The Folktale
Stith Thompson
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The Journey in Search of Fortune |
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Part Two The Folktale from Ireland to India II – The Complex Tale 6. Tasks and quests |
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Prominent in the action of a very large number of folk stories is the performance of difficult, and sometimes impossible, tasks and quests. Frequently such compulsory labors form only a subordinate part of the story, [116] the principal interest of which is an extensive plot in which these tasks are of only incidental importance. In contrast to such tales there are some half a dozen in which the performance of tasks or the accomplishment of quests is the most important event of the entire action. The quests on which the heroes of folktales set forth are frequently impossible or strange, but none stranger than those undertaken by The Youth Who Wanted to Learn What Fear Is ( In exactly this form the story does not have any early literary treatments. Straparola in the sixteenth century wrote a story about a boy who went on a [p. 106] quest for death, and one of the Icelandic sagas tells of a similar journey to find out what anger is. [117] As an oral tale in very much the form we have outlined it is present throughout the European continent, in the British Isles, and in Iceland. It seems to be popular in all parts of this area, and only a special investigation could determine the part of Europe where the tale may have originated. For it is certainly European: it does not occur in Asia or Africa, and where it appears in the New World it has obviously been carried by European settlers. [118] The assignment of tasks to suitors by the father of the prospective bride is a prominent motif in several well-known stories ( The tale is made up of a great many motifs which are mere folktale commonplaces: the suitor tasks, the helpful animals, the successful youngest son, transformation and disenchantment, and the final happy marriage. Nevertheless, the outlines of the tale are distinct enough wherever it is known. Nowhere can it be said to be popular, but some versions occur in most countries from Iceland to the Caucasus. It does not seem to have had any literary treatment, nor to have been carried to other continents. Its distribution would suggest that it is essentially eastern European. Certain elements of the tale just discussed are found in a story which is popular in Norway but is apparently confined to that country. In this tale of The King's Tasks ( The assigner of tasks in folk narratives is sometimes the hero's father. In a story made popular through its literary handling by Madame d'Aulnoy [p. 107] in 1710 under the title The White Cat (La Chatte Blanche [ The Grimms use this plot for two of their stories, one with a frog and the other with a cat as the transformed heroine. Except for this inconsistency in the kind of animal who acts as the hero's helper, the story maintains a clear and vigorous tradition in the folklore of all of Europe. Somewhat more than 300 versions have been recorded. Two variants are known from Armenia and one from North Africa; otherwise it seems to have remained in Europe. Two tales of quests are so much alike that it is convenient to consider them at the same time. In both stories a king sends his sons out on a quest; in both the youngest succeeds and eventually overcomes the treachery of his elder brothers. The first of these tales is The Bird, the Horse, and the Princess ( This story has a considerable literary history. With slight variations it is known in the Thousand and One Nights and has appeared since that time frequently in literary reworkings. [120] The story is, however, so well established in the oral repertory of taletellers in practically every country of Europe, and fits in so well with the general spirit of many other common oral tales that its essentially popular nature seems unmistakable. It is quite as well known in Scandinavia as it is in Italy and Russia and the Baltic states, and, indeed, all the rest of Europe. It is almost equally popular in western and southern Asia, where it appears in a number of versions in Armenia, India, Indonesia, and central Africa, and is told by the French in Missouri. With so many Asiatic versions balanced against so many European, it is quite impossible, [p. 108] without exhaustive study, to hazard a guess as to where this tale may have originated. From the general likeness of plot, the identity of many details, and the similarity of the geographical pattern of their occurrences in folklore, it seems reasonable to suppose that this tale and that one which the Grimms called The Water of Life ( The plot of The Water of Life, as its name indicates, concerns a quest for a magic healing water or for some other marvelous remedy. The sick or blind king sends his three sons out on this quest. As in the other tale, the two elder brothers are unkind and the youngest kind to animals or an old person. With their aid he succeeds where his brothers have failed. He not only secures the water of life (or of youth), but he also reaches a magic garden where he sees a princess asleep. He lies by the princess and on his departure, writes his name, leaves it with her, and returns home. [121] As in the other tale, his treacherous brothers rob him and throw him into a well or den and he is helped by the fox or wolf. The princess comes seeking the father of her child. After overcoming the treachery of the elder brothers she finds the hero and marries him. |
[116] Among such stories already discussed are the following: Jack the Giant Killer (Type [117] For these literary references, see Bolte-Polívka, I, 32 and 37. [118] It has been reported from the Zuñi Indians and from the Spanish-speaking peoples of New Mexico, from the Missouri French, from the Cape Verde Islanders in Massachusetts, and from British tradition in Virginia. [119] An old and familiar motif, appearing both in Greek mythology and in medieval romance; see [120] For a discussion of the literary history of the tale, see Bolte-Polívka, I, 511. [121] It will be noticed that the entire episode with the sleeping princess appears also in quite another connection in the story of The Hunter (Type 304). |
Types: 326, 328, 329, 402, 408, 428, 460A, 460B, 461, 500, 501, 507A, 531, 550, 551, 577, 590, 610, 611, 613, 725, 812, 821B, 875, 920, 930, 1525 |
Motifs H310-H359, H901.1 |
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Part Two The Folktale from Ireland to India II – The Complex Tale 9. The higher powers B. Prophecies |
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A particularly important idea in the stories of murder brought to light is the power which the prophecy of the dying man exerts on the murderer. It is but one example of the strong hold which the belief in forecasting the future [p. 138] continues, even in our own day, to exert on all except the most rational thinkers. That certain persons are endowed with supernatural power to look into the days to come; that the Goddess of Fortune, or at least good luck, keeps watch over some and neglects others; that the stars or the flight of birds or the condition of a slaughtered animal's liver foretells the issue of future events—all these are a part of folk faith, and when they appear in a popular story seem so natural and so worthy of belief that they are never questioned. Rather, they are cited as certain proof of the very marvels which they illustrate. For these prophesyings are never the result of logical considerations. They are never given by a person whose good sense or judgment we would trust in ordinary business affairs. And the conditions under which they are produced are those which we would recognize as least conducive to judgment and clear thinking. We shall find that the prophecies given most weight come from half-demented old men or women, from the dying, or from those who have weakened themselves by long fasting or by narcotics, and from those notorious as cheats and rascals, as well as from truly holy men who have sincerely sought to penetrate the veil of the unknown. Even animals are valued as prophets. One old tale popular with both priests and rabbis of the Middle Ages [203] is about The Boy Who Learned Many Things ( Though this tale has been collected orally, at least once, in practically every country of Europe, it is essentially a literary story and cannot be thought of as a product of folk imagination. We recognize clearly enough something of the biblical account of Joseph, though several other stories which we shall now look at are even closer to that legend in general outline and in detail. Such is the tale which we may call The Dream ( The general outline of this story is old. Whether the literary versions of the Middle Ages, such as the accounts of the life of Pope Sylvester II and of [p. 139] Pope Innocent III, are based eventually upon the Joseph tale, it has certainly long been popular. [205] As an oral legend, it seems to be told mostly in eastern Europe, especially in Hungary and the Baltic states. By far the best known of all stories prophesying future greatness for the hero is the tale studied by Aarne under the title of The Rich Man and His Son-in-Law ( The tale in the form just given is very old and has an extensive literary history. [207] As Tille shows, the literary texts consist of four groups, the Indic, the Ethiopic, the west European, and the Turkish. The Indic group has the oldest texts, which go back to the third century after Christ. There is a considerable number of these versions in the literature of India, extending down to recent times. They are very true to the form outlined above, which, according to Aarne's very careful analysis, seems to be the original plot of the story. It seems plausible to conclude that the story has traveled from India to Europe. The literary Ethiopic texts are clearly based upon Greek sources. This tale began to appear in literary collections of western Europe in the thirteenth century, associated with the legendary histories of the Emperor Henry III and of the Emperor Constantine. Finally, an interesting combination of the Indic and Ethiopic traditions is found in a Turkish romance by Suhaili, written in the seventeenth century. All of these literary versions correspond with each other in considerable detail, and are unmistakably part of the same tradition. Tille cites a Latin work going back to the first century of our era which has most of the features of this story except the initial prophecy. He is inclined to think that this form represents an earlier stage in the development of the tale than the more elaborate versions found in India. [p. 140] Alongside of literary retellings of this tale, it appears in the folk tradition of most parts of Europe, especially of the countries east of Germany. But usually the European folktale combines the story of The Rich Man and His Son-in-Law with another, in which the hero is sent on a quest to a far-off realm, usually the other world. This tale is the one which Grimm calls The Three Hairs from the Devil's Beard ( When the youth arrives at the home of the devil, he is aided by the devil's wife, or sometimes his mother, [208] who assists the youth in securing not only the three hairs which he desires but also the answers to the questions. On his homeward journey he receives a large award for the answers to the questions. The envious king attempts to imitate the youth's success. He does not, of course, realize that the way in which the ferryman can be released from his tedious task is to have someone else take the oar into his hands. When the king reaches the farthest shore, the ferryman hands him the oar, and he must keep the ferry until he succeeds in turning it over to someone else. As an independent tale, this quest to the other world is known in all parts of Europe in more than three hundred versions. It has practically no literary history, unless we consider an episode from the cuneiform fragments of the Assyrian myth of Izdubar, which, as Tille points out, [209] shows not only a general resemblance, but some striking common details. In Europe there is a very frequent combination of The Rich Man and His Son-in-Law with The Three Hairs from the Devil's Beard. In these combinations the quest to the other world is assigned to the youth after the rich man, or the king, realizes that the youth has survived all earlier attempts to get rid of him. This combined tale is found all over Europe and as far east as China. Sporadic versions appear in northern and central Africa, among the Thompson River Indians of British Columbia, and among the Cape Verde Island Portuguese of Massachusetts. The frequency of the combined versions makes it impossible to study either of these tales alone. Both Aarne and Tille [p.141] are convinced that originally the two tales had nothing to do with each other and that the combination was made in the oral tradition of Europe. The contention that the tale of the quest to the other world is really an independent story is strengthened by the existence of two other tales of this kind which sometimes combine with The Rich Man and his Son-in-Law and sometimes appear alone. The first of these, The Journey to God to Receive Reward ( As independent stories these three quest tales are found in various parts of Europe, but outside of that continent they seem always to be combined with the tale of The Rich Man and His Son-in-Law. Except for this very usual amalgamation, these tales would belong properly with a group of otherworld journeys later to be discussed, [210] and not, as here, with accounts of the marvelous fulfillment of prophecies. In our discussion of the literary background of The Rich Man and His Son-in-Law, the tales mentioned were all quite clearly a part of an unbroken tradition. Certain remoter parallels to this story are well known, both from ancient legendary history and from literature. The Hebrew legend of Joseph and the Persian of Cyrus both tell of such prophecies of greatness carried out. Except insofar as they are paralleled in the folk stories we have just studied, these legends have remained purely literary. On the other hand, one famous story coming from Greek drama keeps being repeated as an oral tale, the myth of Oedipus ( |
[203] Among other places, the tale appears in the Seven Sages, in the Scala Celi, and some Jewish exempla collections. There are Czech and Armenian chapbooks relating this tale. For a discussion of its literary history, see Bolte-Polívka, I, 323. [204] For several other stories about men who understand the language of birds and other animals, see pp. 83ff., above. [205] See Bolte-Polívka, I, 324f. [206] Der Reiche Mann und sein Schwiegersohn. [207] For an excellent discussion of this literary history, see Tille, "Das Märchen vom Schicksalskind," Zeitschrijt des Vereins für Volfkskunde, XXIX (1919), 22ff. [208] A common motif in ogre tales. See [209] See Tille, loc. cit. [210] P. 146, below. |
Types: 460A, 460B, 461, 517, 725, 930, 931, 1735 |
Motifs G532, K366.1.1 |
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Part Two The Folktale from Ireland to India II – The Complex Tale 12. Origin and history of the complex tales |
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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 ( 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 ( 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 ( 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 ( 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 ( A German literary tale of the thirteenth century may well be the beginning of The Frog King ( 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 ( 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 ( 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 ( 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 ( 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 ( 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 ( 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 ( 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 ( 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 ( 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 ( 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 ( 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 ( 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 ( General European tales most popular in eastern and northern Europe are: The Danced-Out Shoes ( Especially characteristic of Scandinavia and the Baltic states are: The Boy Steals the Giant's Treasure ( Rather widespread traditions having their focus definitely in Scandinavia are: The Man from the Gallows ( Oral tales distributed over all Europe, but especially characteristic of the western countries, are: The Giantkiller and his Dog (Bluebeard) ( Finally, at least two tales seem to be especially characteristic of British tradition: Tom-Tit-Tot ( 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 ( Local to the Baltic and Scandinavian countries are: [291] a version of The Children and the Ogre ( A much smaller group are limited to the Baltic states and Russia: The Strong Woman as Bride ( 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 ( 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 ( 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 ( 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 ( |
[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.
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Types: 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 |