2 Cf. Literaturnoe Nasledstvo (Moscow 1934), XVI–XVIII, 171—175.

3 Cf. Kirpichnikov, Grecheskie romany v novoy literature (Kharkov, 1876), pp. 18, 40, 58. Cf. also Rohde, Erwin, Der Griechische Roman und seine Vorlaüfer (Leipzig, 1914)Google Scholar; the studies of K. Tiander in Voprosy teorii i psichologii tvorchestva (Kharkov, 1911), Vols. I–III; Vseobshchaya Istoria Literatury, ed. V. F. Korsh (St. Petersburg, 1881), Vol. I, Chap. 2; Tadeusz Sinko, “Romans grecki,” in Eos, 1915.

4 Cf. V. Vinogradov, Stile Pushkina, pp. 175–180.

5 I recall that Ulysses (Canto XVII) arrives at his home disguised as a beggar, that he intentionally does not reveal his fraud in his talk with Penelope, that the old servant Eurokant recognizes him by the scar on his foot which she notices while washing his feet, and that Ulysses orders her to be silent (Canto XIX).

6 Cf. also Sinko, Tadeusz, Literatura grecka (Cracow, 1931), I, Part I, 127–129 Google Scholar.

7 Cf. Les comédies de Terence (Paris, 1845).

8 Cf. E. Martini, Grundriss der Geschichte der römischen Literatur, etc. (Münster in Westphalen, 1911), p. 112; and Sinko, Literatura grecka, I, Part II, 759–760.

9 The content of Epitrepontes is given by Sinko; cf. Literatura Grecka, I, Part II, 749–750.

10 Cf. Martini, op. cit., pp. 107–108.

11 A. et Croiset, M., Manuel d'histoire de la littérature grecque (7th ed.; Paris, 1900)Google Scholar, and Sinko, Literatura grecka.

12 Cf. Sinko op. cit., p. 751.

13 In order to complete my assertions I shall finally quote several titles which, with regard to their contents, belong to our present series: Dorimond, L'Amant de sa femme, ou la rivale d'elle même (Paris, 1662); Les Cazeaux des Granges'; La pretendue veuve, ou I'e'povx magicien (Paris, 1737), which is a translation of the comedy of Addison; Rousset's La Femme fille et veuve, a comedy presented in 1707; cf. Bibliothèque du Théâtre françois (Dresden, 1758), III, 55, 181, 125; also Frederick Boutet's Czlowiek, który poślubil wlasnq źomę, (The Man Who Married His Own Wife) in Bibljotece Dziel Wyborotoych (Warsaw, 1926), Vol. IX, chap. 3, of the general collection series III, Vol. LXXlV, a story to which my attention was brought by Professor Sinko.

And finally, as far as the motif of the returning husband is concerned, which I mentioned when speaking of Ulysses and Penelope and Rcgnard's short story “La Provençale,” I should like to recall again that this motif appears very often in folk poetry. Proof of this are the Polish versions (indicated to me by Professor Sinko) quoted in Pieśni ludowe z Pohkiego Ślaska (Folk Songs from Polish Silesia) (collected by Father E. Szramek, etc., ed. Professor J. St. Bystroñ; cf. I (Cracow, 1927), 79–80); also the Russian bylina Dobrynia v otjezde—Alesha Popovich (Dobrynia in Travel—Alesha Popovich), in which appears the classical motif for this thread: the ring, which serves for the mutual recognition of the husband and wife. Thus the denouement appearing in these songs, bylinas, and ballads (cf., for instance, Hind Horn of Child) is, from a certain point of view, the same as in the comedies of Menander and Terence, since the recognition of husband and wife occurs with the aid of the ring. These facts confirm the view which was advanced long ago regarding the deeply realistic character of the motif of the husband returning from war to his wife who is unable to wait for him and, certain of his death, is about to marry again.

14 From regard for decency I do not cite here the many folk tales relating different attempts at recognition of wives by their husbands (for instance, Kashubian tales connected with the motif: Who is to be the bailiff?).

15 Perhaps not the first; I concede in advance the pleasure of such a discovery to those who are amateurs in research work of this kind.

16 He also wrote his Menaechmi.

17 Cf. Lednicki, W., Aleksander Puszkim (Cracow, 1926)Google Scholar; and his study under the title Poetry of Marriage and the Hearth; Bits of Table Talk on Pushkin II. “The Nest of Gentlefolk” and the “Poetry of Marriage and the Hearth” in the American Slavic and East European Review, Nov. 1946, pp. 72–98.

18 G. Lanson discusses these dependencies; cf. Lanson, Gustave, Nivelle de la Chaussée (Paris, 1903)Google Scholar.

19 Cf. Guyot de Merville, Les épourse réunis, ou la veuve fille et femme, Comédie en cinq actes, en vers, etc.; cf. Oeuvres de Théatre de Monsieur Guyot de Merville (Paris, 1761), Vol. I.

20 These letters appeared in 1735, in English under the title Letters from a Persian in England to His friend at Ispahan; in 1755 three more editions appeared; in 1744, the fifth. The first French edition appeared at the same time as the English, in 1755, under the title Nouvelles Lettres persanes traduites de l'anglais—Lettres d'un Persan en Angleterre à son ami à Ispahan. The French text was also published in the collection Mélanges de littérature (1735), Vol. VI.

21 Polti, Georges: Les trente-six situations dramatiques, Paris, 1924 Google Scholar.

22 In March, 1874 Tolstoy wrote to P. D. Goloklvastov: ”… How long has it been since you have re-read Pushkin's prose? Do me a favor,—read all the tales of Belkin. They must be studied and studied by every writer. I did this recently, and I cannot convey to you the beneficent influence which this reading had upon me.

Why is this study important? The sphere of poetry is limitless, like life; but all the subjects of poetry are arranged forever according to a certain hierarchy, and the mixing of the higher and the lower or taking the lower for the higher is one of the greatest stumbling blocks. In the greatest poets, in Pushkin, this harmonious correctness of the distribution attains perfection. I know that it is impossible to analyze this, but one feels it and becomes accustomed to it. The reading of talented but not harmonious writers (the same with music and painting) excites and seemingly stimulates one to work and broadens the sphere; but this is a mistake; the reading of Homer, Pushkin reduces the sphere and if it stimulates to work, then it does so infallibly…” (Cf. Novyi sbornik pisem L. N. Tolstogo, sobral P. A. Sergeenko, ed. Gruzinski [Moscow, 1912], p. 13.) I recall that the “Snowstorm” belongs to the cycle entitled Tales of Belkin.