td> +</tr> +<tr> +<td class="width20"><a class="pageref" href="#xd20e2337">24</a></td> +<td class="width40 bottom">Factors’</td> +<td class="width40 bottom">Factor’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">nguyên</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. 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