The Grateful Dead: Chapter VI. The Grateful Dead and the Water of Life or Kindred Themes

THE GRATEFUL DEAD AND THE WATER OF LIFE OR KINDRED THEMES.

THE märchen known in its various forms as The Water of Life 1 is based on the myth which goes by the same name. 2 The myth, as has been shown quite independently by two recent investigators, Dr. Wünsche 3 and Dr. E. W. Hopkins, 4 is of Semitic origin, and is found among the traditions of the Assyrio-Babylonian cycle. It is to be distinguished from the very similar myth of The Fountain of Youth, which apparently originated in India. 5 The latter concerns the magic properties of the "water of rejuvenation"; the former in its uncontaminated

1 which finds expression in the legends of the Cross. In the words of Dr. Wünsche: 2 "Wie wir aus den kosmogonischen und theogonischen Mythen und Sagen der Völker das Rauschen des Lebensbaumes vernehmen, durch dessen Früchte sich Götter und Menschen ihre ungeschwächte Lebenskraft und ewige Jugendfrische erhalten, so nicht minder das Sprudeln einer Quelle des Lebenswassers, die Leben schafft und zu Ende gehendes oder bereits erloschenes Leben wieder zu neuem Sein erweckt." Both myths are Semitic, and both have profoundly influenced Christian doctrine. It is with the "water of life," however, that we are immediately concerned, and with that only as it has found embodiment in a widely disseminated and variously modified tale. Whence this märchen came we must presently inquire, in order to reach some conclusion as to the point in space and time where it joined The Grateful Dead, but we must first fix its essential traits.

Owing to the complex variations which the tale

The Water of Life, 1 "trois princes vont chercher pour leur père l’eau de la vie ou un fruit merveilleux qui doit le guérir, et c’est le plus jeune qui réussit dans cette entreprise. Dans plusieurs . . . les deux aînés font des dettes, et ils sont au moment d’être pendus, quand leur frère paie les créanciers (dans des contes allemands et dans les contes autrichiens, malgré l’avis que lui avait donné un hermite, un nain ou des animaux reconaissants, de ne pas acheter de 'gibier de potence'). Il est tué par eux ou, dans un conte allemand (Meier, no. 5), jeté dans un grand trou; mais ensuite il est rappelé à la vie dans des circonstances qu’il serait trop long d’expliquer."

Dr. Wünsche's summary is somewhat different: 2 "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

Dr. Wünsche gives as subsidiary types stories where a princess wishes the magic water for herself, and, when her two brothers fail to return with it, goes on a quest which results in obtaining the water and releasing the enchanted brothers; where a mother and son are the chief actors; where a bird, or fruit, or the water of death is substituted for the water of life; and where thankful beasts appear. All of these elements and more appear in the accessible variants, yet not all of them can be said rightly to represent The Water of Life as such. The basal traits of the story are much more simple than Dr. Wünsche would have us believe. They do not include, for example, the wonderful companions whom the hero finds nor the adventures with the enchanted princess, since these are in reality traits of originally separate themes, as will presently be shown. 1

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

1 This, I think, is to lose sight of the essential likeness between the two tales, despite their difference of introduction. As Dr. Wünsche notes, 2 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. 3 To be sure, this superfluity of riches doubtless results from the fusion of subsidiary types, but none the less it points to the original unity of the central theme, which is all that I wish to suggest.

From this discussion we emerge with an outline of The Water of Life in something like the following form: A sick king has three sons, who go out to seek some magical water (or bird, or fruit) for his healing. The two older sons fall by the way into some misfortune due to their own fault; but the youngest, not without aid of one sort or another from beings with supernatural powers, succeeds in the quest and at the same time wins a princess as wife. While returning, he rescues his brothers, and is exposed by their envy and ingratitude to the loss of all he has gained (sometimes even of his

1 It will, however, serve its purpose here.

This simple form of The Water of Life is not that with which The Grateful Dead has combined. Indeed, the opinion that this union was secondary to that of The Grateful Dead with The Poison Maiden and The Ransomed Woman 2 is strengthened by the fact that it is found with both of these compound types, and that The Water of Life almost invariably appears in a somewhat distorted form. In point of fact, the latter tale seems to have lent itself with remarkable facility to combination with other themes. Thus it is frequently found mixed with The Skilful Companions 3 (both with

1 and The Thankful Beasts.

The reason for the existence of the compounds just mentioned is not far to seek. With The Skilful Companions 2 there is a ready point of contact in the hero's need for aid in the accomplishment of his quest, another in the circumstance that three or more companions set out together with a common end in view, and still another in the fact that a maiden is rescued by them. To The Lady and the Monster, at least in those variants where The Grateful Dead appears, The Water of Life has the necessary approach in the rôle of the lady herself. As for The Thankful Beasts, their appearance at opportune

1 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

1 as will be seen in a moment. Thus all those treated here may safely be admitted to the group.

The reader must, however, have been struck, while examining the summaries just given, with the great diversity of the residuum which would be left if the parts properly belonging to The Grateful Dead were taken away. Indeed, they may be separated on this score into four categories with a couple of minor divisions. Polish, Hungarian I., and Rumanian II. are very similar in respect to these matters, having a princess who is won by the feat of obtaining something left at home by her father (this feat made possible by the power given the hero to change his form) and a treacherous rival. Polish has the peculiarity that the article to be obtained by the hero is a magical sword. 2 Treu Heinrich stands a little apart from these, since the rival does not appear

1 while Maltese keeps also the magical bird and the features naturally connected therewith. The introduction of two steamboats in the latter is a curious illustration of the ease with which popular tales change details without altering essentials. Sicilian and Harz II. again are alike, both being compounded with The Skilful Companions, 2 and making the winning of the princess depend on feats really accomplished by the helpers characteristic to that tale. Straparola II. must be placed alone, having nearly all trace of The Water of Life lost in the traits of The Lady and the Monster, with a princess won by the hero's happily directed choice. 3

All of these features will appear again when we come to discuss variants which combine the compound types The Grateful Dead + The Poison Maiden or The Ransomed Woman with The Water of Life. They may, therefore, be passed over for the present, together with the question as to whether such a simple combination as The Grateful Dead + The Water of Life may be regarded as being the original from which the more complicated types have sprung. It is sufficient for the moment to recognize the tendency of the simpler variants to fall

1 Dutch romance translated from the French. 2

Walewein, the variant in question, has the following form: Walewein (or more familiarly Gawain) sets forth from Arthur's court to secure a magical chessboard. He is promised it by King Wonder if only he will get the sword of rings from King Amoris, who in turn will give that up if Walewein will bring him the princess of the Garden of India. On this quest the hero mortally wounds a certain Red Knight, who prays him for Christian burial and is properly interred. He then proceeds to the castle of King Assentin, whose daughter recognizes in him the ideal knight whom she has seen in a dream. He is led under the dark river which surrounds the castle by the Fox Rogès, and wins the princess. The lovers and the fox (a prince transformed) escape by the help of the Red Knight's ghost. After many adventures they come together to the court with a chessboard, which is given up by King Wonder in exchange for the sword. Walewein is able to keep the princess for his own because of the death of Amoris.

According to Simrock IX., finally, the three sons of a king seek the bird phoenix to cure their blind father. The two elder enter the castle of a beautiful maiden, and are lost; but the youngest resists the temptation, and takes lodging at an inn. There at night he is startled by a ghost, which tells him that it is the spirit of a man whom the host has buried in the cellar for non-payment of a score, and which implores his help. The youth arranges for payment of the debt and for proper burial, then goes his way. In the wood he meets a wolf, which instructs him how to find the bird phoenix in a cage in

1 it actually fulfils the part. In those two there has been, apparently, imperfect amalgamation, so that the helper is duplicated, and the motivation obscured. In Walewein, a literary version, consciously adapted to the requirements of a roman d’aventure, this need excite no wonder. The ghost does its part properly, and the fox is merely an additional agency in the service of the hero, acting out of pure kindness of heart 2 as far as one can see. Lotharingian, not contented with duplicating the trait, triplicates it.

1 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

1 will show that the variants with The Thankful Beasts are in many respects different from any one of them as far as the features peculiar to The Water of Life, or kindred themes, are concerned. Yet because Maltese and the brief Venetian, though otherwise transformed, are the only tales aside from these 2 that preserve the treachery of the hero's brothers, it is safe to class them together. Both Maltese and Venetian come, it will be observed, from the same general region as all the other members of the group.

Since the elements left by subtracting The Grateful Dead from the variants of the four categories thus discovered are very diverse, we cannot postulate a parent form from which all four classes might have sprung. Indeed, the evidence thus far obtained all points to a separate combination of already developed themes with The Grateful Dead. The test of this will be found in

1 These are Esthonian II., Rumanian I., Irish I., Irish II., Irish III., Danish III., Norwegian II., Simrock X., Harz I., Jack the Giant-Killer, and Old Wives’ Tale. Since we know definitely that Danish III. (the tale by Christian Andersen) was taken from Norwegian II., it may be left out of account. Ten variants thus remain to be studied with reference to the subsidiary elements.

In Esthonian II. the hero releases a princess, who goes with devils every night to church, by watching in the church for three nights with three, six, and twelve candles on successive nights. In Rumanian I. the hero wins a princess by explaining why she wears out twelve pairs of slippers every night; and he accomplishes this by the aid of his helper, who follows the lady in the form of a cat, and picks up the handkerchief, spoon, and ring which she drops in the house of the dragons. According to Irish I. the helper obtains for the hero horses of gold and silver, a sword of light, a cloak of darkness, and a pair of slippery shoes; he helps him keep over night a comb and a pair of scissors, in spite of enchantment, and finally gets the lips of the giant enchanter, so that the hero unspells and wins the lady of his quest. In Irish II. the hero is joined by a green man (the grateful dead), a gunner, a listener, a blower, and a strong man. By the aid of the first he gives his princess a pair of scissors, a comb, and the enchanter's head; by the aid of the others he obtains water from the well of the western world, and is enabled to walk over three miles of needles. Irish III.

1 which is closely allied to The Water of Life, but is essentially distinct. It has already been found compounded with the simple form of The Grateful Dead in the somewhat

1 though the method by which the enchanted princess was won in that variant was different from that given in the present group.

Within the group there are minor differences with reference to the manner of unspelling the princess, which resolve themselves either, on the one hand, into the hero's keeping or obtaining something for her, or, on the other, into his guessing the object of her thoughts. These details are not, however, of much importance for the purpose in hand, though they might become so if an attempt were made to sub-divide the group. Thus Esthonian II. is decidedly unusual in its treatment of the matter just mentioned. Irish I. has traces of the Sword of Light 2 and of The Two Friends. 3 In Harz I. the hero himself follows the princess instead of leaving the actual work of unspelling to the helper, as is elsewhere the case. Irish II., finally, is peculiar not only in bringing in The Water of Life, as mentioned above, but also the motive of The Skilful Companions, which we have already met with in Sicilian and Harz II. 4

Irish II. is, indeed, of great importance to our study at this point. It is in some way a link between Sicilian and Harz II. and the subdivision now under discussion. Furthermore, the fact that Straparola II. has some traits of The Lady and the Monster in common with all the members of the group under consideration shows that it can safely be placed in the same category as Sicilian and Harz II. Though the feats by which the princess is won are somewhat different in the last-named variants from the feats in Straparola II. on the one hand and in the compound The Grateful Dead + The Poison Maiden + The Water of Life (The Lady and the Monster) on the other, there can be little doubt, it seems

1 They are Bohemian, Simrock I., Simrock III., and Simrock VII.

The elements of these variants, apart from those due to the main compound, are as follows. In Bohemian the hero is given a flute and a captive princess by his helper, and escapes with them from prison. Later he is cast into the sea by a rival, but is rescued by the helper and given a wishing ring. By means of this ring he turns first into an eagle and afterwards into an old man, and succeeds in winning the princess by building and painting a church. In Simrock I. the hero is rescued by the helper after being cast overboard by a rival, and is given the power of obtaining his wishes. Thereby he paints three rooms to the liking of the princess, and is recognized by her. Simrock III. differs from this only in making the helper do the painting and in having one room painted instead of three. In Simrock VII., finally, the hero releases a princess by hewing trees, separating grain, and choosing his mistress among three hundred women, all without aid. Later he is rescued

1 Along with it, of course, go the briefer Simrock I. and Simrock III. There is this important difference between the two sets of tales, that in the simpler form the princess is won by the hero's success in bringing something from a distance, in the more complicated form by building and decorating. Yet the resemblance is sufficient to warrant the classification proposed.

With Simrock VII. the case is altogether different. There the subsidiary elements are connected with The Lady and the Monster rather than The Water of Life proper, yet not with that theme as it appears in combination with The Poison Maiden, 2 since in that group the hero disenchants the princess by guessing some secret, here by performing two feats of prowess or discrimination and by choosing the proper lady from a host of maidens. With Straparola II., however, which has the simpler combination The Grateful Dead + The Lady and the Monster, the resemblance is very close, 3 as both have the happily directed choice. The complicated Simrock VII. thus falls into the same category with reference

CLASS I.

Polish.

Hungarian I.

Rumanian II.

Treu Heinrich.

Bohemian, Simrock I., Simrock III. (With The Ransomed Woman.)

CLASS II.

Sicilian.

Harz II.

Straparola II.

All recorded variants with The Poison Maiden.

Simrock VII. (With The Ransomed Woman.)

CLASS III.

Maltese.

Venetian.

All variants with The Thankful Beasts.

Class I. forms a territorially homogeneous group, all the members of it coming from eastern and central Europe. It is not altogether homogeneous in content, but preserves the theme of The Water of Life proper in a form where the hero wins a princess by means, among other feats, of metamorphosis. Class II. is the most widespread of all territorially, as its members come from all parts of Europe. It has instead of The Water of Life proper what must be regarded, in the present

1 that it would be hard to imagine such various traits coming from a single type of story. This becomes even more evident from the tabulation just made. To suppose that The Grateful Dead first united with The Water of Life, and that this compound gave rise to the varieties, as enumerated, would involve us in the direst confusion. If such were the case, how could Class II. with its introduction of The Lady and the Monster be explained? Why, moreover, should one variant having The Ransomed Woman fall into Class II., while three others fall into Class I.? Such an assumption, it is clear, would be self-destructive.

The only alternative is to suppose that The Water of Life entered into combination with simple or compound types of The Grateful Dead at more than one time and in more than one region. That The Grateful Dead united with The Poison Maiden and The Ransomed Woman rather early and quite independently abundant evidence goes to show; that The Water of Life is an independent motive and that, like at least two of the other themes, it was of Asiatic origin has likewise been made clear; that the latter could not have united with The Grateful Dead so early as did The Poison Maiden and The Ransomed Woman is proved by the discrepancies noted above. If it be assumed, on the contrary, that after the compounds The Grateful Dead + The Poison Maiden and The Ransomed Woman had arisen, both they and the simple theme in one or another form came into connection with one or another

1 The Water of Life, perhaps in a rather peculiar form, came into contact with The Grateful Dead, both simple and combined with The Ransomed Woman, 2 in eastern or central Europe. With each form it seems to have united, giving rise in the century named to the German romance of Treu Heinrich and the legend of Nicholas by Gobius, as well as, sooner or later, to the folk-tales with which it has been found combined in those regions within the past hundred years. The territorial limitation of the resulting type is a point in the favour of the proposed theory, though I cannot but be aware that this may be disturbed by a variant outside the seemingly fixed circle. Yet even so, the relation of the variants of Class I. to the themes concerned appears to be pretty definitely established. With Class III. the matter is even simpler. According to my view, some form of The Grateful Dead, more or less confused with one of the countless versions of The Thankful Beasts met with a very clear type of The Water of Life in southern or south-western Europe by or before the thirteenth century. 3 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, 4 where the means of transmission is not difficult to ascertain. Apparently the thankful beast was not absolutely in solution, since in Maltese and Venetian the human ghost resumes its characteristic rôle. 5 With Class

1 There it met and united with The Grateful Dead, in its simple form on the one hand, giving rise to three of our variants, and on the other hand separately with the compounds having The Poison Maiden and The Ransomed Woman. The former double compound must have been made fairly early, 2 since it has been found in such widely separated countries as Rumania and Ireland, and furnished one of the most important elements to the making of a sixteenth century English play, Peele's Old Wives’ Tale. The second of the double compounds is unfortunately represented on our list by a single folk-tale only, and may possibly be a later formation.

Such, then, seems to be the relationship of The Water of Life and allied motives to the main theme of our study,—purely subsidiary and relatively late. The theory which has been proposed involves the necessity of placing the entrance of the Semitic märchen into Europe not much earlier than the twelfth century, though such matters of chronology must be left somewhat to speculation; it shows the points of contact between the various motives concerned; and it avoids contradictions of space and time. Writer and reader may perhaps congratulate themselves on finding so clear a road through the maze. Should subsequent discovery of material necessitate modification of the views here expressed, it should be welcomed by both with equal pleasure.

Footnotes

119:1 The most adequate treatment of the motive yet published is by August Wünsche, Die Sagen vom Lebensbaum and Lebenswasser, 1905, pp. 90-104. This is the same study which had previously been printed in the Zts. f. vergleichende Litteraturgeschichte, 1899, N.F. xiii. 166-180, but is furnished with a new introduction and a few additional illustrations. Dr. Wünsche's monograph, thoroughgoing and conclusive as it is with reference to the myths of the Tree of Life and the Water of Life, leaves much to be desired as an account of the folk-tale based on the latter belief. He himself says in his preface, p. iv: "Man sieht auch daraus, dass es sich um Wanderstoffe handelt, an die sich immer neue Elemente ankristallisiert haben." These elements he has not studied with any degree of completeness. Thus, for example, he does not use Cosquin's valuable contributions in Contes populaires de Lorraine, i. 212-222, which would have given him valuable assistance. The theme yet awaits definitive treatment.

119:2 See Wünsche, p. 92.

119:3 P. 71.

119:4 "The Fountain of Youth," Journal of the American Oriental Society, xxvi. 1st half, 19 and 55.

119:5 Hopkins, pp. 19, 42, 55, etc.

120:1 Wünsche, p. iii: "Es sind altorientalische Mythen, die in alle Kulturreligionen übergangen sind. Zeit und Ort haben ihnen ein sehr verschiedenes Gepräge gegeben, der Grundgedanke ist derselbe geblieben."

120:2 P. 71. See also Hopkins, p. 55.

121:1 Contes populaires de Lorraine, i. 213.

121:2 Pp. 90 f.

123:1 See pp. 125-127 below.

124:1 Pp. 212-214. He regards the story in Wolf, Hausmärchen, p. 230, as linking the two.

124:2 P. 91. Cosquin, it will be noted, makes the fruit an alternative of the water of life.

124:3 For example, "The Baker's Three Daughters" in Mrs. M. Carey's Fairy Legends of the French Provinces, 1887, pp. 86 ff., unites the water of life with both the magical apples and the bird.

125:1 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.

125:2 See p. 118 above.

125:3 This well-known märchen has been treated by various scholars, most recently by G. L. Kittredge, in Arthur and Gorlagon (Studies and Notes in Philology and Literature, viii.) 1903, pp. 226 f., from whom I take the liberty of transcribing the following references, some of which would otherwise be unknown to me. In note 2 to p. 226 he says: "See Benfey, Das Märchen von den 'Menschen mit den wunderbaren Eigenschaften,' Ausland, 1858, pp. 969 ff. (Kleinere Schriften II. iii. 94 ff.); Wesselofsky, in Giovanni da Prato, Il Paradiso degli Alberti, 1867, I. ii. 238 ff.; d’Ancona, Studj di Critica e Storia Letteraria, 1880, pp. 357-358; Köhler-Bolte, Ztsch. des Ver. f. Volkskunde, vi. 77; Köhler, Kleinere Schriften, i. 192 ff., 298 ff., 389-390, 431, 544; ii. 591; Cosquin, Contes pop. de Lorraine, i. 23 ff.; Crane, Italian Popular Tales, p. 67; Nutt, in Macinnes, Folk and Hero Tales, pp. 445 ff.; Laistner, Rätsel der Sphinx ii. 357 ff.; Steel, Tales of the Punjab, pp. 42 ff.; Jurkschat, Litauische Märchen, pp. 29 ff.; etc." A peculiarly interesting specimen is that in Bladé, Contes pop. de la Gascogne, 1886, iii. 12-22. See also Luzel, Contes pop. de Basse-Bretagne, 1887, iii. 296-311; Carnoy and Nicolaides, Traditions pop. de l’Asie Mineure, 1889, pp. 43-56; and Goldschmidt, Russische Märchen, 1883, pp. 69-78.

126:1 So I venture to call the story of the woman, who through enchantment or her own bad taste is the mistress of an ogre or some other monster. She is rescued by a hero, who is able to solve the extraordinary riddles or to accomplish the apparently impossible tasks which she sets him at the advice of the monster, after other suitors have perished in the attempt. See Kittredge, Arthur and Gorlagon, p. 250 (note to p. 249); Wesselofsky, Arch. f. slav. Phil. vi. 594. A good specimen tale is "The Magic Turban" in R. Nisbet Bain's Turkish Fairy Tales, 1901, pp. 102-111.

126:2 Kittredge thus summarizes the tale (work cited, p. 226): "Three or more brothers (or comrades) are suitors for the hand of a beautiful girl. While her father is deliberating, the girl disappears. The companions undertake to recover her. One of them, by contemplation (or by keenness. of sight), finds that she has been stolen by a demon (or dragon) and taken to his abode on a rock in the sea. Another builds a ship by his magic (or possesses a magic ship) which instantly transports them to the rock. Another, who is a skilful climber, ascends the castle and finds that the monster is asleep with his head in the maiden's lap. Another, a master thief, steals the girl without waking her captor. They embark, but are pursued by the monster. One of the companions, an unerring shot, kills. the pursuer with an arrow. The girl is restored to her parents." This analysis would not hold for all variants, even when uncompounded (e.g. Grimm, Kinder- and Hausmärchen, No. 71, "Sechse kommen durch die ganze Welt") but a better could scarcely be made without a systematic study of the type. As Kittredge notes, the companions are not at all constant in number and function.

132:1 Hungarian I., Rumanian II., Straparola II., Sicilian, and Treu Heinrich.

133:1 Thus Hungarian I. and Rumanian II. with Polish, Sicilian with Harz II.

133:2 Possibly a trace of some such story as The Quest of the Sword of Light discussed by Kittredge, Arthur and Gorlagon, pp. 214 ff.

134:1 Since twelve brothers set out to win twelve sisters, there is probably a union here with the widespread tale of The Brothers and Sisters.

134:2 The ship that will travel equally well on land and water is seemingly a common trait in forms of The Skilful Companions. See the variant cited from Bladé on p. 125, note 3. It occurs in a curious tale from Mauritius, given by Baissac, Le Folk-lore de l’Île-Maurice, 1888, p. 78.

134:3 For examples of stories in which a king's son liberates one or more prisoners, and has the service returned in an emergency, see Child, English and Scottish Popular Ballads, v. 42-48.

135:1 See Jonckbloet, ii. 131 ff.

135:2 Paris, Hist. litt. de la France, xxx. 82.

140:1 The only instance known to me where such transformation occurs with reference to the hero.

141:1 Walewein and Lotharingian.

141:2 Like the wolf in Guillaume de Palerne, which is likewise a transformed prince.

142:1 Lotharingian comes from a region farther north than any other, since the Dutch romance is merely a translation from Old French. Simrock IX. is from Tyrol.

143:1 See pp. 133-135.

143:2 I include all the tales treated in this chapter.

144:1 See pp. 58-73.

145:1 See p. 126, note 1.

146:1 See p. 134.

146:2 See p. 133, note 2.

146:3 See pp. 92 ff. above, and pp. 156-158 below.

146:4 With the form The Grateful Dead + The Water of Life simply.

147:1 Pp. 107 f., 111-115.

148:1 See pp. 133 f.

148:2 See pp. 145-147.

148:3 See pp. 146 f.