Part Two

The Folktale from Ireland to India

II – The Complex Tale

11. Realistic tales

B. Cheats

In "Big Claus and Little Claus" Hans Christian Andersen succeeded in writing one of the most popular of his stories without making any significant changes in the tradition as he had learned it. The material itself is so diverting that it has pleased not only the literary audience which he addressed but also the listeners to tales in all parts of the world. We need not inquire too curiously as to why men of all countries and stations delight in the successful accomplishment of a swindle, but the truth seems to be that if the terms of the transaction are clearly understood, a story of clever cheating receives a universal response. This tale of The Rich and the Poor Peasant (Type 1535) has been told in European literature since its appearance in the Latin poem Unibos in the tenth century and has seldom been omitted from any collection where it was at all appropriate. But it is also immensely popular as an oral tale. A hasty survey of easily available versions shows 875. It appears in nearly every collection of stories over the whole of Europe and Asia; it is among the most popular stories in Iceland and Ireland, in Finland and in Russia, in India and the Dutch East Indies. It is well known not only on the North African coast but is also found in many parts of central and south Africa. In the western hemisphere it has been reported all the way from Greenland to Peru. Eleven North American Indian versions show borrowings from the Scandinavians, the French, and the Spanish. It appears in the French tradition of Missouri, Louisiana, and Canada; in the English of Virginia, the Spanish of Puerto Rico and Peru, the Portuguese of Brazil and Massachusetts, and the Negro of Jamaica and the Bahamas.

It is natural that in these hundreds of occurrences considerable variation should appear, both in the order and the nature of the details. But all versions conform sufficiently well to a norm to make identification easy and unmistakable. The story frequently begins with a piece of blackmail. A man is set to watch a chest which is falsely said to be full of money, or he is asked to guard a wooden cow which is supposed to be a real cow. The rascal brings it about that the object is stolen and demands damages. The cheater next takes along a supply of lime or ashes and succeeds in selling this under the pretext that it is gold. Another trick is the sale of some pseudo-magic object—a cow-hide [p. 166] or a bird-skin that is alleged to accomplish marvels. Sometimes this object is exchanged for a chest in which an adulteress has hidden her paramour. The rascal is usually given a large sum of money by the frightened lover in payment for his freedom. These adventures with the adulteress and her lover sometimes occur independently (Motif K1574). The next cheat, the unsuccessful imitation, we have met before in stories of magic or the miraculous. [259] Here, however, there is no magic, but only a pretense of it. The rascal claims to have a flute (or a fiddle or knife, or the like) which will bring people back to life. His confederate, a woman, plays dead, and he apparently revives her. The rich peasant buys the magic object, kills his own wife so as to use it, and then is unable to bring her back to life. Sometimes before and sometimes after this adventure the poor peasant reports the large price that he has received for his cow-hide. The rich peasant is therefore induced to kill all his cows in order to sell their hides. He finds, of course, that it was only the frightened lover in the chest who would pay an exorbitant price for a cow-hide. Eventually the cheater is caught and is placed in a sack or a chest where he must await execution of his sentence. A shepherd finds him there and asks what he is doing. The cheater says that he is the angel Gabriel on the way to heaven or that he has been put in the sack because he will not marry the princess. The shepherd is only too glad to take his place so as to receive the good things he tells about. [260] The rich peasant now sees the escaped cheater and asks him where he came from. He tells him that he has been down in the river where he has acquired many sheep, that the way to get them is to dive down after them. The rich peasant dives off the bridge and kills himself.

As indicated, several of these traits occur independently and may constitute complete anecdotes in themselves. The order in which the incidents occur is also treated with great freedom. Particularly is there a frequent mixture of the elements of this tale with that of Cleverness and Gullibility (Type 1539), if, indeed, the two are actually to be thought of as independent stories. In the latter tale much is made of the sale of worthless animals and objects under the pretense that they are either magic or marvelous. Sometimes a cow is sold as a goat, a rabbit as a letter-carrier, or it may be a magic hat which is supposed to pay all bills, a wand that revives the dead, or a pot that cooks of itself. He also has a horse that is alleged to drop gold. By means of placing a gold coin in the horse's dung, he is able to persuade the buyer. After many such tricks the young man has himself buried alive and when his enemy comes to where he is, stabs him with a knife from out of the ground.

Most reporters of folktales have not distinguished this latter type from [p. 167] the more familiar story of The Rich and the Poor Peasant. It is clear, however, that this particular type is very well known all around the Baltic and in Russia. The tradition seems to center in Finland, where 253 versions are listed.

One difficulty in a comparative study of tales like the two we have just noticed is the fact that they are little more than a loose series of single anecdotes. Types of this kind have a natural instability very baffling to the investigator of folktale origins and dissemination.

A story represented by the old French romance of Trubert of the thirteenth century has some elements in common with The Rich and the Poor Peasant. The Youth Cheated in Selling Oxen (Type 1538) concerns itself with the revenge which the hero takes on his enemies. He masks as a carpenter and persuades the man who has cheated him to go to the woods to look at trees. He gives him a good beating and exacts a large sum of money before he will stop. Later he masks as a doctor and again beats his enemy.

In some versions he also avenges himself on the purchaser's wife. Eventually he is arrested and condemned to be hanged. But he persuades a miller to take his place by the old trick of lying about the good things awaiting him. [261] In some versions the story ends with the youth having himself buried and stabbing his enemy from the ground. [262]

Although this tale has never attained extraordinary popularity in any country, it has been collected orally in every part of Europe. No comparative study of the tale seems to have been made, but it would seem probable that we have here a literary invention which has been taken over into the repertory of oral story-tellers.

The material handled in the tale of The Rich and the Poor Peasant and in the two other related stories just examined has been freely drawn upon to make other combinations. One of these has attained some currency in northern and eastern Europe—The Clever Boy (Type 1542). It will be noted that almost every incident belongs in one of these tales, though the story of The Master Thief (Type 1525) has furnished at least two traits. A brother and sister live together but are poor, and the brother goes out to make a living by Tooling people. He reports to the king that he has some marvelous "fooling sticks," and he gets the king's horse by borrowing it to ride home for them. In other versions he sells the king a wolf to guard his fowls and a bear to keep watch over his cows. He sells the king what he says is a self-cooking kettle and a marvelous staff to hang it on. He feigns to kill and resuscitate his sister with a magic pipe, which the king buys and experiments with disastrously. The hero now puts on his sister's clothes and is taken into the palace as a companion of the princess. A prince comes as a suitor to the supposed maiden, who leaves just in time, but not before the princess is with [p. 168] child. The story may end in several ways: he may be caught and put in a cask or sack, where he exchanges places with a shepherd; he may be condemned to be hanged but again persuades someone to take his place; or the king may be so impressed with his cleverness that he takes him as son-in-law.

We have here about as clear a case of a folktale concocted out of others as it is possible to find. When the incidents from other stories are eliminated, there seems to remain nothing but the brother and sister as confederates in their swindles, and the access to the princess through masking as a girl. Even these motifs can easily be found elsewhere. [263]

A very diverting story which seems to be rather well known in Scandinavia and Finland [264] is The Man Who Got a Night's Lodging (Type 1544). In this tale the rascal feigns deafness and always accepts hospitality before it is offered. He deliberately misunderstands everything. For example, he takes the host's horse out of the stable and puts his own in. He is supposed to pay for his lodging with a goat skin: he takes one of the man's own goats. At the table they put poor food before him but he always manages to get the best. At night he succeeds in sleeping with the wife or the daughter. He eats the food which the wife has put out in the night for her husband. Having seduced the women, he now threatens to tell about it, and they confess. The husband becomes very angry and is going to kill the trickster's horse, but kills his own instead.

The tale of the rascal who seduces his host's wife and then tells on her has many variations in the literature of jests, especially those of the Renaissance. One told by Hans Sachs and by Johannes Pauli, The Parson's Stupid Wife (Type 1750), has received some oral currency in northern and eastern Europe.

A mercenary lover makes the parson's wife believe that chickens can be taught to talk. At her request, he undertakes to hatch out hens' eggs, and he receives a large amount of corn to feed the chickens. When the chickens do hatch, he declares that they sing, "The peasant has slept with the parson's wife." He is allowed to keep the corn.

The four tales of tricksters just considered are all of relatively limited popularity and serve as good examples of the fact that tales of this nature may often be well known in one area without spreading to neighboring countries. But the extreme popularity of The Rich and the Poor Peasant shows that sometimes these stories may be almost universal in currency.

Another trickster tale which is well known both in the Orient and the Occident is The Student from Paradise (Paris) (Type 1540). As told in most of Europe, it begins with a wandering student who tells a woman that he is just back from Paris. She thinks he has said "from Paradise" and she immediately gathers together a sum of money and a quantity of goods for him to take to her late husband. The student has hardly gone with the misappropriated [p. 169] goods when the woman's son returns home. He realizes the cheat and sets out to overtake the student and recover the goods. He finds the student, who tells him that the thief has just escaped through the Woods. They are too thick to ride through, so that the man leaves his horse, which the student rides away. In other versions the student tells him that the thief has gone to heaven by way of a tree. The man lies on his back to look for the ascending thief and meantime the student steals the horse.

This jest is popular in the joke collections of the Renaissance, and as an oral tale it is related not only in all parts of Europe but in Asia as far east as Indonesia. Antti Aarne has accorded the tale a thorough study based upon more than 300 oral versions. He finds that the play upon words (Paris, Paradise) is essentially a European trait and is absent from the Oriental. In the eastern stories the deceased to whom a present is sent is the woman's son rather than her husband, as in the European. In the latter part of the tale the report that the thief has escaped up a tree is Oriental; the escape through the woods European. Aarne is uncertain as to which of these forms is the earlier. In his discussion of Aarne's work, Kaarle Krohn [265] concludes that an origin in India is very likely. It must be said, however, that the evidence as to the direction in which this tale has moved is inconclusive.

One of the most important elements in many trickster tales is the use made by these rascals of the desire most people have to avoid scandal. Almost as strong is the fear of being haled into a law court. In a story whose oral distribution extends from the British Isles to central Asia—The Profitable Exchange (Type 1655)—both these fears are played upon to the enrichment of the cheater. He has asked hospitality, since he has only one grain of corn left. The corn is eaten by the cock and when he threatens suit, he is allowed to keep the cock as damages. Later he has the same experience when the hog eats the cock, and when an ox eats the hog. The story may very well end at this point, but it frequently proceeds with further profitable exchanges. [266] He barters his ox for an old woman's corpse, which he sets up so that the princess knocks her over (Motif K2152). In order to avoid the scandal that will come from the accusation of murder, she marries the rascal. The ending of the story is often not well integrated with the main plot. Sometimes it is said that he and the princess have a son who surpasses even his father in cunning. In others, he places the princess whom he has won in a bag, but he is at last outwitted, for someone substitutes a worthless object or an animal and lets the princess escape.

In his thorough monograph on this tale, Christiansen, [267] who has started with a discussion of a story from the Scottish island of Barra and one from County Kerry in Ireland, concludes: "So far some main lines in the distribution [p. 170] of the tale emerge. The versions from Kerry and from Barra belong to a chain of tradition running through France to Italy. It is, however, difficult to discern how the further development went. Perhaps the tale is a combination, made in Italy(?) or somewhere in Southern Europe, from those two motifs, the lucky exchanges, and the girl in the bag. Outside of Europe both these incidents occur as separate stories, as some brief references will show." The lucky exchange by itself occurs frequently in African tales, and the substitution of an animal or object in the bag is practically worldwide. [268]

The humor of the folk does not always make close discrimination between stupidity and cleverness. Sometimes a story begins with a series of absurd actions where we are amused at their utter foolishness. But later the fool turns out to be really clever. This pattern is well enough known in romantic stories of the Male Cinderella type; [269] but the mixture is also found in tales designed for humor. [270] Such a tale of mixed motifs is The Good Bargain (Type 1642). It appears in Basile's Pentamerone in the seventeenth century and is known throughout central Europe, both north and south, but has not been reported from either the east or the west of the continent. Many of the separate motifs appear by themselves, so that the tale has no well-integrated plot. A numskull throws money to frogs so that they can count it, [271] or he sells meat to dogs or butter to a signpost. He complains of his losses to the king and thus makes the princess laugh for the first time. Though the king offers her to the boy as a reward, he does not want to marry her. The king therefore tells him to return later for his reward. When he does so, he promises the doorkeeper to share the reward with him. It turns out that the boy is to be rewarded with a beating, which the doorkeeper receives instead. At the end of the tale the boy is summoned before the king on the complaint of a certain Jew. He borrows the Jew's coat and then discredits his testimony by predicting successfully that the Jew would even claim the coat which the boy is wearing.

Tales both of clever tricks and of stupid action are very likely to have extremely loose plots and to be susceptible of easy addition and subtraction. Indeed, for a whole series of such relatively unstable stories, it is much more convenient to examine anecdotes separately with only incidental attention to some of the ways in which they are occasionally combined. Thus a considerable number of incidents listed by Aarne in his type index as having to do with stupid people or with clever tricksters [272] are not mentioned here but will be noticed along with other similar motifs in a later chapter. [273] [p. 171]

[259] See, for example, Type 531 and Type 753.

[260] This incident of the exchange of places in the sack occurs as a separate story, The Parson in the Sack to Heaven (Type 1737).

[261] See Types 1535 and 1737.

[262] Cf. the tale immediately preceding this (Type 1539).

[263] For seduction by masking as a girl, see Motif K1321.1.

[264] A single version each has been reported for Russia, Spain, and Flanders.

[265] See Aarne, Der Mann aus dem Paradiese; Krohn, Übersicht, pp. 155ft.

[266] For a similar story told of animals, see Type 170.

[267] R. Th. Christiansen, "Bodach an T-Sílein," Bealoideas, III (1931), 107-120.

[268] See Motif K526 and references; cf. Type 327C.

[269] See pp. 125ff., above.

[270] This peculiar combination is especially popular in the stories of certain primitive peoples. See pp. 319ff., below.

[271] This motif has been reported from persons of English tradition in Virginia.

[272] Here belong most of the types from No. 1030 to 1335, as well as many more listed between No. 1350 and 2000.

[273] See pp. 188ff., below.

170, 327C, 531, 753, 1030-1335, 1350-2000, 1525, 1535, 1538, 1539, 1540, 1542, 1544, 1642, 1655, 1737, 1750

K526, K1321.1, K1574, K2152

Part Two

The Folktale from Ireland to India

II – The Complex Tale

12. Origin and history of the complex tales

Not every complex tale known to story-tellers of the area we are considering has found a place in the discussion just concluded. But practically all of those omitted are of very limited distribution. [283] With each tale the main facts about its history and its occurrences in oral tradition have been indicated wherever conclusions seemed possible. While discussing each tale, I have had before me a summary of the scholarship which has been devoted to it and a complete list of oral versions insofar as the extensive reference books and regional surveys now available made this possible. Frequently the mere bringing together of this material was sufficient to compel conclusions about the tale which do not seem likely to need revision. But when all tales with such clear-cut histories have been considered, there remain a large number which present problems sufficient to occupy the attention of scholars for many a decade to come.

Of these complex tales, along with a few closely related simple anecdotes, we have examined somewhat over two hundred. The order in which they have been taken up has been determined by their subject matter. And that means that tales about the same kinds of characters or incidents have been brought together, often when there was no organic relationship between them and when they had little if anything in common in their origin and history. When so much remains dark about the beginnings and about the vicissitudes of so large a number of our folktales, no complete account of them can be based upon historical categories.

Nevertheless, in a very tentative way it may be of interest to see which of our tales have a history that can be proclaimed with some confidence, which of them show great probabilities of proper solution, and which of them still present difficult problems.

That many of our European and Asiatic folktales go back to a literary source is as clear as any fact of scholarship can be made. There would thus seem to be no reason to doubt that an Oriental literary text is responsible for the subsequent development of a considerable number of tales which have received oral currency in Europe and sometime in the Orient. In the older Buddhistic sources [284] are found: Death's Messengers (Type 335); Six Go Through the Whole World (Type 513A); The Three Snake Leaves (Type 612); [p. 177] The Two Travelers (Type 613); The Animal Languages (Type 670); "Think Carefully Before You Begin a Task" (Type 910C); The Brave Tailor (Type 1640); and Doctor Know-All (Type 1641). In the Ocean of Story, a Sanskrit collection brought together in the twelfth century but based upon much older material, there appear, as probable originals of the European oral tradition, versions of: Wise Through Experience (Type 910A); The Servant's Good Counsels (Type 910B); and Faithful John (Type 516). From other collections of literary tales originating in India appear to come: The Bridge to the Other World (Type 471); The Four Skillful Brothers (Type 653); The Wise Brothers (Type 655); and One Beggar Trusts God, the Other the King (Type 841). From various literary sources in India the incidents which make up two of our related tales have been taken and unified at some point before they entered into the oral tradition of the west. [285] These two are : The Son of the King and of the Smith (Type 920); and The King and the Peasant's Son (Type 921). Whatever may be the ultimate source of the stories in the Thousand and One Nights, several of our old folktales are found in that work in much the form in which these stories first reached European taletellers. Among these tales appearing in the Arabian Nights are: Siddhi Numan (Type 449*); Aladdin (Type 561); Open Sesame (Type 676); Luck and Wealth (Type 736); Hatch-penny (Type 745); Oft Proved Fidelity (Type 881); The Treasure of the Hanging Man (Type 910D); and The Forty Thieves (Type 954). Finally, of these tales of Oriental origin, may be mentioned one which appears in the Persian collection, The Thousand and One Days. This is The Prophecy (Type 930).

Similarly, an ultimate origin in European literature seems unmistakable for a dozen or more of the stories current today, whether locally or over the complete European-Asiatic area. Three of the tales which we have noticed certainly go back to Greek literature: Oedipus (Type 931) to Sophocles; Rhampsinitus (Type 950) to Herodotus; and The Wolf and the Kids (Type 123) to the Aesop collection. A fourteenth century Latin poem, the Asinarius, is responsible for the very few oral versions of The Ass (Type 430). Folktales have borrowed very freely from saints' legends: certainly Pride Is Punished (Type 836) is a mere oral treatment of the legend of Polycarp. The great collections of illustrative tales which in the Middle Ages went under the name of Exempla contained a considerable number of folktales. Frequently it is impossible to tell whether they may be reworkings of oral tradition, but sometimes it is quite evident that the oral tale is taken directly from the literary collection. This is clearly true of: Friends in Life and Death (Type 470); The Boy Who Learned Many Things (Type 517); The Three Languages (Type 671); The Angel and the Hermit (Type 759); and Who Ate the Lamb's Heart (Type 785). At least two tales seem to have been learned from the work of the German Meistersinger: The Faithful Wife (Type 888); and [p. 178] The Pound of Flesh (Type 890). Of course, both of these tales were used by Shakespeare, and that fact has doubtless been of influence on their subsequent popularity. Many stories have undoubtedly originated among the people of Italy, and it is sometimes difficult to know whether a tale recounted by those great writers of novelle beginning with Boccaccio was learned from the people or was invented by the author. For at least three of our folktales such literary invention by the novella writer seems the most reasonable hypothesis. The Wager on the Wife's Chastity (Type 882) is in Boccaccio's Decameron; The Luck-Bringing Shirt (Type 844) in the Pecorone of Ser Giovanni; and The Taming of the Shrew (Type 901) in the Nights of Straparola. The Pentamerone of Giambattista Basile of the early seventeenth century is almost completely made up of oral folktales, though transformed into an extraordinary literary style. But it is probable that he invented several tales by freely combining traditional material. Such seems to be the situation with The Forsaken Fiancée (Type 884). Finally, at least one tale given currency by the Grimms, The Two Girls, the Bear, and the Dwarf (Type 426), comes directly from a German literary collection of stories which appeared in 1818.

The fact that one may cite a literary form of a story, even a very old version, is by no means proof that we have arrived at the source of the tradition. Nothing is better authenticated in the study of traditional narrative than the fact that the literary telling of a tale may represent merely one of hundreds of examples of the story in question and have for the history of the tradition no more significance than any other one of the hundreds of variants at hand. Apuleius's telling of Cupid and Psyche and the author of Tobit's version of The Grateful Dead Man tale appear both to be rather late and somewhat, aberrant forms of much older oral tales. With this warning in mind, the careful student should be slow in arriving at the conclusion that a stated literary document is the fountainhead of a particular narrative tradition. For those tales which we have just listed, the actual dependence on the literary source has seemed well established. In addition to these, there are a considerable number for which there is a well-known early literary form to which the weight of evidence would point probably, but not quite certainly, as the actual source. Some of these tales have been very popular among story-tellers, and have spread over two or more continents, and some have had only a very limited acceptance among the people. The degree of popularity and the geographical extent of the distribution is a fact which must be taken into consideration with every tale when we are trying to judge the question of its ultimate literary or oral invention. For this reason, in listing the tales with probable literary sources, it is helpful to indicate briefly what type of oral distribution each has.

At least related to the old Greek story of The Cranes of Ibycus is the tale The Sun Brings All to Light (Type 960; oral: Spain to Russia). From saints' [p. 179] legends at least two oral tales appear to have been taken: Hospitality Rewarded (Type750B; oral: scattered thinly over most of Europe); and Christ and the Smith (Type 753; oral: all Europe, especially the Baltic states). Certainly influenced by some of the legends of the popes, if not directly borrowed from them, is The Dream (Type 725; oral: moderately popular in eastern Europe and the Baltic states). In addition to the folktales which we are sure have come from books of Exempla, there are several where such an origin seems likely: The King and the Robber (Type 951A; oral: Germany and the Baltic states, sporadic in Hungary and Russia); The Old Robber Relates Three Adventures (Type 953; oral: thinly scattered, Ireland to Roumania); and "We Three; For Money" (Type 1697; oral: thinly scattered over all Europe). The influence of the chivalric romance in general is seen in The Bride Won in a Tournament (Type 508) which was told in Straparola's Nights and received frequent literary treatment in the Middle Ages and Renaissance, but has been collected orally only in three versions in Lithuania.

The rich prose literature of medieval Iceland has in it many folktale elements, most of which doubtless go back to popular tradition. But this may not have been true in all cases: an Icelandic prose tale of 1339 seems to lie back of the oral tale Godfather Death (Type 332; oral: Iceland to Palestine, especially the Baltic states, but not Russia). A medieval chronicle of 1175 probably forms the beginning of the tradition later carried on through French and German jestbooks and at least one English play, and connected with the name of a famous Lord Mayor of London. This is Whittington's Cat (Type 1651; oral: scattered from western Europe to Indonesia, especially popular in Finland).

The jestbooks of the Renaissance contain a number of folktales. In many cases, these were taken from older literary collections, or indeed from oral tradition. But occasionally they seem to have served as a real source for tales which now belong to the folk. Such would seem to be true of The Wishes (Type 750A; oral: popular throughout Europe, sporadic in China); The Tailor in Heaven (Type 800; oral: scattered thinly over Europe, sporadic among Buryat of Siberia); The Devil as Advocate (Type 821; oral: all Europe, especially Baltic, moderately popular); Sleeping Beauty (Type 410; oral: scattered thinly over Europe, one-third of versions Italian, based on Basile); and The Three Brothers (Type 654; oral: confined to Europe).

A German literary tale of the thirteenth century may well be the beginning of The Frog King (Type 440; oral: Germany to Russia only). The habit of writing literary folktales was carried on into the eighteenth century, both in France and in Germany. Many of these tales never assumed any oral popularity. On the other hand, The Girls Who Married Animals (Type 552), although concocted by Musäus at the end of the eighteenth century of authentic oral material, combined with an analogous tale in Basile, has since entered into the stream of oral tradition in the form he then designed. Its [p. 180] oral distribution shows the greatest inconsistency and indicates frequent direct use of the literary source.

For all the tales mentioned thus far in this summary there seems a strong probability of ultimate literary origin. But it cannot be too frequently repeated that the fact of the appearance of a tale in some literary document is no proof that it did not originate among the people. Oral tales have been a very fruitful source For literary story-tellers everywhere. It thus happens that frequently the literary appearance of a story only represents one of many hundreds of versions and is, of course, less important in the history of the tale than the oral variant from which the story was borrowed. It is not always easy to tell when a story belongs primarily to oral tradition and frequently the problem of priority is quite unsolvable. But a very considerable number of tales appearing in literary collections show such a preponderance of oral variants, as well as other indications of popular origin, that their literary appearance would seem to be purely incidental. There can be little doubt that they are all essentially oral, both in origin and in history.

Several such oral tales have found a place in Oriental literary collections. In the Hindu fable collection, the Panchatantra, occurs a good part of the tale of Luck and Intelligence (Type 945); it also occurs in recent literary form in India, but has a vigorous life in popular tradition of India and the Near East, and sporadically as far afield as Germany and the Philippines. In the Ocean of Story, as well as in the Thousand and One Nights, occur fragments of Devils Fight over Magic Objects (Type 518; oral: all Europe, western Asia, and North Africa) and of The Prince's Wings (Type 575; oral: sparingly over north and eastern Europe). In the Ocean of Story, likewise, there is an analogue of The Girl as Helper in the Hero's Flight (Type 313). This story does not otherwise appear in central Asia but is one of the most popular of all oral folktales in Europe and America; it is no wonder that it has been retold by such story-tellers as Straparola and Basile. Two tales popular in the tradition of the Near East appear in the Persian Tuti Nameh: The Grateful Animals (Type 554; oral: Europe and Asia, especially Baltic countries) and The Magic Bird-heart (Type 567; oral: eastern and southern Europe, and Persia; origin probably in Persian tradition). In an Arabic history of the ninth century appears an abbreviated version of The King and the Abbot (Type 922), though Walter Anderson has shown that the tradition is certainly oral, in spite of frequent literary treatments in Europe. Likewise, the occurrence of the story of The Monster in the Bridal Chamber (Type 507B) in the apocryphal Book of Tobit does not carry the implication that this version is the source of the tradition: it is obviously a late and considerably modified form of the story, which appears to have developed orally in the Near East.

Much more frequently have oral tales found a place in one or more European collections of literary stories. In another place more specific mention [p. 181] is made of popular tales embedded in the Greek or Latin classics. [286] Sometimes these retellings represent rather faithfully what must have been the plot of one of our oral tales at the time and place it was heard, though there may be radical adaptation to literary form or fashion. Such is true of the retelling of the tale of Polyphemus (Type 1137) by Homer, of Cupid and Psyche (Type 425) by Apuleius, and of Perseus and Andromeda (a version of Type 300? ) by various writers of myths.

It is sometimes difficult to tell whether such a classical story as that of Perseus is really a version of a folktale now current in Europe. There is little doubt, however, that the appearance of the story of The Dragon-Slayer (Type 300) in connection with that of The Two Brothers (Type 303) in Icelandic saga does represent an actual version of an oral tale, apparently originating in France, and now known by almost every taleteller in the world. In Icelandic saga there also appears a version of The Clever Peasant Girl (Type 875), though this does not represent its source, which is certainly oral and central European. The learning of animal speech by eating the flesh of a serpent occurs in a German and Baltic oral tale (Type 673) and also in the Siegfried story, but this is the only parallel, and the resemblance may not indicate actual relationship.

In other literary forms of the Middle Ages there occasionally appear oral tales. Geoffrey of Monmouth, in telling the story of King Lear, includes the incident of Love Like Salt (Type 923), widely known, not only through Shakespeare's treatment, but also as a part of the Cinderella cycle (Type 510). The chivalric romances, likewise, contain much that must have been taken directly from the people. Marie de France thus tells the tale of The Prince as Bird (Type 432), which, though certainly oral, has been frequently retold by both medieval and Renaissance writers. In some versions of the Tristram story occur elements of The Clever Horse (Type 531; oral: western Europe to the Philippines, origin probably India), and in an Icelandic saga of the fourteenth century there is a much clearer version. In the Fortunatus romance, which occurs in many forms, there is found a version of The Three Magic Objects and the Wonderful Fruits (Type 566), essentially west European folk tradition. The Gesta Romanorum, and later, Hans Sachs, have versions of The Three Doctors (Type 660), a tradition well known from Ireland to Russia. Despite the fact that the French and German fabliaux are usually literary in content, at least two oral tales are used in such collections: The Hero Catches the Princess with Her Own Words (Type 853) and King Thrushbeard (Type 900).

Though the jestbooks which were in vogue during the fifteenth and sixteenth centuries normally consist of very simple anecdotes, occasionally they included a complex folk story, like Hansel and Gretel (Type 327A); Master Pfriem (Type 801); One-Eye, Two-Eyes, Three-Eyes (Type 511); The [p. 182] Student from Paradise (Type 1540); or The Three Lucky Brothers (Type 1650). The latter story also appears in a collection of novelle. These prose tale collections, beginning as early as Boccaccio's Decameron, sometimes contain stories which the author had heard, though they are usually much changed in style from what must have been the oral original. Such is true of The Smith Outwits the Devil (Type 330), and of Six Go Through the Whole World (Type 513). The latter tale appears in many other literary collections, both Oriental and European.

For the history of the folktale, two collections in the novella tradition are especially important. Insofar as they contain folktales, they are either purely oral stories or else tales of literary origin which had already become a part of the folklore of Italy. Many of these oral tales have their first literary appearance in these collections. In the Pleasant Nights of Straparola in the sixteenth century are versions of: The Magician and His Pupil (Type 325; apparently of oral origin in India); The Youth Who Wanted to Learn What Fear Is (Type 326); The Youth Transformed to a Horse (Type 314; one of the most popular of oral tales); Cap o' Rushes (Type 510B); The Three Golden Sons (Type 707); Our Lady's Child (Type 710); The Cat Castle (Type 545A); Puss in Boots (Type 545B); and The Lazy Boy (Type 675).

An even longer list of oral tales is found for the first time in the Pentamerone of Basile, 1634-36. Among them are: The Maiden in the Tower (Type 310); The Black and the White Bride (Type 403); The Three Oranges (Type 408); Little Brother and Little Sister (Type 450); The Maiden Who Seeks her Brothers (Type 451); The Spinning-Woman by the Spring (Type 480); The Three Old Women Helpers (Type 501); Dung-beetle (Type 559); The Magic Ring (Type 560); The Louse-Skin (Type 621); The Carnation (Type 652); Snow-White (Type 709); and The Good Bargain (Type 1642).

The folktale collection of Charles Perrault which appeared in 1697 is hardly to be considered as literary at all, but rather as a group of fairly faithful versions of oral tales. The later French collections of Madame D'Aulnoy, on the other hand, were definitely literary, and seldom contained any real folktales which had not already appeared in writers like Straparola or Basile. Exceptions are The Mouse as Bride (Type 402) and The Shift of Sex (Type 514).

Such are the principal collections of literary tales which have given us versions of oral stories. To complete the list, one would have to make several miscellaneous additions. The King and the Abbot (Type 922) appears in a German poem of the thirteenth century and frequently thereafter; the oral tradition of how Peter's Mother Falls from Heaven (Type 804) is given in a fifteenth century German poem; The Monster's Bride (Type 507A) appears in a sixteenth century English comedy; Bearskin (Type 361) is [p. 183] retold by Grimmelshausen in 1670; and Demi-coq (Type 715) is given a French name because of his appearance in a French story written in 1759.

Such is the list of those tales which, although they have appeared in one or more literary collections, seem quite certainly to be oral, both in origin and in history. Sometimes their subsequent popularity has been greatly increased by the fact that they have been charmingly retold by Basile or Perrault. Otherwise, their history is in no essential respect different from that large group of stories to which we shall now turn. These belong to the folklore of Europe and Asia, and have never had the fortune to appeal to any literary story teller. We know them only in oral form and can therefore speak with almost complete certainty of their origin among the people. Here belong some of the most interesting of all folktales.

Most of the European stories which originated in the Orient either go back to literary sources in the East or else, in spite of their origin in popular Oriental tradition, have received literary treatment in Asia or in Europe. Such tales, of literary origin or handling, have just been discussed. There remain a few which seem to have developed orally in Asia and to have reached Europe entirely by word of mouth. Such is true of Three Hairs from the Devil's Beard (Type 461), very often told in connection with the tale of The Prophecy (Type 930). The latter story is Oriental, but is found in early Buddhistic material. [287] The widely diffused tale of The Little Red Bull (Type 511*), while showing relation to several well-known European stories, probably comes from Oriental folk tradition.

By far the largest number of purely oral European and Asiatic tales seem quite certainly to have developed in Europe. The great majority of these are confined to the European continent, but some of them are worldwide in their distribution. Examples of the latter are The Dragon-Slayer (Type 300), John the Bear (Type 301), and The Two Brothers (Type 303). [288] Some European oral tales have traveled far into the Orient: Bluebeard (Type 311); The Journey to God to Receive Reward (Type 460A); The Journey in Search of Fortune (Type 460B); The Wild Man (Type 502); The Speaking Horsehead (Type 533); and The Profitable Exchange (Type 1655). Others have gone no further than the Near East: The Princess Transformed into Deer (Type 401); The Princess on the Glass Mountain (Type 530); Strong John (Type 650); The Juniper Tree (Type 720); and The Greater Sinner (Type 756C).

A considerable number of oral stories have received very wide distribution over the entire European continent but, except for purely sporadic occurrences, they do not appear elsewhere. To this list belong: The Hunter (Type 304); [p. 184] The Dwarf and the Giant (Type 327B); Hiding from the Devil (Type 329); The House in the Wood (Type 431); The Water of Life (Type 551); The Fisher and His Wife (Type 555); The Rabbit-herd (Type 570); The Self-righteous Hermit (Type 756A); The Devil's Contract (Type 756B); The Singing Bone (Type 780); The Peasant in Heaven (Type 802); The Birthmarks of the Princess (Type 850); The Golden Ram (Type 854); The King and the Soldier (Type 952); The Robber Bridegroom (Type 955) and The Clever Maiden Alone at Home Kills the Robbers (Type 956B).

The stories just listed are well represented in all parts of Europe, so that without special investigation it is not easy to say just where the story has developed. With a large number of tales, however, we find that, in spite of occurrences over the entire continent, their area of great popularity is clearly limited, sometimes to a single country, more often to a group of neighboring peoples. Such tales with occurrences primarily in eastern Europe are: The Princess in the Shroud (Type 307); The Faithless Sister (Type 315); and The Prince and the Arm Bands (Type 590). These last two are closely related and seem to have their center in Roumania.

General European tales most popular in eastern and northern Europe are: The Danced-Out Shoes (Type 306); Lenore (Type 365); The Helpful Horse (Type 532); and The Snares of the Evil One (Type 810).

Especially characteristic of Scandinavia and the Baltic states are: The Boy Steals the Giant's Treasure (Type 328, the English story of Jack the Giant Killer); Bear-skin (Type 361); The Man as Heater of Hell's Kettle (Type 475); The King is Betrayed (Type 505); The Spirit in the Blue Light (Type 562—popularly influenced by H. C. Andersen's treatment); The Greedy Peasant Woman (Type 751); Sin and Honor (Type 755; also very popular in Ireland); The Devil's Riddle (Type 812); The Hero Forces the Princess to Say "That is a Lie" (Type 852); The Youth Cheated in Selling Oxen (Type 1538); The Clever Boy (Type 1542); and The Man Who got a Night's Lodging (Type 1544).

Rather widespread traditions having their focus definitely in Scandinavia are: The Man from the Gallows (Type 366); The Princess Rescued from Robbers (Type 506B); The Wonder Child (Type 708); The Princess Confined in the Mound (Type 870); and The Little Goose-Girl (Type 870A).

Oral tales distributed over all Europe, but especially characteristic of the western countries, are: The Giantkiller and his Dog (Bluebeard) (Type 312); The Nix of the Mill-pond (Type 316); Little Red Riding Hood (Type 333); Bargain of the Three Brothers with the Devil (Type 360); The Healing Fruits (Type 610); and The Presents (Type 620).

Finally, at least two tales seem to be especially characteristic of British tradition: Tom-Tit-Tot (Type 500) and Out-riddling the Judge (Type 927). The special form of Type 328 known as Jack the Giant Killer and that known as Jack and the Beanstalk represent peculiar British developments. [p. 185]

There has been no attempt in this book to give notice to all folktales known in Europe and Asia, especially to the hundreds of oral stories which are told in only a single locality or which have never traveled far from their original home. A considerable number of such stories local to Roumania, Hungary, Wallonia, and Russia may be examined in the excellent folktale surveys of these countries. [289] Of such of them as appear in the Aarne-Thompson Types of the Folk-Tale, it will be noticed that a large number of the local tales are characteristic of the Baltic area. It must be borne in mind that very exhaustive lists have been made of the Finnish and Estonian tales, [290] so that these large numbers are no cause for wonder. Of these oral tales in the main part of the Aarne-Thompson index, the following seem to be confined to the Baltic states: a version of The Black and the White Bride (Type 403C); The Girl in the Form of a Wolf (Type 409); Punishment of a Bad Woman (Type 473); "Iron is More Precious than Gold" (Type 677); The Rich Man's and the Poor Man's Fortune (Type 735); The Cruel Rich Man as the Devil's Horse (Type 761); The Princess who Murdered her Child (Type 781); Solomon binds the Devil in Chains in Hell (Type 803); The Deceased Rich Man and the Devils in the Church (Type 815); The Devil as Substitute for Day Laborer at Mowing (Type 820); The Boastful Deer-slayer (Type 830); The Dishonest Priest (Type 831); The Disappointed Fisher (Type 832); How the Wicked Lord was Punished (Type 837); and The Wolves in the Stable (Type 1652).

Local to the Baltic and Scandinavian countries are: [291] a version of The Children and the Ogre (Type 327C); The Vampire (Type 363); The Prince as Serpent (Type 433); The Raven Helper (Type 553); The Magic Providing Purse (Type 564); The Magic Mill (Type 565; sporadic in Ireland, Greece, and France); Beloved of Women (Type 580); The Thieving Pot (Type 591); Fiddevav (Type 593); The Gifts of the Dwarfs (Type 611); The Beautiful and the Ugly Twin (Type 711); The Mother who Wants to Kill her Children (Type 765); the Prodigal's Return (Type 935); and At the Robbers' House (Type 956A).

A much smaller group are limited to the Baltic states and Russia: The Strong Woman as Bride (Type 519); The Man Who Flew like a Bird and Swam like a Fish (Type 665; also in Bohemia); The Punishment of Men (Type 840); The Bank Robbery (Type 951B); and Cleverness and Gullibility (Type 1539; 253 versions in Finland alone, sporadic in Greece, Turkey, and America).

Though the groups of peoples just noticed are represented by a large number [p. 186] of local stories, some tales of limited dissemination occur almost everywhere. Thus The Faithless Wife (Type 315B*) belongs to the Baltic and Balkan states and Russia. Hans my Hedgehog (Type 441) is known from Norway to Hungary, but depends entirely upon the Grimm version. Born from a Fish (Type 705) seems purely Scandinavian, and four tales apparently are known only in Norway: The Animal Sons-in-law and their Magic Food (Type 552B); The King's Tasks (Type 577); The Children of the King (Type 892); and Like Wind in the Hot Sun (Type 923A). Confined to south eastern Europe is The Serpent Maiden (Type 507C). Primarily Italian, but also known in Russia, is The Wolf (Type 428). Central European, primarily German, are the three varieties of The Serpent's Crown (Types 672A, B, and C). And two tales, except for occasional appearances of the Grimm version in other countries, seem to be limited to German tradition: Jorinde and Joringel (Type 405) and The Girl as Flower (Type 407).

In the rapid summary just completed it seems clear that for most of the complex tales of the European and Asiatic areas some generalizations are safe. Though we may not be able to say just when or just where a tale originated, or whether it was first an oral story or a literary creation, the general probabilities are such as we have indicated. Many questions of detail within the limits of these probabilities will engage the efforts of future scholars.

There still remain a considerable number of these complex tales where the evidence at present available is either insufficient to lead to general conclusions or else is so overwhelming in amount that it has never yet been properly utilized for systematic investigation.

For some tales, when the data are all assembled, the question as to whether they are essentially literary or oral seems quite unsolvable without much further study. Among such tales are: The Gifts of the Little People (Type 503); The Princess Rescued from Slavery (Type 506A); The Jew Among Thorns (Type 592); Tom Thumb (Type 700); The Maiden Without Hands (Type 706); Christ and Peter in the Barn (Type 752A); The Forgotten Wind (Type 752B) ; The Saviour and Peter in Night-Lodgings (Type 791); The Lazy Boy and the Industrious Girl (Type 822); The Princess who Cannot Solve the Riddle (Type 851); and The Parson's Stupid Wife (Type 1750).

In another group the question as to whether the tale is essentially Oriental or European is still not satisfactorily solved: The Ogre's (Devil's) Heart in the Egg (Type 302); The Spirit in the Bottle (Type 331); The Prince as Bird (Type 432); The Man Persecuted because of his Beautiful Wife (Type 465); The Table, the Ass, and the Stick (Type 563); and "All Stick Together" (Type 571).

Finally, a half dozen stories well known over the entire world present major problems of investigation, because of the great mass of materials at [p. 187] hand, much of unorganized. Each of them offers a challenge to scholarship. These six tales The Man on a Quest for his Lost Wife (Type 400); Cinderella (Type 510A); The Bird, the Horse, and the Princess (Type 550); The Knapsack, the Hat, and the Horn (Type 569); The Master Thief (Type 1525); and the Rich and the Poor Peasant (Type 1535). [p. 188]

[283] An exhaustive treatment would include a considerable number of such tales of purely local development for Lithuania, for Roumania, for Russia, and for India. The material for the first three of these countries may be examined in the surveys of Balys, Schullerus, and Andrejev, respectively (see references on pp. 420f.). No adequate survey of the material for India has yet been made. I have been working upon one for some years and have reasonable hopes of completing it.

[284] These are best represented by (1) Cowell, The Jātaka; (2) Chavannts, 500 Contes.

[285] For a discussion of this point, see p. 160, above.

[286] See pp. 278ff., below.

[287] See pp. I39f., above.

[288] The other tales which are distributed over the world and have received literary treatment have already been discussed.

[289] For Roumania, Hungary, and Wallonia, see FF Communications Nos. 78, 81, and 101 respectively. For the Russian, see Andrejev, Ukazatel' Skazočnich Siuzhetov.

[290] The number of purely Baltic tales would be greatly increased by inclusion of all those listed in Balys' Motif Index, which appeared after the Aarne-Thompson Index, and also by citing many of the "Types not Included" from the Aarne-Thompson Index.

[291] Single sporadic occurrences elsewhere are disregarded.

123, 300, 301, 302, 303, 304, 306, 307, 310, 311, 312, 313, 314, 315, 315B*, 316, 325, 326, 327A, 327B, 327C, 328, 329, 330, 331, 332, 333, 335, 360, 361, 363, 365, 366, 400, 401, 402, 403, 403C, 405, 407, 408, 409, 410, 425, 426, 428, 430, 431, 432, 433, 440, 441, 449*, 450, 451, 460A, 460B, 461, 465, 470, 471, 473, 475, 480, 500, 501, 502, 503, 505, 506A, 506B, 507A, 507B, 507C, 508, 510, 510A, 510B, 511, 511*, 513, 513A, 514, 516, 517, 518, 519, 530, 531, 532, 533, 545A, 545B, 550, 551, 552, 552B, 553, 554, 555, 559, 560, 561, 562, 563, 564, 565, 566, 567, 569, 570, 571, 575, 577, 580, 590, 591, 592, 593, 610, 611, 612, 613, 620, 621, 650, 652, 653, 654, 655, 660, 665, 670, 671, 672A, 672B, 672C, 673, 675, 677, 700, 705, 706, 707, 708, 709, 710, 711, 715, 720, 725, 735, 736, 745, 750A, 750B, 751, 752A, 752B, 753, 755, 756A, 756B, 756C, 759, 761, 765, 780, 781, 785, 791, 800, 801, 802, 803, 804, 810, 812, 815, 820, 821, 822, 830, 831, 832, 836, 837, 840, 841, 844, 850, 851, 852, 853, 854, 870, 870A, 875, 881, 882, 884, 888, 890, 892, 900, 901, 910A, 910B, 910C, 910D, 920, 921, 922, 923, 923A, 927, 930, 931, 935, 945, 950, 951A, 951B, 952. 953, 954, 956A, 956B, 960, 1137, 1525, 1535, 1538, 1539, 1540, 1542, 1544, 1640, 1641, 1642, 1650, 1651, 1652, 1655, 1697, 1750

Part Two

The Folktale from Ireland to India

III – The Simple Tale

3. Formula tales

B. Cumulative Tales

A much more definite narrative core is found in the cumulative tale. Some thing of the nature of a game is also present here, since the accumulating repetitions must be recited exactly, but in the central situation many of these tales maintain their form unchanged over long periods of history and in very diverse environments. Such tales as The House that Jack Built or The Old Woman and Her Pig are so well known that no reader of the English language needs to have explained to him the way in which a simple phrase or clause is repeated over and over again, always with new additions. Most of the enjoyment, both in the telling and listening to such tales, is in the successful manipulation of the ever-growing rigmarole. The cumulative tale always gradually works up to one long final routine containing the entire sequence. The person examining cumulative tales, therefore, has only to look at this final formula to learn all that is to be learned about the whole tale.

One important group of cumulative tales has to do with the death of an animal, usually a cock or a hen. Perhaps best known of these is The Death of the Cock (Z31.2.1.1; Taylor, Type 2021A). [360] After he has choked to death, the hen goes out and seeks the aid of various objects and persons—stream, tree, pig, miller, baker, etc. This tale is very widely distributed over all of Europe and is known in India, but the problem of its ultimate origin is not easy to solve. Haavio and Wesselski, both of whom have treated the story very thoroughly, disagree as to the importance of the Oriental relationship. Not so well known, but still widely distributed in Europe and occasionally reported in America, is The Death of the Little Hen (Z31.2.2; Type 2022), a [p. 231] tale that seems to go back to the Panchatantra. The hen is mourned by various objects, animals, and persons, each in a characteristic fashion: flea, door, broom, cart, ashes, tree, girl. A slight modification of this tale appears in France and Denmark, where each of the mourners for the little hen performs an action which is described by some unusual or new word. For example, the table untables itself (Z31.2.2.1; Taylor, Type 2022A). In a somewhat less popular cumulative story about the little hen's death, various animals one by one join her funeral procession. Eventually the funeral carriage breaks down, or the whole procession drowns (Z31.2.1; Type 2021).

Several cumulative tales involve the eating of an object, whether as the end result of the series of happenings or the cause of the series. Most popular of these, both in Europe and America, is The Fleeing Pancake (Z31.3.1; Type 2025), frequently known in American collections as The Gingerbread Man. A woman makes a pancake (or gingerbread man) which runs away from her. Various animals try in vain to stop it. Finally the fox eats it up. The conversation between the gingerbread man and the fox has a tendency to become formalized, much like that between Red Riding Hood and the wolf—"What makes your ears so big?", etc. Two other chains of incidents concerning the eating of an object are very similar and perhaps related. The first of these is about The Fat Cat (Z31.3.2; Type 2027). While her mistress is away the cat eats the porridge, the bowl, and the ladle. When the mistress returns, she says to the cat, "How fat you are!" The cat replies, "I ate the porridge, the bowl, and the ladle, and I will eat you." After eating the mistress, the cat likewise meets various animals. Always after the same conversation she eats them. The story ends with her finally eating too many and bursting. This is essentially a Scandinavian tale, though one version has been reported from India. The other is also well known in Scandinavia, but is found in Russia, and an analogue has been taken down in east Africa. This tale is sometimes called The Fat Troll (Z31.3.4; Type 2028), and sometimes The Fat Wolf, for the story may be told of either. A troll (or wolf) eats the watcher's five horses and finally the watcher himself. When the master goes to investigate, the troll says, "I ate the five horses, I ate the watcher, and I will eat you." After he has eaten the master, the same thing happens to the wife, the servant, the daughter, the son, and the dog—always after the same piling up of threats. When he comes to the cat, however, she scratches him open and rescues all the victims.

Much like the tale of The Fleeing Pancake is that of The Goat Who Would Not Go Home (Z31.4.1; Type 2015). One animal after another tries in vain to persuade the stubborn goat to go home. Nothing avails until a wolf (sometimes a bee) bites him and drives him home. This tale of the goat has always been especially dear to children and probably for this reason is extraordinarily popular in Europe. Except in printed children's books, however, it is not known elsewhere. [p. 232]

In the cumulative tales thus far mentioned the structure has been rather simple. There has been a series of events bound together by one slender thread, and the interest has usually been a conversation containing an increasing number of details. The cumulative tale reaches its most interesting development, however, when there is not merely an addition with each episode, but when every episode is dependent upon the last. Perhaps to the English-speaking world the best known of such tales is The Old Woman and Her Pig (Z41.1; Type 2030). It will be remembered that the pig will not jump over the stile so that the old woman can go home. She keeps appealing in vain for help, but the help always depends upon her getting help from someone else. She finally persuades a cow to give her milk. The final formula is: Cow give milk for cat; cat kill rat; rat gnaw rope; rope hang butcher; butcher kill ox; ox drink water; water quench fire; fire burn stick; stick beat dog; dog bite pig; pig jump over style. In the wide extent of its distribution over Europe, Asia, Africa, and America, it is natural that the details should differ a good deal. But the whole pattern is remarkably well kept. If the tale is not actually from India originally, it is at least very well known there. [361]

Whereas The Old Woman and Her Pig has had its greatest popularity with oral taletellers, the chain known as Stronger and Strongest (Z41.2; Type 2031) is essentially literary. It is found in Oriental tale collections and appears frequently in medieval literature. Though nowhere really popular, it has traveled to every continent. The chain may go in either one of two directions. It may start with God and show how he was the ultimate cause of the frostbitten foot. Or it may likewise take the cause to the little mouse who gnawed a hole in the wall. In the first, and more extensive, version, the final formula is: God how strong you are—God who sends Death, Death who kills blacksmith, blacksmith who makes knife, knife that kills steer, steer that drinks water, water that quenches fire, fire that burns stick, stick that kills cat, cat that eats mouse, mouse that perforates wall, wall that resists wind, wind that dissolves cloud, cloud that covers sun, sun that thaws frost, frost that broke my foot.

The peculiar distribution of some of these cumulative tales is nowhere better seen than in the story of The Cock's Whiskers (Z41.3; Type 2032). It is very well known in Russia and Sweden and has been reported twice from France and once from Italy. It seems not to be known anywhere else in the world—with one interesting exception, among the Zuñi of New Mexico. In Europe this tale is about a mouse who throws a nut down and hits the cock on the head. He also steals the cock's whiskers. The cock goes to get an old woman to cure him. The final formula is: Fountain give up water for forest, forest give up wood for baker, baker give up bread for dog, dog give up hairs to cure the cock. Among the Zuñi the story collector Gushing told [p. 233] this tale as he had learned it from Crane's Italian collection, and when he returned the next year the Indians told it to him. It had become so thoroughly adapted to Zuñi ceremonialism, however, that its original cumulative nature was hardly recognizable.

The nut hitting the cock on the head appears also as an introduction to another tale which we have already noticed (Type 20C). When the nut hits him on the head, he thinks that the world is coming to an end. He sends the hen to tell the duck, the duck to tell the goose, etc. The final formula is: Fox, who told you?—Hare.—Hare, who told you?—Goose, etc. (Z41.4; Type 2033). The animals in their fear agree that they shall eat each other up, and the fox persuades them that the smallest should be eaten first. In this story, as in several similar ones, the animals sometimes appear with queer names. The hen is henny-penny; the cock, cocky-locky; the goose, goosey-poosey, etc. (Z21.3.1). This story of the end of the world is certainly as old as the Jātaka. It is most popular in Scandinavia, but has been found in most parts of the world.

Much better known in popular tradition is the formula of How the Mouse Regained Its Tail (Z41.5; Taylor, Type 2034). The cat bites off the mouse's tail and will return it in exchange for milk. The mouse goes to the cow for milk, to the farmer for hay, to the butcher for meat, to the baker for bread. Other persons mentioned are the locksmith and the miner. Not only is this common all over Europe, but there are interesting analogues from all parts of Africa. Sometimes this series of adventures is joined with the anecdote of the man who permits his grain of corn to be eaten by the cock and then demands the cock as damages (Type 1655). It will be remembered that this is essentially a cumulative tale, since the hog eats the cock, the ox eats the hog, etc.

To the English-speaking reader perhaps the most familiar of all cumulative tales is The House That Jack Built (Z41.6; Type 2035), but it is not frequently told on the continent of Europe. Some analogues appear from Africa, though they are not exact. The standard form is that with which English and American readers are acquainted. Its final formula is: This is the farmer that sowed the corn, that fed the cock that crowed in the morn, that waked the priest all shaven and shorn, that married the man all tattered and torn, that kissed the maiden all forlorn, that milked the cow with the crumpled horn, that tossed the dog, that worried the cat, that caught the rat, that ate the malt that lay in the house that Jack built.

Such are the principal cumulative tales, but this list by no means exhausts the whole store of those current in one or another part of the European and Asiatic areas. There remain, for example, the German tale of Pif Paf Poltrie (Z31.1.1; Type 2019) in which the suitor is sent from one relation to the other for consent to the wedding; and the train of troubles which come from a lost horseshoe nail (Z41.9; Taylor, Type 2039). [p. 234]

Not all chain-tales are actually cumulative, but may consist of a simple series, verbal or actual. Such, for example, are the chains which are based upon a series of numbers, like that of the origin of chess (Z21.1; Taylor, Type 2009). The inventor asks one wheat-grain for the first square, two for the second, four for the third, eight for the fourth, etc. The amount is so large that the king cannot pay. This is essentially a literary story, as are also a group of chains concerning special meanings or objects brought into relation with the numbers one to twelve" (Z21.2 and subdivisions). One of these, Ehod mi yodea (Taylor, Type 2010), has a long history in Hebrew ritual and frequently appears as a carol.

There remain two chain stories having to do with the houses that have burned down. One of them is a foolish tale in which the whole point is the difficulty of making a satisfactorily conservative answer. The usual formula is: My house burned down.—That is too bad.—That is not bad at all, my wife burned it down.—That is good.—That is not good, etc. (Z23.1; Type 2014). Though this story is not widely disseminated, it is apparently independent of literary tradition. In this respect it is quite the opposite from the almost purely bookish anecdote of the servant who broke the news of the fire to his master, a tale usually known as The Climax of Horrors ((Z41.10; Type 2040). The details of the conversation vary much in the different tellings. The servant meets his returning master and tells him that the magpie is dead. When the master inquires why, the servant says that it had overeaten on horseflesh. As the chain proceeds, it turns out that the horses have died at the fire which burned the house. Usually the man's family has burned with the house, or other dire misfortunes have overtaken him. This story was used by the medieval priests to illustrate their sermons, and drew from it incredibly strange lessons of morality and piety.

Formula tales, especially chains and cumulative stories, though they have about them many qualities which belong to games and are therefore amusing to children and to those who never grow up, have aesthetic value of their own. Their essential formal quality is repetition, usually repetition with continuing additions. This is what students of the popular ballad call "incremental repetition," a stylistic feature which adds much to the appeal of many of our finest old ballads.

[360] See definitive studies on this tale by Haavio (Kettenmärchenstudien) and Wesselski (Hessische Blatter fur Volkskunde, XXXII, 2ff.). They also discuss the anecdote, "What should I have said?" (Type 1696) which is really a cumulative tale as well as a story of stupidity.

[361] See Murray B. Emeneau, Journal of American Folklore, LVI, 272ff., who discusses twelve Indic versions of the tale.

20C, 1655, 1696, 2009, 2010, 2014, 2015, 2019, 2021, 2021A, 2022, 2022A, 2025, 2027, 2028, 2030, 2031, 2032, 2033, 2034, 2035, 2039, 2040

Z21.1, Z21.2, Z21.3.1, Z23.1, Z31.1.1, Z31.2.1, Z31.2.1.1, Z31.2.2.1, Z31.2.2, Z31.3.1, Z31.3.2, Z31.3.4, Z31.4.1, Z41.1, Z41.2, Z41.3, Z41.4, Z41.5, Z41.6, Z41.9, Z41.10

Part Two

The Folktale from Ireland to India

V – European-Asiatic Folktales in other Continents

2. Africa

The Sahara Desert has always served as a great dividing line for the cultures of the African continent. North of the desert, from Egypt to the Atlantic Ocean, the contact with European and Moslem culture has been intimate and continuous. As far as the folktale, at least, is concerned, that whole stretch of land is properly to be considered as a southern fringe of the European and Asiatic area. South of the Sahara, however, though there are intrusions from Europe and Asia, folk traditions are essentially native. The great majority of their tales have certainly had their origin on the soil of central or southern Africa.

The extent to which these tales are purely African differs greatly from tribe to tribe and especially from one culture area to another. Where there has been little direct contact with the Asiatics or Europeans, contamination is negligible, but it increases in direct proportion to outside contacts. In east [p. 285] Africa, especially that part lying close to Arabia and even further south, there is ample evidence of long association with Asiatic Moslems, even when the native populations have not embraced Mohammedanism. In contrast to this very old intrusion of outside tradition, the taking over of tales from Europe has occurred only during the last two or three centuries with the gradual penetration of the Western Powers into Africa. Some of this may have taken place rather early in the development of the American slave trade, since there are unmistakable signs of European tales which have been brought to America by slaves, probably during the eighteenth century.

An analysis of the occurrence of European and Asiatic tales in central and south Africa shows a considerable difference in the interest various tribes have had in stories which have come to them from outside. In some, the folk tradition is very little affected; in others, the material from outside actually overbalances the native. Of the tales which have been brought in, some are found once or twice but have never made much of a place for themselves, while others have spread over the whole continent. Some of these tales which have great popularity in Africa have certainly come directly or indirectly from India. Such are The Tarbaby (Type 175), The Animal Languages (Type 670), The Four Skillful Brothers (Type 653), and probably The Table, The Ass, and The Stick (Type 563). A larger number seem clearly to have arrived from Europe: The Theft of Butter (Honey) by Playing God father (Type 15); The Fox as Nursemaid for the Bear (Type 37); The Wolf Flees from the Wolf Head (Type 125); Red Ridinghood (Type 333); The Quest for the Lost Wife (Type 400); The Black and the White Bride (Type 403); The Cat as Helper (Puss in Boots) (Type 545); Race with Relatives in Line (Type 1074); Ogre Kills Own Children: Substitutes in Bed (Type 1119); The Rich and the Poor Peasant (Type 1535); and The Eaten Grain and Cock as Damages (Type 1655). The Aesop tradition seems to be almost entirely lacking. Biting the Foot (Type 5), while it belongs to that tradition, probably came to the Africans from Northern Europe.

The tales just listed are very popular, not one of them appearing in Africa in fewer than ten versions. Their conformity to the European or Asiatic type is unmistakable, and we are sure that for at least this many stories there has been a widespread borrowing from the other continents. For a few very widely distributed African tales, the situation is not quite so clear. The story is told with some difference from the European or Asiatic analogue, and there is at least a possibility that we are dealing with a closely parallel narrative rather than an actual borrowing. Doubtful cases of this kind are represented by The Animals Build a Road (Type 55); The Princess Who Murdered Her Child (Type 781); Attempted Murder with Hatchet (Type 1115); Crayfish as Tailor Drowned (Type 1310); Holding Up the Rock (Type 1530); and Lending and Repaying, Progressive Bargains (Type 2034C). [p. 286]

These are only the most popular of the foreign tales in Africa. When we consider all of the borrowings which have thus far been reported, we find a total of 119 of the 718 types listed in the Aarne-Thompson catalogue. Perhaps most popular are the animal tales, a goodly number of which have become familiar to us in a later stage of development in the American Negro Uncle Remus cycle. But we also find a considerable group of the typical wonder tales such as Cinderella, Puss in Boots, The Two Travelers, and, strangely enough, six black adaptions of Snow White.

There are, of course, certain types of European stories not likely to appeal to such an alien culture, with different social contentions and life experiences. We seek in vain for tales based primarily upon the typical religious organization in Europe. But these fields of very special interest are strictly limited, and the African finds enjoyment in nearly every kind of European folktale. He may do some queer things with them and change them around so that little more than a skeleton of the original remains and so that it takes the expert eye to discover that they are not actually native. On the other hand he may take the tale over completely with all its foreign trappings, and it may remain as completely exotic as the railroad train or the airplane.

5, 15, 55, 125, 175, 333, 400, 403, 545, 563, 653, 670, 781, 1074, 1115, 1119, 1310, 1530, 1535, 1655, 2034C

Number of Borrowing of European-Asiatic Tales by Indonesians, African, and American Indians

Type

Indonesianx

Africanx

Americanx Indianx

1. The Theft of Fish		5	7
2. Tail-Fisher		3	13
4. Carrying the Sham-Sick Trickster		5
5. Biting the Foot	13	16
6. Inquiring about the Wind		2
7. Calling of Three Tree Names		1
8. The Painting	2	7
9A. The Unjust Partner: Bear Threshes		7
9B. The Unjust Partner: Corn and Chaff			2
15. Theft of Butter (Honey) by Playing Godfather		13	2
21. Eating His Own Entrails	1	1
30. Fox Tricks Wolf into Falling into a Pit		1
31. Fox Climbs from Pit on Wolf's Back	15
33. Fox Plays Dead and is Thrown out of Pit and Escape	20	5
36. Fox in Disguise Violates the She-Bear	1
37. Fox as Nursemaid for Bear	7	30
38. Claw in Split Tree	11	2
47A. Fox Hangs by Teeth to Horse's Tail		2	1
49. Bear and the Honey			2
50. Sick Lion	1
55. Animals Build a Road		18	1
56. Fox Steals Young Magpies		7
60. Fox and Crane			3
62. Peace Among Animals			1
72. Rabbit Rides Fox a-Courting	1	6	7
73. Blinding the Guard		2	2
100. Wolf as Dog's Guest Sings			1
101. Old Dog as Rescuer of Child			1
104. Cowardly Duelers			3
105. Cat's Only Trick		2
111. Cat and Mouse Converse	3
122A. Wolf Seeks Breakfast		2
122B. Cat Washes Face before Eating		5
123. Wolf and Kids			1
125. Wolf Flees from Wolf-Head		12
130. Animals in Night Quarters			1
154. "Bear-Food"		6	1
155. Ungrateful Serpent Returned to Captivity	12
156. Splinter in Bear's Paw		1
157. Learning to Fear Men		1	1
175. Tarbaby and Rabbit	2	39	23
210. Cock, Hen, etc. on Journey	10
221. Election of Bird King	2
222. War of Birds and Quadrupeds		4
225. Crane Teaches Fox to Fly	4	3	43?
228. Titmouse Tries to be Big as Bear	1	8
235. Jay Borrows Cuckoo's Skin	3
248. Dog and Sparrow	1
249. Ant and Cricket			3
275. Race of Fox and Crayfish	26		1
295. Bean, Straw, and Coal			3
300. Dragon-Slayer	1		14
301. Three Stolen Princesses			16
302. Ogre's Heart in Egg	2		1
303. Twins or Blood-Brothers	3		3
307. Princess in the Shroud		2
311. Rescue by Sister (Girls in Sacks)		5	1
313. Girl as Helper in Hero's Flight		2	33
314. Youth Transformed to Horse (Goldener)	24	4	15
325. Magician and Pupil	1
326. Learning What Fear Is			2
327A. Hansel and Gretel	6	8	10
327B. Dwarf and Giant	3
327C. Devil Carries Hero in Sack		9	6?
328. Boy Steals Giant's Treasure			6
331. Spirit in Bottle			1
333. Red Ridinghood; Six Little Goats		16
400. Quest for Lost Wife	37	11	29
401. Princess Transformed into Deer		1
402. Mouse (Cat, etc.) as Bride	1
403. Black and White Bride	1	15	6
408. Three Oranges		1
425. Search for Lost Husband (Cupid and Psyche)	5	5	1
432. Prince as Bird		1
450. Little Brother and Little Sister		3
451. Maiden Who Seeks her Brothers			1
461. Three Hairs from Devil's Beard	17	1	1
471. Bridge to Other World	1	1	1
480. Spinning Woman by the Spring	6		3
506. Rescued Princess: Grateful Dead	6		1
507. Monster's Bride: Grateful Dead			1
510A. Cinderella	2	3	4
510B. Cap o' Rushes		2	1
511. One-Eye, Two-Eyes, Three-Eyes	3
513. The Helpers (Extraordinary Companions)		2	3
514. Shift of Sex	1
516. Faithful John		1
518. Devils Fight over Magic Objects		2
531. Clever Horse		3	2
533. Speaking Horse-head		6
545. Cat as Helper (Puss in Boots)	2	10
550. Bird, Horse, and Princess	4	4
551. Sons on Quest for Remedy		4
552A. Three Animal Brothers-in-Law			1
554. Grateful Animals	11
555. Fisher and His Wife	5
559. Dungbeetle		1	4
560. Magic Ring	36	8	2
561. Aladdin	1		2
563. Table, Ass, and Stick	7	14	4
566. Three Magic Objects and Wonderful Fruits	2		1
567. Magic Bird-heart	13	1	1
569. Knapsack, Hat, and Horn	5		5
570. Rabbit-herd	1	1
571. "All Stick Together"		1
590. Prince and Arm Bands			1
592. Jew Among Thorns	1
612. Three Snake-Leaves	2
613. Two Travelers		5	1
621. Louse-Skin	3
650. Strong John	27	3	4
653. Four Skillful Brothers	8	12
655. Wise Brothers	1	2
670. Animal Languages	6	23
671. Three Languages		2
675. Lazy Boy	2
676. Open Sesame	1	9
700. Tom Thumb		5	1
706. Maiden Without Hands		6	2
707. Three Golden Sons		8	1
709. Snow White		6
750. The Wishes: Hospitality Rewarded	1	1	3
780. Singing Bone		8
781. Princess Who Murdered her Child		12
785. Who Ate the Lamb's Heart?	1
851. Princess who Cannot Solve Riddle	3	2
852. Princess Forced to Say, "That is a Lie."	1	2
853. Princess Caught with her own Words			2
854. Golden Ram			1
875. Clever Peasant Girl	3	3
882. Wager on Wife's Chastity	2
900. King Thrushbeard		1?
901. Taming of the Shrew			1
910. The Good Precepts		2
921. King and Peasant's Son	1	2
922. King and Abbot	1
923. Love Like Salt		1
930. Prophecy for Poor Boy		1	1
931. Oedipus	1
935. Prodigal's Return			1
945. Luck and Intelligence	8	1
950. Rhampsinitus	1
1000. Anger Bargain	5		2
1004. Hogs in Mud, Sheep in Air	2	3	4
1012. Cleaning the Child	1
1015. Whetting the Knife	2
1030. Crop Division	1
1031. Roof as Threshing Flail			2
1060. Squeezing the Stone	1	1	1
1061. Biting the Stone		1	1
1062. Throwing the Stone	1		1
1063. Throwing Contest with Golden Club			1
1074. Race with Relatives in Line	6	38	12
1085. Pushing Hole in a Tree			1
1088. Eating Contest: Food in Bag			20
1115. Attempted Murder with Hatchet		10
1119. Ogre Kills Own Children: Substitutes in Bed		14	5
1149. Children Desire Ogre's Flesh	10	4
1157. Gun as Tobacco Pipe		1
1200. Sowing of Salt		1
1250. Bringing Water from Well: Human Chain		1	2
1260. Porridge in Ice Hole	1
1276. Rowing without Going Forward	4
1278. Bell Falls into Sea: Mark on Boat	2
1310. Crayfish as Tailor: Drowned	18	22	31
1319. Pumpkin as Ass's Egg, Rabbit as Colt			1
1350. Loving Wife: Man Feigns Death		1?
1360C. Old Hildebrand			1
1380. Faithless Wife: Husband Feigns Blindness		1
1384. Quest for Person Stupid as Wife		2
1386. Meat as Food for Cabbage	7
1415. Lucky Hans	2		1
1430. Man and Wife Build Air Castles	7	1
1525. Master Thief	2		6
1528. Holding Down the Hat	2		1
1530. Holding up the Rock		11	3
1535. Rich and Poor Peasant	10	16	11
1537. Corpse Killed Five Times	3		2
1539. Cleverness and Gullibility	7		3
1540. Student from Paradise (Paris)	3
1541. For the Long Winter			2
1542. The Clever Boy: Fooling-Sticks			8
1563. "Both?"			3
1585. Lawyer's Mad Client			1
1590. Trespasser's Defense			1
1610. To Divide Presents and Strokes		2
1611. Contest in Climbing Mast			1
1612. Contest in Swimming			1
1640. Brave Tailor	3		4
1641. Doctor Know-All	21	3
1642. The Good Bargain: Money to Frogs			4
1651. Whittington's Cat	2	2
1653. Robbers under Tree	2	1	5
1655. Eaten Grain and Cock as Damages		10	1
1685. Foolish Bridegroom	6	1
1696. "What Should I Have Said?"	6	4	2
1698A. Search for Lost Animal: Deaf Person	1
1698B. Travelers Ask the Way: Deaf Peasant		1
1730. Three Suitors Visit Chaste Wife	2	3
1737. Parson in Sack to Heaven		1
1775. Hungry Parson			3
1920A. Lying Contest: "Sea Burns"	1
1930. Schlaraffenland		3
2028. Troll (Wolf) Cut Open		1
2030. Old Woman and Pig	2	4
2031. Frost-bitten Foot	4	3
2033. Nut Hits Cock's Head		3
2034C. Lending and Repaying, Progressive Bargains		22
2035. House that Jack Built		4
2400. Ground Measured with Horse's Skin			1

1, 2, 4, 5, 6, 7, 8, 9A, 9B, 15, 21, 30, 31, 33, 36, 37, 38, 47A, 49, 50, 55, 56, 60, 62, 72, 73, 100, 101, 104, 105, 111, 122A, 122B, 123, 125, 130, 154, 155, 156, 157, 175, 210. 221, 222, 225, 228, 235, 248, 249, 275, 295, 300, 301, 302, 303, 307, 311, 313, 314, 325, 326, 327A, 327B, 327C, 328, 331, 333, 400, 401, 402, 403, 408, 425, 432, 450, 451, 461, 471, 480, 506, 507, 510A, 510B, 511, 513, 514, 516, 518, 531, 533, 545, 550, 551, 552A, 554, 555, 559, 560, 561, 563, 566, 567, 569, 570, 571, 590, 592, 612, 613, 621, 650, 653, 655, 670, 671, 675, 676, 700, 706, 707, 709, 750, 780, 781, 785, 851, 852, 853. 854. 875, 882, 900, 901, 910, 921, 922, 923, 930, 931, 935, 945, 950, 1000, 1004, 1012, 1015, 1030, 1031, 1060, 1061, 1062, 1063, 1074, 1085, 1088, 1115, 1119, 1149, 1157, 1200, 1250, 1260, 1276, 1278, 1310, 1319, 1350, 1360C, 1380, 1384, 1386, 1415, 1430, 1525, 1528, 1530, 1535, 1537, 1539, 1540, 1541, 1542, 1563, 1585, 1590, 1610, 1611, 1612, 1640, 1641, 1642, 1651, 1653, 1655, 1685, 1696, 1698A, 1698B, 1730, 1737, 1775, 1920A, 1930, 2028, 2030, 2031, 2033, 2034C, 2035, 2400