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Italian Popular Tales
by Thomas Frederick Crane
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The cat (as we said above) continued to carry gifts to the royal palace, and thus supported her master. But after a time she wearied of running up and down so much, and feared that she would annoy the king's courtiers; so she said to her master: "Sir, if you will do what I order, I will make you rich in a short time." "How?" said her master. The cat replied: "Come with me, and do not ask any more, for I am ready to enrich you." So they went together to the stream, which was near the royal palace, and the cat stripped her master, and with his agreement threw him into the river, and then began to cry out in a loud voice: "Help! help! Messer Constantine is drowning." The king hearing this, and remembering that he had often received presents from him, sent his people at once to aid him. When Messer Constantine was taken out of the water and dressed in fine clothes, he was taken to the king, who received him cordially, and asked him why he had been thrown into the river. Constantine could not answer for grief; but the cat, which was always at his side, said: "Know, O king, that some robbers learned from spies that my master was loaded with jewels, which he was coming to present to you. They robbed him of all, and threw him into the river, thinking to kill him, but thanks to these gentlemen he has escaped from death." The king, hearing this, ordered that he should be well cared for; and seeing that he was handsome, and knowing him to be wealthy, he concluded to give him Elisetta, his daughter, for a wife, endowing her with jewels and most beautiful garments. After the wedding festivities had been ended, the king had ten mules loaded with money, and five with costly apparel, and sent his daughter to her husband's home, accompanied by a great retinue. Constantine, seeing that he had become so wealthy and honored, did not know where to lead his wife, and took counsel with his cat, which said: "Do not fear, my master, for we shall provide for everything." So they all set out gayly on horseback, and the cat ran hastily before them; and having left the company some distance behind, met some horsemen, to whom she said: "What are you doing here, wretched men? Depart quickly, for a large band of people are coming, and will take you prisoners. They are near by: you can hear the noise of the neighing horses." The horsemen said in terror: "What must we do, then?" The cat replied: "Do this,—if you are asked whose horsemen you are, answer boldly, Messer Constantine's, and you will not be molested." Then the cat went on, and found a large flock of sheep, and did the same with their owners, and said the same thing to all those whom she found in the road. The people who were escorting Elisetta asked the horsemen: "Whose knights are you," and "whose are so many fine flocks?" and all with one accord replied: "Messer Constantine's." Then those who accompanied the bride said: "So then, Messer Constantine, we are beginning to enter your territory." And he nodded his head, and replied in like manner to all that he was asked. Wherefore the company judged him to be very wealthy. At last the cat came to a very fine castle, and found there but few servants, to whom she said: "What are you doing, good men; do you not perceive the destruction which is impending?" "What?" asked the servants. "Before an hour passes, a host of soldiers will come here and cut you to pieces. Do you not hear the horses neighing? Do you not see the dust in the air? If you do not wish to perish, take my advice and you will be saved. If any one asks you whose this castle is, say, Messer Constantine's." So they did; and when the noble company reached the handsome castle they asked the keepers whose it was, and all answered boldly Messer Constantine the Lucky's. Then they entered, and were honorably entertained. Now the castellan of that place was Signor Valentino, a brave soldier, who, a short time before, had left the castle to bring home the wife he had lately married; and to his misfortune, before he reached the place where his wife was he was overtaken on the way by a sudden and fatal accident, from which he straightway died, and Constantine remained master of the castle. Before long, Morando, King of Bohemia, died, and the people elected for their king Constantine the Lucky because he was the husband of Elisetta, the dead king's daughter, to whom the kingdom fell by right of succession. And so Constantine, from being poor and a beggar, remained Lord and King, and lived a long time with his Elisetta, leaving children by her to succeed him in the kingdom.

* * * * *

For copious references to other European versions, see Koehler's notes to Gonz., No. 65 (II. p. 242), and Benfey, Pant. I. p. 222.

[12] The earliest Italian versions are in the Cento nov. ant., Testo Papanti (Romania, No. 10, p. 191), and Straparola, XI. 2. Later popular versions, besides the Istrian one in the text, are: Nerucci, p. 430, and Bernoni, III. p. 91, both of which are much distorted. Some of the episodes are found in other stories, as, for instance, the division of the property, including the wife, which occurs in Gonz., No. 74. "The Thankful Dead" is also the subject of an Italian novel, Novella di Messer Danese e di Messer Gigliotto, Pisa, 1868 (privately printed), and of a popular poem, Istoria bellissima di Stellante Costantina composta da Giovanni Orazio Brunetto.

The extensive literature of this interesting story can best be found in D'Ancona's notes to the version in the Cento nov. ant., cited above. To these may be added: Ive's notes to the story in the text, Cosquin's notes to No. 19 of the Contes pop. lorrains (Rom. No. 24, p. 534), and Nisard, Hist. des Livres pop. II. p. 450. Basque and Spanish versions have been published recently, the former in Webster's Basque Legends, pp. 146, 151, and the latter in Caballero, Cuentos, oraciones, etc., Leipzig, 1878, p. 23. A version from Mentone may be found in the Folk-Lore Record, vol. III. p. 48, "John of Calais."

[13] In the original it is la Voria, which in Sicilian means "breeze," but I take it to be the same as Boria in Italian (Lat. Boreas -ae), the North Wind.

[14] Other Italian versions are: Nov. fior. p. 440; Archivio, III. 542 (Abruzzi); Pitre, No. 31; Tuscan Fairy Tales, No. 10, p. 102; De Nino, No. 69; and Widter-Wolf, No. 10 (Jahrbuch, VII. 139). See also Prato, Una nov. pop. monferrina, Como, 1882; and Finamore, Trad. pop. abruzzesi, Nos. 17, 19.

References to other European versions will be found in Koehler's notes to Widter-Wolf, No. 10. See also Grimm, No. 92; Ralston's R. F. T. p. 132, and Chap. I., note 11, of the present work.

[15] A work of this kind, similar in scope to Nisard's Hist. des Livres populaires, is greatly to be desired, and ought to be undertaken before the great changes in the social condition of Italy shall have rendered such a task difficult, if not impossible.

CHAPTER III.

STORIES OF ORIENTAL ORIGIN.

[1] There are three Italian translations of the Pantschatantra, all of the XVI. century. Two, Discorsi degli Animali, by Angelo Firenzuola, 1548, and La Filosofia Morale, by Doni, 1552, represent the Hebrew translation by Rabbi Joel (1250), from which they are derived through the Directorium humanae vitae of Johannes de Capua (1263-78); the third, Del Governo de' Regni, by G. Nuti, 1583, is from the Greek version of Simeon Seth (1080). A full account of the various translations of the Pantschatantra may be found in Max Mueller's Chips, Vol. IV. p. 165, "The Migration of Fables." See also Benfey, Pant. I. pp. 1-19, Buddhist Birth Stories; or, Jataka Tales, By V. Fausboell and T. W. Rhys Davids, Boston, 1880, p. xciii., and Landau, Die Quellen des Decamerone, mentioned in the following note.

The Seven Wise Masters was also translated into Italian at an early date. One version, Il Libro dei Sette Savj di Roma, Pisa, 1864, edited by Prof. A. D'Ancona, is a XIII. century translation from a French prose version (Cod. 7974, Bib. nat.); another, of the same date, Storia d' una crudele Matrigna, Bologna, 1862, is from an uncertain source, from which is probably derived a third version, Il Libro dei Sette Savi di Roma tratto da un codice del secolo XIV. per cura di Antonio Cappelli, Bologna, 1865. The MS. from which the version edited by Della Lucia in 1832 (reprinted at Bologna, 1862) was taken has been recently discovered and printed in Operette inedite o rare, Libreria Dante, Florence, 1883, No. 3. A fourth version of the end of the XIII. or the beginning of the XIV. century is still inedited, it is mentioned by D'Ancona in the Libro dei Sette Savj, p. xxviii., and its contents given. The latest and most curious version is I Compassionevoli Avvenimenti di Erasto, a work of the XVI. century (first edition, Venice, 1542) which contains four stories found in no other version of the Seven Wise Masters. The popularity of this version, the source of which is unknown, was great. See D'Ancona, op. cit., pp. xxxi.-xxxiv.

The Disciplina Clericalis was not known, apparently, in Italy as a collection, but the separate stories were known as early as Boccaccio, who borrowed the outlines of three of his stories from it (VII. 4; VIII. 10: X. 8). Three of the stories of the Disc. Cler. are also found in the Ital. trans. of Frate Jacopo da Cessole's book on Chess (Volgarizzamento del libro de' Costumi e degli offizii de' nobili sopra il giuoco degli Scachi, Milan, 1829) and reprinted in Libro di Novelle Antiche, Bologna, 1868, Novelle III., IV., and VI. This translation is of the XII. century. Other stories from the Disc. Cler. are found in the Cento nov. ant., Gualt., LIII., XXXI., LXVI., Borg., LXXIV. (Cent. nov., Biagi, pp. 226, 51, 58); and in Cintio, Gli Ecatommiti, I, 3; VII. 6.

[2] It has been generally supposed that the Oriental element was introduced into European literature from Spain through the medium of the French. We shall see later that this was the case with the famous collection of tales just mentioned, the Disciplina Clericalis. Oriental elements are also found in the French fabliaux which are supposed to have furnished Boccaccio with the plots of a number of his novels. See Landau, Die Quellen des Decamerone, 2d ed., Vienna, 1884, p. 107. Professor Bartoli in his I Precursori del Boccaccio e alcune delle sue Fonti, Florence, 1876, endeavors to show that Boccaccio may have taken the above mentioned novels from sources common to them and the French fabliaux. It is undeniable that there was in the Middle Ages an immense mass of stories common to the whole western world, and diffused by oral tradition as well as by literary means, and it is very unsafe to say that any one literary version is taken directly from another. Sufficient attention has not been paid to the large Oriental element in European entertaining literature prior to the Renaissance. In early Italian literature besides Boccaccio, the Cento novelle antiche abound in Oriental elements. See D'Ancona, Le Fonti del Novellino, in the Romania, vol. III. pp. 164-194, since republished in Studj di Critica e Storia Letteraria, Bologna, 1880, pp. 219-359.

[3] See Introduction, Notes 3, 7.

[4] In the Pantschatantra (Benfey's trans, vol. II. p. 120) this story is as follows: A merchant confides to a neighbor some iron scales or balances for safe-keeping. When he wishes them back he is told that the mice have eaten them up. The merchant is silent, and some time after asks his neighbor to lend him his son to aid him in bathing. After the bath the merchant shuts the boy up in a cave, and when the father asks where he is, is told that a falcon has carried him off. The neighbor exclaimed: "Thou liar, how can a falcon carry away a boy?" The merchant responded: "Thou veracious man! If a falcon cannot carry away a boy, neither can mice eat iron scales. Therefore give me back my scales if you desire your son." See also Benfey, Pant. I. p. 283. La Fontaine has used the same story for his fable of Le Depositaire infidele (livre IX. 1): see also references in Fables inedites, vol. II. p. 193.

[5] The fables in Pitre of non-Oriental origin may be mentioned here; they are: No. 271, "Brancaliuni," found also in Straparola, X. 2; No. 272, "The Two Mice," compare Aesop, ed. Furia, 198, and Schneller, No. 59; No. 274, "Wind, Water, and Honor," found in Straparola, XI. 2; No. 275, "Godfather Wolf and Godmother Fox"; No. 276, "The Lion, the Wolf, and the Fox," Aesop, ed. Furia, 233; No. 277, "The Fox," see Roman du Renart, Paris, 1828, I. p. 129, and Nov. tosc. No. 69; No. 278, "L'Acidduzzu (Pretty Little Bird)," compare Asbj. & Moe, No. 42, Bernoni, Punt. III. p. 69, "El Galo," Nerucci, Cincelle da Bambini, p. 38; No. 279, "The Wolf and the Finch," Gonz., No. 66, Nov. tosc. No. 52 (add to Koehler's references: Asbj. & M., Nos. 42, 102, [Dasent, Tales from the Fjeld, p. 35, "The Greedy Cat,"] and Bernoni, Punt. III. p. 69); and finally No. 280, "The Cricket and the Ants," see Aesop, ed. Furia, 121, La Fontaine, La Cigale et la Fourmi, livre I. 1: see copious references in Robert, Fables inedites, I. p. 2. For Bernoni, III. p. 69, "El Galo," and Pitre, No. 279, see Chap. V. pp. 270, 272.

There are two fables in Coronedi-Berti's collection: No. 20: "La Fola del Corov," and No. 21, "La Fola dla Voulp." The first is the well-known fable of the crow in the peacock's feathers; for copious references see Robert, Fables inedites, I. p. 247, to La Fontaine's Le Geai pare des plumes du Paon, livre IV, fab. IX., and Oesterley to Kirchhof's Wendunmuth, 7, 52. In the second fable the fox leaves her little ones at home, bidding them admit no one without a counter-sign. The wolf learns it from the simple little foxes themselves, gains admission, and eats two of them up. The mother takes her revenge in almost the same way as does the fox in Pitre's fable, No. 277.

[6] This fable is also found in Pitre, No. 273, "The Man, the Wolf, and the Fox," and in Gonz., No. 69, "Lion, Horse, and Fox:" see Benfey, Pant. I. 113, and Koehler's references to Gonz., No. 69.

There is also a version of this fable in Morosi, p. 75, which is as follows:—

XLIX. THE MAN, THE SERPENT, AND THE FOX.

There was once a huntsman, who, in passing a quarry, found a serpent under a large stone. The serpent asked the hunter to liberate him, but the latter said: "I will not free you, for you will eat me." The serpent replied: "Liberate me, for I will not eat you." When the hunter had set the serpent at liberty, the latter wanted to devour him, but the hunter said: "What are you doing? Did you not promise me that you would not eat me?" The serpent replied that hunger did not observe promises. The hunter then said: "If you have no right to eat me, will you do it?" "No," answered the serpent. "Let us go, then," said the hunter, "and ask three times." They went into the woods and found a greyhound, and asked him, and he replied: "I had a master, and I went hunting and caught hares, and when I carried them home my master had nothing too good to give me to eat; now, when I cannot overtake even a tortoise, because I am old, my master wishes to kill me; for this reason I condemn you to be eaten by the serpent; for he who does good finds evil." "Do you hear? We have one judge," said the serpent. They continued their journey, and found a horse, and asked him, and he too replied that the serpent was right to eat the man, "for," he said, "I had a master, who fed me when I could travel; now that I can do so no longer, he would like to hang me." The serpent said: "Behold, two judges!" They went on, and found a fox. The huntsman said: "Fox, you must aid me. Listen: I was passing a quarry, and found this serpent dying under a large stone, and he asked aid from me, and I released him, and now he wants to eat me." The fox answered: "I will be the judge. Let us return to the quarry, to see how the serpent was." They went there, and put the stone on the serpent, and the fox asked: "Is that the way you were?" "Yes," answered the serpent. "Very well, then, stay so always!" said the fox.

[7] The individual stories of the Thousand and One Nights were known in Europe long before the collection, which was not translated into French until 1704-1717. This is shown by the fact that some of the XIII. century fabliaux embody stories of the Thousand and One Nights. See Note 10. An interesting article by Mr. H. C. Coote on "Folk-Lore, the source of some of M. Galland's Tales," will be found in the Folk-Lore Record, vol. III. pp. 178-191.

[8] The Sicilian versions are in Pitre, No. 81. The version from Palermo, of which Pitre gives only a resume, is printed entire in F. Sabatini, La Lanterna, Nov. pop. sicil. Imola, 1878. The Roman version, "How Cajusse was married," is in Busk, p. 158; and the Mantuan in Visentini, No. 35. Tuscan versions may be found in the Rivista di Lett. pop. p. 267; De Nino, No. 5; and a version from Bergamo in the same periodical, p. 288. For the episode of the "Magician with no heart in his body," see Chap. I. note 12.

[9] See Pitre, No. 36, and Gonz., No. 5, with Koehler's copious references. As this story is found in Chap. I. p. 17, it is only mentioned here for the sake of completeness.

There is another complete version of "The Forty Thieves" in Nerucci, No. 54, Cicerchia, o i ventidua Ladri. The thieves are twenty-two, and cicerchia is the magic word that opens and shuts the robbers' cave. A version in Ortoli, p. 137, has seven thieves.

[10] Pitre, No. 164, "The Three Hunchbacks;" Straparola, V. 3. It is also found in the fabliau, Les Trois Bossus, Barbazan-Meon, III. 245; for copious references see Von der Hagen, Gesammtabenteuer, III. p. xxxv. et seq. Pitre, No. 165, "Fra Ghiniparu," is a variation of the above theme, and finds its counterpart in the fabliau of Le Sacristain de Cluni: see Gesammtabenteuer, ut sup. Other versions are in Finamore, Trad. pop. abruzzesi, No. 9, and Nov. tosc. No. 58.

[11] The story is, properly speaking, in the introduction to the Thousand and One Nights: see Lane, The Thousand and One Nights, London, 1865, I. 10. See Straparola, XII. 3, and Schmipf und Ernst von Johannes Pauli, herausgegeben von Hermann Oesterley (Bibliothek des litt. Vereins, LXXXV.), Stuttgart, 1866, No. 134, "Ein boesz weib tugenhaft zemachen."

[12] For the first story, see Thousand and One Nights (ed. Breslau), IX. 129; Pent. V. 7; Gonz., No. 45; Hahn, No. 47; and Grimm, No. 129. For the second, see Thousand and One Nights (ed. Breslau), II. 196; ed. Lane, III. 41.

[13] See Lane, I. 140, and, for the transformations, p. 156. This story is also in Straparola, VIII. 5. It is well known in the North of Europe from the Grimm tale (No. 68), "The Thief and his Master," To the references in Grimm, II. p. 431, may be added: Revue Celtique, I. 132, II.; Benfey, Pant. I. p. 410; Brueyre, 253; Ralston, R. F. T. 229; Asbj. & M., No. 57 [Dasent, Pop. Tales, No. XXXIX.] (comp. Nos. 9, 46 [Dasent, Pop. Tales, Nos. XXIII., IX.]); Hahn, No. 68; Bernhauer, Vierzig Viziere, p. 195; Orient und Occident, II. 313; III. 374; Grundtvig, I. 248; Juelg, Kalmuekische Maerchen, Einleitung, p. 1; and F. J. Child, English and Scottish Popular Ballads, Part II. p. 399, "The Twa Magicians."

[14] The principal sources of information in regard to the Disciplina Clericalis and its author are the two editions of Paris and Berlin: Disciplina Clericalis: auctore Petro Alphonsi, Ex-Judaeo Hispano, Parisiis, MDCCCXXIV. 2 vols. (Societe des Bibliophiles francais); Petri Alfonsi Disciplina Clericalis, zum ersten Mal herausgegeben mit Einleitung und Anmerkungen von Fr. Wilh. Val. Schmidt, Berlin, 1827. The first edition was edited by J. Labouderie, Vicar-general of Avignon, and as only two hundred and fifty copies were printed, it is now very scarce. Schmidt even had not seen it: and when he published his own edition, three years later, thought it the first. The Paris edition contains the best text, and has besides two Old-French translations, one in prose, the other in verse. The Berlin edition is, however, more valuable on account of the notes.

[15] This is the story shortly after mentioned, Pitre, No. 138, "The Treasure." The date of the Cento nov. ant. cannot be accurately fixed; the compilation was probably made at the end of the XIII. cent., although individual stories may be of an earlier date.

[16] See Disciplina Cler. ed. Schmidt, pp. 63 and 142. For copious references see Oesterley's Gesta Rom. cap. 106.

[17] There are several literary Italian versions of this story: one in Casalicchio, VI., I., VI.; and in Cintio, Ecatommiti, I. 3. There is another popular version in Imbriani's Nov. fior. p. 616, "The Three Friends."

[18] See Disc. Cler. ed. Schmidt, pp. 50 and 128. The version in the Cento nov. ant. ed. Gualt, No. 31, is as follows: Messer Azzolino had a story-teller, whom he made tell stories during the long winter nights. It happened one night that the story-teller had a great mind to sleep, and Azzolino asked him to tell stories. The story-teller began to relate a story about a peasant who had a hundred bezants. He went to market to buy sheep, and had two for a bezant. Returning home with his sheep, a river that he had crossed was greatly swollen by a heavy rain that had fallen. Standing on the bank he saw a poor fisherman with an exceedingly small boat, so small that it would only hold the peasant and one sheep at a time. Then the peasant began to cross with one sheep, and began to row: the river was wide. He rows and crosses. And the story-teller ceased relating. Azzolino said: "Go on." And the story-teller answered: "Let the sheep cross, and then I will tell the story." For the sheep would not be over in a year, so that meanwhile he could sleep at his leisure.

The story passed from the Disc. Cler. into the Spanish collection El Libro de los Enxemplos, No. 85. A similar story is also found in Grimm, No. 86, "The Fox and the Geese."

[19] The word translated bank (bancu) is here used to indicate a buried treasure. The most famous of these concealed treasures was that of Ddisisa, a hill containing caves, and whose summit is crowned by the ruins of an Arab castle. This treasure is mentioned also in Pitre, No. 230, "The Treasure of Ddisisa," where elaborate directions are given for finding it.

[20] See Pitre, vol. IV. p. 401, and Nov. fior. p. 572.

[21] See Disc. Cler. ed. Schmidt, pp. 64 and 147, where the story is as follows: A certain tailor to the king had, among others, an apprentice named Nedui. On one occasion the king's officers brought warm bread and honey, which the tailor and his apprentices ate without waiting for Nedui, who happened to be absent. When one of the officers asked why they did not wait for Nedui, the tailor answered that he did not like honey. When Nedui returned, and learned what had taken place, he determined to be revenged; and when he had a chance he told the officer who superintended the work done for the king that the tailor often went into a frenzy and beat or killed the bystanders. The officer said that if they could tell when the attack was coming on, they would bind him, so that he could not injure any one. Nedui said it was easy to tell; the first symptoms were the tailor's looking here and there, beating the ground with his hands, and getting up and seizing his seat. The next day Nedui securely hid his master's shears, and when the latter began to look for them, and feel about on the floor, and lift up his seat, the officer called in the guard and had the tailor bound, and, for fear he should beat any one, soundly thrashed. At last the poor tailor succeeded in obtaining an explanation; and when he asked Nedui: "When did you know me to be insane?" the latter responded: "When did you know me not to eat honey?" See also references in Kirchhof's Wendunmuth, I. 243.

[22] In the original the admonitions are in the form of a verse, as follows:—

"Primu: Cu' cancia la via vecchia pi la nova, Le guai ch' 'un circannu dda li trova. Secunnu: Vidi assai e parra pocu. Terzu: Pensa la cosa avanti chi la fai, Ca la cosa pinsata e bedda assai."



[23] See Disc. Cler. ed. Schmidt, pp. 61 and 141. This story is also found in the Gesta Romanorum, cap. 103; Gonz., No. 81, where copious references by Oesterley and Koehler may be found; in Nerucci, No. 53; and in a distorted version in Ortoli, p. 118: see also Giornale Napoletano della Domenica, August 20, 1882; Pitre, "I Tre Pareri," and Notes and Queries, London, February 7, March 14, 1885.

[24] See Note 1 of this chapter.

[25] In the original, what the husband, wife, and king, say, is in verse, as follows:—

"Vigna era e Vigna son, Amata era e piu non son; E non so per qual cagion, Che la Vigna a perso la so stagion."

"Vigna eri e Vigna sei, Amata eri e piu non sei: Per la branca del leon La Vigna a perso la so stagion."

"Ne la Vigna io son intrato, Di quei pampani n' o tocato; Ma lo guiro per la corona che porto in capo, Che de quel fruto no ghe n' o gustato."

This story is also found in Pitre, No. 76, "Lu Bracceri di manu manca" ("The Usher on the Left Hand," i. e., of the king, who also had one on his right hand); Pomiglianesi, No. 6, "Villa;" and, in the shape of a poetical dialogue, in Vigo, Raccolta amplissima di Canti popolari siciliani. Secunda ediz. Catania, 1870-1874, No. 5145.

The story is told of Pier delle Vigne by Jacopo d'Aqui (XIII. cent.) in his Chronicon imaginis mundi, and of the Marchese di Pescara by Brantome, Vie des Dames galantes. These versions will be found with copious references in Pitre and Imbriani as cited above: see also, Cantilene e Ballate, Strambotti e Madrigali nei Secoli XIII. e XIV., A cura di Giosue Carducci, Pisa, 1871, p. 26. The story is discussed in an exhaustive manner by S. Prato in the Romania, vol. XII. p. 535; XIV. p. 132, "L' Orma del Leone."

[26] For the Oriental versions see Essai sur les Fables indiennes, par A. Loiseleur Deslongchamps, Paris, 1838, p. 96; Das Buch von den sieben weisen Meistern, aus dem Hebraeischen und Griechischen zum ersten Male uebersetzt von H. Sengelmann, Halle, 1842, p. 40 (Mischle Sandabar), p. 87 (Syntipas), Tausend und Eine Nacht, Deutsch von Max Habicht, Von der Hagen und Schall, Breslau, 1836, vol. XV. p. 112 (Arabic); Li Romans des Sept Sages, nach der Pariser Handschrift herausgegeben von H. A. Keller, Tuebingen, 1836, p. cxxxviii.; Dyocletianus Leben, von Hans von Buehel, herausgegeben von A. Keller, Quedlinburg und Leipzig, 1841, p. 45. All students of this subject are acquainted with Domenico Comparetti's masterly essay Ricerche intorno al Libro di Sindibad, Milan, 1869, which has recently been made accessible to English readers in a version published by the English Folk-Lore Society in 1882. The Persian and Arabic texts may be consulted in an English translation, reprinted with valuable introduction and notes in the following work: The Book of Sindibad; or, The Story of the King, his Son, the Damsel, and the Seven Vazirs, From the Persian and Arabic, with Introduction, Notes, and an Appendix, by W. A. Clouston. Privately printed, 1884 [Glasgow], pp. xvii.-lvi.

[27] For the original version in the various forms of the Western Seven Wise Masters, see Loiseleur-Deslongchamps, p. 162; Keller, Romans, p. ccxxix., and Dyocletianus, p. 63; and D'Ancona, Il Libro dei Sette Savi di Roma, p. 121. To the references in D'Ancona may be added: Deux Redactions du Roman des Sept Sages, G. Paris, Paris, 1876, pp. 47, 162; Benfey, in Orient und Occident, III. 420; Romania, VI. p. 182; Melusine, p. 384; and Basque Legends, collected by Rev. W. Webster, London, 1879, pp. 136, 137.

[28] See Grimm, No. 33, "The Three Languages;" Hahn, No. 33; Basque Legends, p. 137; and Melusine, p. 300. There is a verbose version in the Fiabe Mantovane, No. 23, "Bobo."

[29] See Herodotus, with a commentary by J. W. Blakesley, London, 1854, I. p. 254, n. 343. For the literature of this story, and for various other Italian versions, see La Leggenda del Tesoro di Rampsinite, Stanislao Prato, Como, 1882; and Ralston's notes to Schiefner's Tibetan Tales, p. xlvii.

[30] For the story in the Seven Wise Masters, see D'Ancona, op. cit. p. 108; Loiseleur-Deslongchamps, p. 146; Keller, Romans, p. cxciii., and Dyoclet. p. 55.

Besides the popular versions in Italian, the story is also found in Bandello, I., XXV., who follows Herodotus closely.

[31] For the story in the Seven Wise Masters see D'Ancona, op. cit. p. 120; Loiseleur-Deslongchamps, p. 158; Keller, Romans, p. ccxxxvii., and Dyoclet. p. 61. Literary versions of this story are in Straparola, II. 11; Pecorone, II. 2; Malespini, 53; Bandello, I. 3; and Sercambi, XIII. See Pitre, IV. pp. 407, 442.

[32] The literature of this famous collection of tales will best be found in an article by Wilhelm Pertsch, "Ueber Nachschabi's Papagaienbuch" in the Zeitschrift der deutschen morgenlaendischen Gesellschaft, Bd. XXI. pp. 505-551. Prof. H. Brockhaus discovered that the eighth night of Nachschabi's version was nothing but a version of the Seven Wise Masters containing seven stories. Nachschabi, in preparing his work, used probably the oldest version of the Seven Wise Masters of which we have any knowledge. Professor Brockhaus made this discovery known in a brief pamphlet entitled: Die Sieben Weisen Meister von Nachschabi, Leipzig, 1843, of which only twelve copies were printed. The above, except the Persian text, was reprinted in the Blaett. fuer lit. Unterhaltung, 1843, Nos. 242, 243 (pp. 969 et seq.); and, in an Italian translation, in D'Ancona's Il Libro dei Sette Savi di Roma.

The Persian version of Qadiri (a compend of Nachschabi's) is the one most frequently translated. The German translation: Toutinameh. Eine Sammlung pers. Maerchen, von C. J. L. Iken, mit einem Anhange von J. G. L. Kosegarten, Stuttgart, 1822, is easily found. The Turkish version is elegantly translated by G. Rosen: Tuti-nameh, das Papagaienbuch, eine Sammlung orientalischer Erzaehlungen nach der tuerkischen Bearbeitung zum ersten Male uebersetzt von G. Rosen, Leipzig, 1858, 2 vols.

[33] The preservation of the frame of the Cukasaptati in Italian popular tales is only paralleled, to our knowledge, by the preservation of the Seven Wise Masters in a Magyar popular tale. See La Tradizione dei Sette Savi nelle Novelline magiare. Lettera al Prof. A. D'Ancona di E. Teza, Bologna, 1864.

It is possible that the Italian stories containing the frame of the Cukasaptati may have been developed from the story in the Seven Wise Masters which is found in both the Oriental and Occidental versions. The spirit of Folk-tales seems to us averse to expansion, and that condensation is the rule. We think it more likely that it was by way of oral tradition, or from some now lost collection of Oriental tales once known in Italy.

[34] It is in the work by Teza mentioned in the last note, p. 52.

[35] See Pitre, vol. I. p. 23. The three stories in one are called Donna Viulanti (Palermo) and Lu Frati e lu Soru (Salaparuta).

[36] See Chapter I. note 7.

[37] The Italian versions are: Pitre, No. 78, "Lu Zu Viritati" ("Uncle Truth"); Gonz., No. 8, "Bauer Wahrhaft" ("Farmer Truth"); XII. Conti Pomiglianesi, p. 1, "Giuseppe 'A Vereta" ("Truthful Joseph," the version translated by us); p. 6, another version from same place and with same name; and in Straparola, III. 5. References to Oriental sources maybe found in Koehler's notes to Gonz., No. 8, and Oesterley's notes to Gesta Rom. cap. 111.

* * * * *

In addition to the Oriental elements mentioned in the third chapter, Stanislao Prato has discovered the story of Nala in a popular tale from Pitigliano (Tuscany), see S. Prato, La Leggenda indiana di Nala in una novella popolare pitiglianese, Como, 1881. (Extracted from I Nuovi Goliardi.)

CHAPTER IV.

LEGENDS AND GHOST STORIES.

[1] It is the LXXV. novel of the Testo Gualteruzzi (Biagi, p. 108): Qui conta come Domeneddio s' accompagno con un giullare. The Lord once went in company with a jester. One day the former went to a funeral, and the latter to a marriage. The Lord called the dead to life again, and was richly rewarded. He gave the jester some of the money with which he bought a kid, roasted it and ate the kidneys himself. His companion asked where they were, and the jester answered that in that country the kids had none. The next time the Lord went to a wedding and the jester to a funeral, but he could not revive the dead, and was considered a deceiver, and condemned to the gallows. The Lord wished to know who ate the kidneys, but the other persisted in his former answer; but in spite of this the Lord raises the dead, and the jester is set at liberty. Then the Lord said he wished to dissolve their partnership, and made three piles of money, one for himself, another for the jester, and the third for the one who ate the kidneys. Then the jester said: "By my faith, now that you speak thus, I will tell you that I ate them; I am so old that I ought not to tell lies now." So some things are proved by money, which a man would not tell to escape from death. For the sources and imitations of this story see D'Ancona, Le Fonti del Novellino, in the Romania, No. 10, p. 180, (Studj, p. 333). To D'Ancona's references may be added the following: Grimm, 147, "The Old Man made young again"; Asbjornsen and Moe, No. 21 [Dasent, Pop. Tales, No. XIV.], Ny Samm. No. 101 [Dasent, Tales from the Fjeld, p. 94, "Peik"]; Ralston, R. F. T. p. 350; Simrock's Deutsche Maerchen, Nos. 31^b (p. 148), 32; Romania, No. 24, p. 578, "Le Foie de Mouton" (E. Cosquin, Contes pop. lorrains, No. 30); Brueyre, p. 330; and an Italian version, which is simply an amplification of the one in the Cento nov. ant., in the recently published Sessanta Nov. pop. montalesi, Nerucci, No. 31.

[2] See Jahrbuch, VII. pp. 28, 396. The professional pride of the smith finds a parallel in an Irish story in Kennedy, "How St. Eloi was punished for the sin of Pride." Before the saint became religious he was a goldsmith, but sometimes amused himself by shoeing horses, and boasted that he had never found his master in anything. One day a stranger stopped at his forge and asked permission to shoe his horse. Eloi consented, and was very much surprised to see the stranger break off the horse's leg at the shoulder, carry it into the smithy and shoe it. Then the stranger put on again the horse's leg, and asked Eloi if he knew any one who could do such a good piece of work. Eloi tries himself, and fails miserably. The stranger, who is Eloi's guardian angel, cures the horse, reproves the smith for his pride, and disappears. See Brueyre, p. 329, and Blade, Agenais, p. 61, and Koehler's notes, p. 157.

[3] Bernoni, Punt. I. p. 1, "I cinque brazzi de Tela." See Benfey, Pant. I. p. 497, where the same story (without the coarseness of the Italian version) is related of Buddha, who tells the hospitable woman that "what she begins shall not end until sunset." She begins to measure linen and it lengthens in her hands so that she continues to measure it all day. The envious neighbor receives the same gift, but before she begins to measure the linen, she thinks she will water the swine; the bucket does not become empty until evening, and the whole neighborhood is inundated. See Benfey's parallels, ut. sup. pp. 497-98, and Grimm, No. 87, notes.

[4] These four legends are in Pitre, Cinque Novelline popolari siciliane, Palermo, 1878. In the third story, "San Pietru e so cumpari," St. Peter gets something to eat from a stingy man by a play on the word mussu, "snout," and cu lu mussu, "to be angry." For a similar story see Pitre, III. 312. A parallel to the first of the above legends may be found in Finamore, No. 34, IV., where are also some other legends of St. Peter.

Since the above note was written, some similar legends have been published by Salomone Marino in the Archivio per lo Studio delle Tradizioni popolari, vol. II. p. 553. One "The Just suffers for the Sinner" ("Chianci lu giustu pri lu piccaturi") relates how St. Peter complained to our Lord that the innocent were punished with the guilty. Our Lord made no answer, but shortly after commanded St. Peter to pick up a piece of honey-comb filled with bees, and put it in the bosom of his dress. One of the bees stung him, and St. Peter in his anger killed them all, and when the Lord rebuked him, excused himself by saying: "How could I tell among so many bees which one stung me?" The Lord answered: "Am I wrong then, when I punish men likewise? Chianci lu giustu pri lu piccaturi."

Another legend relates the eagerness of St. Peter's sister to marry. Thrice she sent her brother to our Lord to ask his consent, and thrice the Lord, with characteristic patience, answered: "Tell her to do what she wishes."

A third legend explains why some are rich and some are poor in this world. Adam and Eve had twenty-four children, and one day the Lord passed by the house, and the parents concealed twelve of their children under a tub. The Lord, at the parents' request, blessed the twelve with riches and happiness. After he had departed, the parents realized what they had done, and called the Master back. When he heard that they had told him a falsehood about the number of their children, he replied that the blessing was bestowed and there was no help for it. "Oh!" said Adam in anguish, "what will become of them?" The Lord replied: "Let those who are not blessed serve the others, and let those who are blessed support them." "And this is why in the world half are rich and half are poor, and the latter serve the former, and the former support the latter."

The last of these legends which I shall mention is entitled: "All things are done for money." ("Tutti cosi su' fatti pri dinari.") There once died a poor beggar who had led a pious life, and was destined for paradise. When his soul arrived at the gate and knocked, St. Peter asked who he was and told him to wait. The poor soul waited two months behind the gate, but St. Peter did not open it for him. Meanwhile, a wealthy baron died and went, exceptionally, to paradise. His soul did not need even to knock, for the gate was thrown open, and St. Peter exclaimed: "Throw open the gate, let the baron pass! Come in Sir Baron, your servant, what an honor!" The soul of the beggar squeezed in, and said to himself: "The world is not the only one who worships money; in heaven itself there is this law, that all things are done for money."

[5] Pitre, No. 126, where other Sicilian versions are mentioned. A version from Siena is in T. Gradi, Proverbi e Modi di dire, p. 23, repeated in the same author's Saggio di Letture varie, p. 52, and followed by an article by Tommaseo, originally printed in the Institutore of Turin, in which Servian and Greek parallels are given. Besides the Venetian variant mentioned in the text, there are versions from Umbria and Piedmont cited by Pitre, a Tuscan one in Nov. tosc. No. 26, and one from the Tyrol in Schneller, No. 4. Pitre, in his notes to Nov. tosc. No. 26, mentions several other versions from Piedmont, Friuli, and Benevento. An exact version is also found in Corsica: see Ortoli, p. 235.

[6] This reminds one of the "Sabbath of the Damned:" see Douhet, Dictionnaire des Legendes, Paris, 1855, p. 1040.

[7] Pitre, in a note to this story, mentions several proverbial sayings in which Pilate's name occurs: "To wash one's hands of the matter like Pilate," and "To come into a thing like Pilate in the Creed," to express engaging in a matter unwillingly, or to indicate something that is mal a propos.

[8] Pitre, I. p. cxxxvii., and Pitre, Appunti di Botanica popolare siciliana, in the Rivista Europea, May, 1875, p. 441.

[9] Pitre, I. p. cxxxviii.

[10] This legend is mentioned in a popular Sicilian legend in verse, see Pitre, Canti pop. sic. II. p. 368, and is the subject of a chap-book, the title of which is given by Pitre, Fiabe, vol. IV. p. 397.

[11] Preghiere pop. veneziane raccolte da Dom. Giuseppe Bernoni, p. 18.

[12] Pitre, I. p. cxxxiii. For earlier appearances of the Wandering Jew in Italian literature, see A. D'Ancona, La Leggenda dell' Ebreo errante, Nuova Antologia, serie II. vol. XXIII. 1880, p. 425; Romania, vol. X. p. 212, Le Juif errant en Italia au XIII^e siecle, G. Paris and A. D'Ancona; vol. XII. p. 112, Encore le Juif errant en Italie, A. D'Ancona, and Giornale Storico, vol. III. p. 231, R. Renier, where an Italian text of the XVIII. cent. is printed for the first time. The myth of the Wandering Jew can best be studied in the following recent works: G. Paris, Le Juif Errant, Extrait de l'Encyclopedie des Sciences Religieuses, Paris, 1880; Dr. L. Neubaur, Die Sage vom ewigen Juden, Leipzig, 1884; P. Cassel, Ahasverus, die Sage vom ewigen Juden, Berlin, 1885. The name Buttadeu (Buttadaeus in the Latin texts of the XVII. cent.) has been explained in various ways. It is probably from the Ital. verb buttare, to thrust away, and dio, God.

[13] Crivoliu is a corruption of Gregoriu, Gregory, and the legend is, as Koehler says, a peculiar transformation of the well-known legend of "Gregory on the Stone." For the legend in general, see A. D'Ancona's Introduction to the Leggenda di Vergogna e la Leggenda di Giuda, Bologna, 1869, and F. Lippold, Ueber die Quelle des Gregorius Hartmann's von Aue, Leipzig, 1869, p. 50 et seq. See also Pitre's notes to No. 117. An example of this class of stories from Cyprus may be found in the Jahrb. XI. p. 357.

[14] See Koehler's notes to Gonz., No. 90, and Sacre Rappresentazioni dei Secoli XIV.-XVI. raccolte e illustrate di A. D'Ancona, Florence, 1872, III. p. 435. There is another legend of St. James of Galicia in Busk, p. 208, entitled "The Pilgrims." A husband and wife make the usual vow to St. James that if he will give them children they will make the pilgrimage to Santiago. When the children are fifteen and sixteen the parents start on the pilgrimage, taking with them the son, and leaving the daughter in charge of a priest, who wrote slanderous letters about her, whereupon the son returned suddenly, slew his sister, and threw her body in a ditch. A king's son happened to pass by, found the body, and discovered that it still contained life. He had her cured, and married her, and they afterwards became king and queen. While the king was once at war, the viceroy tempted the queen, and when she would not listen to him, killed her two children and slandered her to the king. The queen took the bodies of the children and wandered about until she met the Madonna, who took the children, and the queen went to Galicia. The king and viceroy also made a pilgrimage to the same place where the queen's parents had dwelt since the supposed death of their daughter. All met at the saint's shrine and forgave each other, and the Madonna restored the children alive and well.

There are two or three other stories in Pitre and Gonz. in which saints appear in the role of good fairies, aiding the hero when in trouble. One of these stories, "The Thankful Dead" (Gonz., No. 74), has already been mentioned in Chapter II. p. 131; two others may be briefly mentioned here. The first is Gonz., No. 74, "Of one who by the help of St. Joseph won the king's daughter." A king proclaims that he will give his daughter to any one who builds a ship that will go by land and water. The youngest of three brothers constructs such a vessel by the help of St. Joseph, after his two brothers have failed. The saint, who is not known to the youth, accompanies him on the voyage on the condition that he shall receive the half of everything that the youth receives. During the voyage they take on board a man who can fill a sack with mist, one who can tear up half a forest and carry the trees on his back, a man who can drink up half a river, one who can always hit what he shoots at, and one who walks with such long steps that when one foot is in Catania the other is in Messina. The king refuses to give his daughter to the youth in spite of the ship that goes by land and water. The youth, however, by the help of his wonderful servants and St. Joseph, fulfils all the king's requirements, and carries away the princess. When the youth returned home with his bride and treasures, St. Joseph called on him to fulfil his promise to him. The youth gives him half of his treasures, and even half of the crown he had won. The saint reminds him that the best of his possessions yet remains undivided,—his bride. The youth determines to keep his promise, draws his sword, and is about to cut his bride in two, when St. Joseph reveals himself, blesses the pair, and disappears.

This story is sometimes found as a version of the "Thankful Dead," see Chapter II. note 12. The second story is Pitre, No. 116, "St. Michael the Archangel and one of his devotees," of which there is a version in Gonz., No. 76, called, "The Story of Giuseppino." In the first version a child, Pippino, is sold by his parents to the king in order to obtain the means to duly celebrate the feast of St. Michael, to whom they were devoted. The child is brought up in the palace as the princess's playmate; but when he grows up the king is anxious to get rid of him, and so sends him on a voyage in an unseaworthy vessel. St. Michael appears to the lad, and tells him to load the ship with salt. They set sail, and the rotten ship is about to go to pieces, when the saint appears and changes the ship into a vessel all of gold. They sell the cargo to a king who has never tasted salt before, and return to their own country wealthy. The next voyage Pippino, by the saint's advice, takes a cargo of cats, which they sell to the king of a country overrun by mice. Pippino returns and marries the king's daughter. In the version in Gonz., Giuseppino is a king's son, who leaves his home to see the world, and becomes the stable-boy of the king whose daughter he marries. The three cargoes are: salt, cats, and uniforms. On the last voyage, Giuseppino captures a hostile fleet, and makes his prisoners put on the uniforms he has in his ship. With this army he returns, and compels the king to give him his daughter. St. Joseph acts the same part in this version as St. Michael in Pitre's.

The story of "Whittington and his Cat" will at once occur to the reader. See Pitre's notes to No. 116, and vol. IV. p. 395, and Koehler to Gonz., No. 76.

[15] Koehler has no note on this legend, and I have been unable to find in the list of saints any name of which Oniria or Neria may be a corruption.

[16] The references to this story will best be found in Pauli's Schimpf und Ernst, ed. Oesterley, No. 682, and in the same editor's notes to the Gesta Romanorum, cap. 80. To these may be added a story by De Trueba in his Narraciones populares, p. 65, entitled, "Las Dudas de San Pedro;" Luzel, Legendes Chretiennes, I. 282, II. 4; Fiore di Virtu, Naples, 1870, p. 68; Etienne de Bourbon, No. 396 (Anecdotes historiques, legendes et apologues tires du Receuil inedit d'Etienne de Bourbon), pub. pour la Societe de l'Hist. de France par A. Lecoy de la Marche, Paris, 1877.

Since the above was written, several important contributions to the literature of this story have been made. The first in point of time and importance is a paper by Gaston Paris in the Comptes Rendus of the Academie des Inscriptions et Belles Lettres, vol. VIII. pp. 427-449 (reprinted in La Poesie du Moyen Age, Lecons et Lectures par Gaston Paris, Paris, 1885). Next may be mentioned "The Literary History of Parnell's Hermit," by W. E. A. Axon, London, 1881 (reprinted from the Seventh Volume of the Third Series of Memoirs of the Manchester Literary and Philosophical Society, Session 1879-80). An Icelandic version is in Islendzk Aeventyri, Islaendische Legenden, Novellen und Maerchen, herausgegeben von Hugo Gering, Halle, 1884, vol. II. p. 247. The legend is clearly shown by Gaston Paris to be of Jewish origin.

[17] There is another version of this story in Gonz., No. 86, "Von dem frommen Kinde" ("The Pious Child"), Koehler in his notes cites Grimm's Children's Legends, No. 9, and Schneller, No. 1. In this last story a pious child is cruelly treated by his step-mother, and leaves his home to live in a convent. One day he notices in a corner a neglected crucifix covered with dust and cobwebs. He sees how thin the figure is, and at meal-time brings his food where the crucifix is and begins to feed the image, which opens its mouth and eats with appetite. As the image grows stouter the pious child grows thinner. The Superior learns one day the fact, and tells the child to ask the Lord to invite him and the Superior to his table. The next day both die suddenly after mass.

In a story in Gonz., No. 47, "Of the pious youth who went to Rome," the youth talks to the image on the crucifix in a familiar way, and receives information about questions put to him by various persons. The youth also dies suddenly at the end of the story.

[18] Pitre, No. 111. Another Sicilian version is in Gonz., No. 88, "The Story of Spadonia." Spadonia is the son of a king, who every day has bread baked and sent to the souls in purgatory by means of an ass sent for that purpose by the Lord. Spadonia becomes king, and sends one of his servants, Peppe, to see where the ass goes. Peppe crosses a river of clear water, one of milk, and one of blood. Then he sees the thin oxen in a rich pasture, and the reverse; in addition he beholds a forest with small and large trees together, and a handsome youth cutting down now a large tree, now a small one, with a single stroke of a bright axe. Then he passed through a door with the ass, and sees St. Joseph, and St. Peter, and all the saints, and among them God the Father. Farther on Peppe sees many saints, and among them the parents of Spadonia. Finally Peppe comes where the Saviour and his Mother are on a throne. The Lord says to him that Spadonia must marry a maiden named Secula, and open an inn, in which any one may eat and lodge without cost. The Lord then explains what Peppe has seen. The river of water is the good deeds of men which aid and refresh the poor souls in purgatory; the river of milk is that with which Christ was nourished; and the river of blood that shed for sinners. The thin cattle are the usurers, the fat, the poor who trust in God, the youth felling the trees is Death.

Peppe returns and tells his master all he had seen, and Spadonia wanders forth in search of a maiden called Secula. He finds at last a poor girl so called, and marries her, and opens an inn as he had been directed. After a time the Lord and his Apostles visit the inn, and the king and his wife wait on them, and treat them with the utmost consideration. The next day after they had departed Spadonia and his wife find out who their guests were, and hasten after them in spite of a heavy storm. When they overtake the Lord they ask pardon for their sins, and eternal happiness for all belonging to them. The Lord grants their request, and tells them to be prepared at Christmas, when he will come for them. They return home, give all their property to the poor, and at Christmas they confess, take communion, and die peacefully near each other, together with Secula's old parents.

This curious legend has no parallels in Italy out of Sicily. It is, however, found in the rest of Europe, the best parallel being L'Homme aux dents rouges, in Blade, Agenais, p. 52. Koehler cites Blade, Contes et proverbes pop. rec. en Armagnac, p. 59, and Asbjornsen, No. 62 [Dasent, Tales from the Fjeld, p. 160, "Friends in Life and Death"]. To these may be added the story in Schneller, p. 215, and the references given by Koehler in his notes to Gonz., No. 88.

[19] See Champfleury, De la litterature populaire en France. Recherches sur les origines et les variations de la legende du bonhomme Misere, Paris, 1861. It contains a reprint of the oldest yet known edition of the chap-book, that of 1719. The most valuable references to the legend in general will be found (besides the above work, and Grimm's notes to Nos. 81, 82) in the Jahrb. V. pp. 4, 23; VII. 128, 268; and in Pitre's notes, vol. III. p. 63, and IV. pp. 398, 439. All the Italian versions are mentioned in the text or following notes. To the stories from the various parts of Europe mentioned in the articles above cited, may be added Webster, Basque Legends, pp. 195, 199. Since this note was written another Tuscan version has been published by Pitre in his Nov. tosc. No. 28, who cites in his notes: Ortoli, p. 1, Sec. 1, No. XXII. (Corsica); and two literary versions in Cintio de' Fabritii, Venice, 1726, Origine de' volgari proverbi, and Domenico Batacchi in his Novelle galanti: La Vita e la Morte di Prete Ulivo.

[20] See Pitre, No. 125.

[21] See Busk, p. 178.

[22] See Busk, p. 183.

[23] Novelline di Sto. Stefano, No. XXXII. A version from Monferrato is found in Comparetti, No. 34, entitled, "La Morte Burlata" ("Death Mocked"), in which a schoolmaster, who is a magician, tells one of his scholars that he will grant him every day any favor he may ask. The first day the scholar asks that any one who climbs his pear-tree must remain there; the second day he asks that whoever approaches his fireplace to warm himself must stay there; and finally he asks to win always with a pack of cards that he has. When the possessor of these favors has lived a hundred years Death comes for him, but is made to climb the tree, and is forced to grant the owner another hundred years of life. The fireplace procures another respite, and then the man dies and goes to paradise; but the Lord will not admit him, for he had not asked for mercy. Hell will not receive him, for he had been a good man; so he goes to the gate of purgatory and begins playing cards, with souls for stakes, and wins enough to form a regiment. Then he goes to paradise, and the Lord tells him he can enter alone. But he persists in going in with all those who are attached to him; so all the souls enter too.

[24] Novelline di Sto. Stefano, No. 33. A similar story, told in greater detail, is in Schneller, No. 17, "Der Stoepselwirth" ("The Tapster"). A generous host ruins himself by his hospitality, and borrows money of the Devil for seven years; if he cannot repay it his soul is to belong to the lender. The host continues his liberality, and at the end of seven years is poorer than before. The Lord, St. Peter, and St. John come to the tavern and tell the landlord to ask three favors. He asks that whoever climbs his fig-tree may remain there; whoever sits on his sofa must stay there; and finally, whoever puts his hands in a certain chest must keep them there. The Devil first sends his eldest son after the money. The host sends him up the fig-tree, and then gives him a sound beating. Then the Devil sends his second son, whom the landlord invites to sit on his sofa, and gives him a sound thrashing too. Finally the Devil himself comes, and the host tells him to get his money himself out of the chest. The Devil sticks fast, and is set free only on condition of renouncing all claims to the landlord's soul.

The conclusion of the story is like that of "Beppo Pipetta."

There is another story about a bargain with the Devil in the Novelline di Sto. Stefano, No. 35, "Le Donne ne sanno un punto piu del diavolo" ("Women know a point more than the Devil"). A fowler sells his soul to the Devil for twelve years of life and plenty of birds. When the time is nearly up the fowler's wife persuades him to alter his bargain with the Devil a little. The latter is to give up his claim if the former can find a bird unknown to the Devil. The Devil consents, and comes the last day and recognizes easily every bird, until finally the fowler's wife, disguised with tar and feathers, comes out of a case and frightens the fowler and the Devil so that he runs away.

The mysterious bird recalls the one in Grimm, No. 46, "Fitcher's Bird."

[25] Jahrbuch, VII. 121. The wonderful sack occurs in another Venetian story, Widter-Wolf, No. 14, "Der Hoellenpfoertner" ("The Porter of Hell"). The gifts are: a gun that never misses, a violin that makes every one dance, and a sack into which every one must spring when commanded by the owner. See Koehler's notes to this story, Jahrb. VII. 268. A Corsican version is in Ortoli, p. 155. The episode of the Devil beaten in the sack is also found in Comparetti, No. 49, "Il Ramaio." A wandering smith gives alms to St. Peter and the Lord, and receives in return a pouch like the above. When the Devil comes to fetch him he wishes him in his sack, and gives him a good pounding. When the smith dies he gets into paradise by throwing his bag inside and wishing himself in it.

There are two other stories in which the Devil gets worsted: they are Gianandrea, No. VI, "Quattordici" ("Fourteen"), and Fiabe Mantovane, No. II, "Pacchione" In these stories a cunning person is sent to the Devil to bring back a load of gold. The cunning person takes a long pair of tongs, catches the Devil by the nose, loads his horse, and returns in safety.

The first part of the story of "Quattordici" is found in the Basque Legend of "Fourteen:" see Webster, p. 195.

[26] Another Venetian version is in Widter-Wolf, No. 3, "Der Gevatter Tod" ("Godfather Death"). There are also two Sicilian versions: Pitre, No. 109, "La Morti e so figghiozzu" ("Death and her Godson"); and Gonz., No. 19, "Gevatter Tod," which do not differ materially from the version given in our text. References to European parallels may be found in Koehler's notes to Widter-Wolf, No. 3, Jahrb. VII. p. 19; to Gonz., No. 19, and in Grimm's notes to No. 44.

[27] Widter-Wolf, No. 16, "Der standhafter Buesser" ("The Constant Penitent"), Jahrb. VII. p. 273. For parallels, see Koehler's article, Die Legende von dem Ritter in der Capelle, Jahrb. VI. p. 326.

[28] Bernoni, Legg. fant. p. 3. The translation in text, as well as that of the two following stories, I have taken from The Cornhill Magazine, July, 1875, "Venetian Popular Legends," p. 86.

Another story illustrating the same point is found in Pitre, No. 110, Li Cumpari di S. Giuvanni, which is translated as follows by Ralston in Fraser's Magazine, April, 1876, "Sicilian Fairy Tales," p. 424.

LXXII. THE GOSSIPS OF ST. JOHN.

Once upon a time there lived a husband and wife, and they were both bound in gossipry with a certain man. The husband got arrested, and was taken away to prison. Now the gossip was very fond of his cummer, and used often to go and visit her. One day she said to him: "Gossip, shall we go and see my husband?" "Gnursi, cummari" ("Certainly, cummer"), said her gossip; so off they went. On the way they bought a large melon—for it was the melon season—to take to the poor prisoner. We are but flesh and blood! The gossip and his cummer sinned against St. John. In short, they brought things to a pretty pass. St. John wasn't going to let that pass unpunished. When they had come to the prison and had visited the prisoner, before going away they wanted to make a present to the jailer; so they gave him the melon. He cut it open before their eyes. Horror of horrors! When the melon was cut open, there was found in the middle of it a head! Now this was the head of St. John, which had slipped itself in there for the purpose of bringing home their sin to the minds of the gossips. The matter immediately came to the ears of justice, and they were arrested. They confessed the wrong they had done. The husband was set at liberty, and the gossip and his cummer were sent to the gallows.

* * * * *

In regard to Saint John and the relationship of godfather, see Pitre's note in vol. I. p. 73.

[29] Bernoni, p. 7; Cornhill Magazine, p. 88.

[30] Bernoni, p. 17; Cornhill Magazine, p. 89.

[31] Bernoni, p. 19. There are prose versions of the closely related story of Don Juan in Busk, p. 202, "Don Giovanni," and in Nov. tosc. No. 21, "Don Giovanni." There are poetical versions of this legend in G. Ferraro, Canti popolari raccolti a Pontelagoscuro, No. 19; "La Testa di Morto," in Rivista di Filologia Romanza, vol. II. p. 204; Ive, Canti pop. istriani, Turin, 1877, cap. xxv. No. 6, "Lionzo;" Salomone-Marino, Leggende pop. sicil. XXVII. "Lionziu."

[32] Pitre, No. 128. The version in the text is Ralston's condensation, taken from Fraser's Magazine, p. 433. As Pitre notes, there is some slight resemblance between this story and that of "Cattarinetta" in Schneller, No. 5, which has a close parallel in Bernoni, Trad. pop. venez. Punt. III. p. 76, "Nono Cocon" and one not so close in Papanti, Nov. pop. livor, No. 1, "La Mencherina," p. 7. There is a close parallel to the Sicilian story in a Tuscan tale, "La Gamba" ("The Leg"), in Novelline pop. toscane, pubb. da G. Pitre, p. 12. In a note Pitre mentions a variant from Pratovecchio in which the leg is of gold. He also gives copious references to versions from all parts of Europe. The English reader will recall at once Halliwell's story of "Teeny-Tiny" (Nursery Tales, p. 25). To the above references may be added: "Le Pendu" in Cosquin, Contes pop. lorrains, No. 41, in Romania, No. 28, p. 580. Since the above note was written, another Tuscan version has been published by Pitre, Nov. tosc. No. 19.

[33] Pitre, No. 203. The parallels to this story may best be found in J. Grimm's Kleinere Schriften, III. p. 414, Der Traum von dem Schatz auf der Bruecke. To Grimm's references may be added: Graesse, Sagenschatz Sachsen's, No. 587; Wolf, Hesseche Sagen, No. 47; Kuhn, Westfalische Sagen, No. 169; and Vierzig Veziere, p. 270.

CHAPTER V.

NURSERY TALES.

[1] The verse in this story is given somewhat differently by Bolza, Canzoni pop. Comasche, Vienna, 1866, Note 9:—

"La storia de Sior Intento, Che dura molto tempo, Che mai no se destriga; Vole che ve la diga?"

The story of Mr. Attentive, which lasts a long time, which is never explained, do you wish me to tell it?

There are in Bernoni, Punt. II. pp. 53, 54, two or three other rhymes of this class that may be given here.

ONCE UPON A TIME.

Once upon a time—that I remember—into a blind-man's eye—a fly went—and I thought—that it was a quail—wretched blind-man—go away from here!

ONE AND ANOTHER.

Fiaba, aba—Questa xe una—Muro e malta—Questa xe un' altra, Story, ory—This is one—Wall and mud—This is another.

"A long one and a short one, Do you wish me to tell you a long one? This is the finger and this is the nail. Do you wish me to tell you a short one? This is the finger and this the end of it."

[2] Pitre, No. 141. In the notes to this story are given some more of this class.

"Once upon a time there was a page who drew three carts: one of wine, one of bread, and one of relishes.... And once upon a time there was a page."

Some poetical versions are given in the same place from various parts of Italy.

"Once upon a time, An old man and an old woman Were on top of a mountain... Be quiet, for I am going to tell you it."

—Naples.

"Once upon a time there was a man Behind the church With a basket on his back... But be still if I am to tell you it!"

—Milan, Nov. fior. p. 570.

Some more rhymes of this class may be found in Papanti, Nov. pop. livor, p. 17: "Once upon a time there was a man, whose name was Boccabella, who skinned his wife to make a skirt; and skinned his children to make some towels."

"Once upon a time there was a man, A woman, and a little bottle... Listen to this!"

"Once upon a time there was a king Who ate more than you; He ate bread and cheese, Pull, pull this nose."

Here the speaker pulls the child's nose.

"Once upon a time there was a rich poor man Who had seven daughters to marry: On one hand there came a felon, And on the other seven blisters."

[3] Rivista di Letteratura popolare, vol. I. p. 161 (1878). "Una Variante toscana della Novella del Petit Poucet." Versions from the Marches, the Abruzzi, and Tuscany may now be found in Giornale di Filologia romanza, II. p. 23; Finamore, Tradizioni popolari abruzzesi, 1882, No. 47, p. 233; and Nov. tosc. No. 42.

[4] The myth of "Tom Thumb" has been thoroughly examined in an admirable monograph: Le Petit Poucet et la Grande Ourse par Gaston Paris, Paris, 1875. The author says in conclusion (p. 52): "Si nous cherchons enfin quels sont les peuples qui nous offrent soit ce conte, soit cette denomination, nous voyons qu'ils comprennent essentiellement les peuples slaves (lithuanien, esclavon) et germaniques (allemand, danois, suedois, anglais). Les contes des Albanais, des Roumains et des Grecs modernes sont sans doute empruntes aux Slaves, comme une tres-grande partie de la mythologie populaire de ces nations. Le nom wallon et le conte forezien nous montrent en France (ainsi que le titre du conte de Perrault) la legende de Poucet: mais elle a pu fort bien, comme tant d'autres recits semblables, y etre apportee par les Germains. Ni en Italie, ni en Espagne, ni dans les pays celtiques je n'ai trouve trace du conte ou du nom." This latter statement must now, of course, be modified. To the references in Paris' book may be added: Romania, No. 32, p. 59 (Cosquin, No. 53), and Koehler in Zeit. f. rom. Phil. III. p. 617.

The transformation of the chick-peas into children has a parallel in the Greek story of "Pepper-Corn" shortly to be mentioned.

[5] The discussion of this point may best be found in the following works: Halliwell's Nursery Rhymes of England (Percy Soc. IV.), London, 1842, pp. 2, 159; Romania, I. p. 218; and Un Canto popolare piemontese e un Canto religioso popolare israelitico. Note e confronti di Cesare Foa, Padova, 1879. The references to the other European versions of this story may be found in Romania, No. 28, p. 546 (Cosquin, No. 34), and Koehler in Zeit. f. rom. Phil. III. 156.

[6] Halliwell's Nursery Rhymes, p. 160.

[7] There is a poetical version of this story in Vigo, Raccolta amplissima di Canti pop. sicil. 2^{da} ediz. Catania, 1870-1874, No. 4251, beginning:—

"Susi, Bittudda Va scupa la casa. —Signura, non pozzu Mi doli lu cozzu," etc.

The ending, however, is incomplete.

[8] Imbriani, Pomiglianesi, p. 232, "Micco."

[9] The version from Siena is in Saggio di Letture varie per i Giovani di T. Gradi, Torino, 1865, p. 175, "La Novella di Petuzzo;" the Tuscan (Florence) version is in Imbriani, Nov. fior. p. 548, "Petruzzo." Another Tuscan version may be found in Nerucci, Cincelle da Bambini, No. 7; and one from Apulia in Archivio, III. p. 69.

[10] Bernoni, Punt. III. p. 72, "Petin-Petele."

[11] The first part of this story is found also in a Tuscan version given by Corazzini in his Componimenti minori, p. 412, "Il Cecio" ("The Chick-pea"). The chick-pea is swallowed by a cock, that is eaten by a pig, that is killed by a calf, that is killed and cooked by an innkeeper's wife for her sick daughter, who recovers, and is given in marriage to the owner of the chick-pea.

The sexton's doubt as to how he shall invest the money he has found is a frequent trait in Italian stories, and is found in several mentioned in this chapter. See notes in Papanti, Nov. pop. livor. p. 29. Copious references to this class of stories may be found in the Romania, Nos. 24, p. 576, and 28, p. 548; Koehler in Zeitschrift fuer rom. Phil. II. 351; Grimm, No. 80; Orient und Occident, II. 123; Blade, Agenais, No. 5; Melusine, 148, 218, 426; and Brueyre, p. 376. See also Halliwell, p. 33, "The Cat and the Mouse."

[12] This version is a variant of a story in the same collection, p. 236, which cannot well be translated, as it is mostly in rhyme. There is another version from Montella in the Principato Ulteriore, p. 241, "Lo Haddro e lo Sorece" ("The Cock and the Mouse"), which has a satirical ending. The beginning is like that of the other versions: the cock and the mouse go to gather pears; one falls and wounds the mouse's head. The mouse goes to the physician, who demands rags, the ragman asks for the tail of the dog. The dog demands bread, the baker wood, the mountain an axe; the iron-monger says: "Go to the galantuomo (gentleman, wealthy person), get some money, and I will give you the axe." The mouse goes to the galantuomo, who says: "Sit down and write, and then I will give you the money." So the mouse begins to write for the galantuomo, but his head swells and he dies. A similar story is found in Corsica, see Ortoli, p. 237.

[13] It remains to mention two poetical versions: one in Corazzini, from Verona, op. cit. p. 139, which begins:—

"Cos' e questo? La camera del Vesco. Cos' e dentro? Pan e vin," etc.

"What is this? The bishop's chamber. What is in it? Bread and wine. Where is my share? The cat has eaten it. Where is the cat? The stick has beaten him. Where is the stick? The fire has burned it. Where is the fire? The water has quenched it. Where is the water? The ox has drunk it. Where is the ox? Out in the fields. Who is behind there? My friend Matthew. What has he in his hand? A piece of bread. What has he on his feet? A pair of torn shoes. What has he on his back? A whale. What has he in his belly? A balance. What has he on his head? A cap upside down."

The choice of objects is determined by the rhyme, e. g.:—

"Cosa g'alo in schena? Na balena. Cosa g'alo in panza? Una balanza."

The second poetical version is from Turin, and is given by Foa, op. cit. p. 5. It begins:—

1. "A j'era' na crava C' a pasturava, A m' a rout 'l bout Oh 'l bon vin c'a j'era' nt 'l me bout L' e la crava c' a' m l' a rout!

2. "A j'e riva-ie l' luv L' a mangia la crava C' a pasturava C' a m' ha rout 'l bout," etc. (ut supra.)

The following is a literal prose translation of this curious version.

"There was a goat that was feeding, it has broken my bottle. Oh, the good wine that was in my bottle, it is the goat that has broken it! Then came the wolf that ate the goat that was feeding, that broke my bottle, etc. Then came the dog, that barked at the wolf, that ate the goat, etc. Then came the stick that beat the dog, that barked at the wolf, etc. Then came the fire that burned the stick, that beat the dog, etc. Then came the water that quenched the fire, that burned the stick, etc. Then came the ox, that drank the water, that quenched the fire, etc. Then came the butcher that killed the ox, that drank the water, etc. Then came the hangman that hung the butcher, that killed the ox, etc. Then came death, and carried away the hangman, that hung the butcher, etc. Then came the wind, that carried away death, that carried away the hangman," etc.

A variant of this song reminds one more closely of the prose versions.

"Then came the hangman that hung the butcher, etc. Then came the rat that gnawed the cord, that hung the butcher, etc. Then came the cat that ate the rat, that gnawed the cord, etc. Then came the dog that caught the cat, that ate the rat, that gnawed the cord," etc.

The above Italian version, it will be clearly seen, is only a popular rendition of the Jewish hymn in the Sepher Haggadah. Foa, in the work above cited, gives another version from Orio Canarese, and also a number of Italian versions of the "Song of the Kid." His conclusion is the same as that of Gaston Paris in the Romania, I. p. 224, that the "Song of the Kid" is not of Jewish origin, but was introduced into the Haggadah from the popular song or story.

[14] A version of this story is found in Morosi's Studi sui Dialetti greci, Lecce, 1870.

LXXXIX. THE GOAT AND THE FOX.

Once upon a time a goat entered the den of the fox while the latter was absent. At night the fox returned home, and finding the goat fled because frightened by the horns. A wolf passed by, and was also terrified. Then came a hedgehog and entered the den, and pricked the goat with its quills. The goat came out, and the wolf killed it, and the fox ate it.

[15] Grimm, No. 30. Another version from the North of Europe is in Asbjornsen, No. 103 [Dasent, Tales from the Fjeld, p. 30, "The Death of Chanticleer"]. Several French versions may be found in the Romania, No. 22, p. 244, and Melusine, p. 424. There is a Spanish version in Caballero's Cuentos, etc., Leipzig, 1878, p. 3, "La Hormiguita" ("The Little Ant"). There is a curious version in Hahn's Griechische und Albanesische Maerchen, Leipzig, 1864, No. 56, "Pepper-Corn." The story is from Smyrna, and is as follows:—

PEPPER-CORN.

Once upon a time there was an old man and an old woman who had no children; and one day the old woman went into the fields and picked a basket of beans. When she had finished, she looked into the basket and said: "I wish all the beans were little children." Scarcely had she uttered these words when a whole crowd of little children sprang out of the basket and danced about her. Such a family seemed too large for the old woman, so she said: "I wish you would all become beans again." Immediately the children climbed back into the basket and became beans again, all except one little boy, whom the old woman took home with her.

He was so small that everybody called him little Pepper-Corn, and so good and charming that everybody loved him.

One day the old woman was cooking her soup and little Pepper-Corn climbed up on the kettle and looked in to see what was cooking, but he slipped and fell into the boiling broth and was scalded to death. The old woman did not notice until meal-time that he was missing, and looked in vain for him everywhere to call him to dinner.

At last they sat down to the table without little Pepper-Corn, and when they poured the soup out of the kettle into the dish the body of little Pepper-Corn floated on top.

Then the old man and the old woman began to mourn and cry: "Dear Pepper-Corn is dead, dear Pepper-Corn is dead."

When the dove heard it she tore out her feathers, and cried: "Dear Pepper-Corn is dead. The old man and the old woman are mourning."

When the apple-tree saw that the dove tore out her feathers it asked her why she did so, and when it learned the reason it shook off all its apples.

In like manner, the well near by poured out all its water, the queen's maid broke her pitcher, the queen broke her arm, and the king threw his crown on the ground so that it broke into a thousand pieces; and when his people asked him what the matter was, he answered: "Dear Pepper-Corn is dead, the old man and the old woman mourn, the dove has torn out her feathers, the apple-tree has shaken off all its apples, the well has poured out all its water, the maid has broken her pitcher, the queen has broken her arm, and I, the king, have lost my crown; dear Pepper-Corn is dead."

* * * * *

See also Benfey, Pant. I. p. 191. There is also a version in Morosi, op. cit., given by Imbriani in Pomiglianesi, p. 268; and mention is made of one from the Abruzzi in Finamore, Trad. pop. abruzzesi, p. 244.

[16] In addition to the versions mentioned in the text, Imbriani (Pomiglianesi, pp. 250, 252) gives two versions from Lecco.

The following version is found in Morosi, p. 73.

XC. THE ANT AND THE MOUSE.

There was once an ant who, while sweeping her house one day, found three quattrini, and began to say: "What shall I buy? What shall I buy? Shall I buy meat? No, because meat has bones, and I should choke. Shall I buy fish? No, for fish has bones, and I should be scratched." After she had mentioned many other things, she concluded to buy a red ribbon. She put it on, and sat in the window. An ox passed by and said: "How pretty you are! do you want me for your husband?" She said: "Sing, so that I may hear your voice." The ox with great pride raised his voice. After the ant had heard it, she said: "No, no, you frighten me."

A dog passed by, and the same happened to him as to the ox. After many animals had passed, a little mouse went by and said: "How pretty you are! do you want me for your husband?" She said: "Let me hear you sing." The mouse sang, and went, pi, pi, pi! His voice pleased the ant, and she took him for her husband.

Sunday came, and while the ant was with her friends, the mouse said: "My dear little ant, I am going to see whether the meat that you have put on the fire is done." He went, and when he smelled the odor of the meat, he wanted to take a little; he put in one paw and burned it; he put in the other, and burned that too; he stuck in his nose, and the smoke drew him into the pot, and the poor little mouse was all burned. The ant waited for him to eat. She waited two, she waited three hours, the mouse did not come. When she could wait no longer, she put the dinner on the table. But when she took out the meat, out came the mouse dead. When she saw him the ant began to weep, and all her friends; and the ant remained a widow, because he who is a mouse must be a glutton. If you don't believe it, go to her house and you will see her.

[17] Other Italian versions are: Pitre, No. 136, "Li Vecchi" ("The Old Folks"); and Nov. fior. p. 567, "The Story of Signor Donato."

[18] There are two versions of this story in Pitre, No. 139, and notes. They differ but little from the one we have translated. An Istrian version is in Ive, Fiabe pop. rovignesi, 1878, No. 4, "I tri fardai" and a Corsican one in Ortoli, p. 278.

[19] Other Italian versions are: Coronedi-Berti, p. 49, "La Fola d' Zanninein;" and Bernoni, Trad. pop. p. 79, "Rosseto."

[20] There is another Italian version in Fiabe Mantovane, No. 31, "The Wolf." The only parallel I can find to this story out of Italy is a negro story in Lippincott's Magazine, December, 1877, "Folk-Lore of the Southern Negroes," p. 753, "Tiny Pig." Allusion is made to the Anglo-Saxon story of the "Three Blue Pigs," but I have been unable to find it.

[21] A Sicilian version is in Pitre, No. 278, "L'Acidduzzu" ("Little Bird"), and one from Tuscany in Nerucci, Cincelle da Bambini, No. 12.

[22] Koehler, in his notes to this story, gives parallels from various parts of Europe. To these may be added Asbjornsen and Moe, Nos. 42, 102 [Dasent, Tales from the Fjeld, p. 35, "The Greedy Cat"]. Comp. Halliwell, p. 29, "The story of Chicken-licken." A French version is in the Romania, No. 32, p. 554 (Cosquin, No. 45), where copious references to this class of stories may be found. Add to these those by Koehler in Zeitschrift fuer rom. Phil. III. p. 617.

CHAPTER VI.

STORIES AND JESTS.

[1] A well-known literary version of this story is Sachetti, Nov. IV. Copious references to this popular story will be found in Oesterley's notes to Pauli's Schimpf und Ernst, No. 55; see also Pitre, IV. pp. 392, 437. The entire literature of the subject is summed up in a masterly manner by Professor F. J. Child in English and Scottish Popular Ballads, Part II. p. 403.

[2] There is a version from Siena in Gradi, Saggio di Letture varie, p. 179, "Tea, Tecla e Teopista;" and from Rome in Busk, pp. 357, 367. References to other European versions of this story may be found in Grimm, Nos. 34, 104; Schneller, No. 56, "Die naerrischen Weiber;" Zingerle, Maerchen, I. No. 14; Dasent's Tales from the Norse, p. 191, "Not a Pin to choose between Them" (Asbj. & M., No. 10); Ralston, R. F. T. pp. 52-54; Jahrbuch, V. 3, Koehler to Cenac Moncaut's Contes pop. de la Gascogne, p. 32, "Maitre Jean l'habile Homme;" Orient und Occident, II. p. 319; Koehler to Campbell, No. 20, "The Three Wise Men," p. 686, to No. 48, "Sgire Mo Chealag."

[3] This story is sometimes found as one of the episodes of the last tale, as for example in Schneller, No. 56. Imbriani, Pomiglianesi, p. 227, cites as parallels: Coronedi-Berti, XII. "La fola dla Patalocca;" Beroaldo di Verville, Le Moyen de Parvenir, LXXVIII.; and a story in La Civilta italiana, 1865, No. 13. See also Romania, VI. p. 551 (E. Cosquin, Contes pop. lorrains, No. 22), and Jahrb. VIII. 267, Koehler to the above cited story in the Civilta ital. from Calabria. It is also the story of "The Miser and his Wife" in Halliwell, p. 31.

[4] There is a literary version in Straparola, VIII. 1. Other literary versions are cited in Pitre, IV. p. 443.

[5] Pitre, No. 257, where references to other Italian versions may be found. See also Pitre, IV. pp. 412 and 447; and Koehler's notes to Blade, Contes pop. recueillis en Agenais, p. 155, for other European versions. Additional references may be found in Oesterley's notes to Pauli's Schimpf und Ernst, No. 595. A similar story is in Pitre's Nov. tosc. No. 67.

[6] Pitre, No. 180. A literary version is in Straparola, VIII. 6. For other references see Schmidt, Straparola, p. 329; and Oesterley's notes to Pauli's Schimpf und Ernst, No. 357.

[7] This story is found in Gonz., No. 75, "Von Firrazzanu," and is (with the queen's attempt to punish him for it) the only joke in that collection relating to Firrazzanu. A literary version is in Bandello, Novelle, IV. 27.

[8] See Pitre, No. 156, var. 5 (III. p. 181).

[9] Imbriani in his notes to Pitre (IV. p. 417) gives a French version of this joke entitled: Un Neveu pratique.

[10] The name Giufa is retained in many localities with slight phonetic changes. Thus it is Giuca in Trapani; Giucha in the Albanian colonies in Sicily; in Acri, Giuvali; and in Tuscany, Rome, and the Marches, Giucca. Pitre, III. p. 371, adds that the name Giufa is the same as that of an Arab tribe. The best known continental counterparts of Giufa are Bertoldino and Cacasenno (see Olindo Guerrini, La Vita e le Opere di Giulio Cesare Croce, Bologna, 1879, pp. 257-279). Tuscan versions of the stories of Giufa given in the text may be found in Nov. tosc. pp. 179-193.

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