Chapter 10

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_.)