^{page 234 note 1} Roman de Merlin, ed. Sommer, London, 1894 (referred to below as Merlin), pp. 300–312; Merlin or the Early History of King Arthur, ed. Wheatley, (E. E. T. S.), London, 1865–1899 (referred to below as English Merlin), pp. 420–439.

^{page 234 note 2} Livre d'Artus, P., summarized by Freymond, Zs. f. fr. Sp., xvii (1895), 33.

^{page 234 note 3} The episode has received a cursory examination from Benfey, Ausland, xliv (1858), 1040; Schmidt, Märchen des Straparola, Berlin, 1817, p. 339; Rua, “Le Piacevole Notti,” Rome, 1898, pp. 61 ff.

^{page 234 note 1} Incomprehensible terms are commonly referred to a Hebrew or Chaldaic source in the romances. See L. A. Paton, Studies in Fairy Mythology, Boston, 1903, p. 245.

^{page 234 note 1} Greece is equivalent to fairyland in the romances.

^{page 234 note 2} Material that is extraneous to the story is omitted from the above summary; for example, certain prophecies of Merlin, and the story of his own birth.

Grisandole was incorporated by Nicholas de Troies (ca. 1535) into his collection of tales, which were drawn from a great variety of sources,—Le Grand Paragon de Nouvelles Nouvelles (ed. Mabille, Brussels and Paris, 1866), pp. 169 ff. Merlin is not mentioned by name, however; “un homme” takes the form of the great stag. As a boar he comes to Grisandole in the forest, and tells her how to capture the wild man. Other minor differences occur.

^{page 234 note 3} iv, i.

^{page 234 note 4} Cabinet des Fées, Geneva, 1787, xxi, 304–321.

^{page 234 note 5} Luzel, Contes populaires de la Basse-Bretagne, Paris, 1887, pp. 314 ff.

^{page 234 note 6} De Nino, Usi e Costumi abruzzesi, Florence, 1883, iii, 133 ff.

^{page 234 note 7} Finamore, Tradizione popolari abruzzesi, Lanciano, 1885, i, v.

^{page 234 note 8} De Gubernatis, Rivista di Letteratura populare, i (1878), 81, 82.

^{page 234 note 9} Cabinet des Fées, iv, 5 ff.

^{page 234 note 10} Popular Fairy Tales, London, s. a., pp. 121 ff.

^{page 234 note 11} Basile, Pentamerone, iv, vi, has been connected with Grisandole by Benfey, Orient u. Occident, i, 345. It diverges, however, too widely from our cycle to be of assistance here:—A maiden Marchetta, disguised as a squire, enters the service of a king, whose queen falls in love with her, and upon Marchetta's rejection of her proffers of love, accuses her unjustly to the king. He condemns Marchetta to death, but she is rescued by means of a magic ring that she possesses, the true state of affairs is discovered, the queen is put to death, and the king marries Marchetta.

^{page 234 note 1} The inductions to the stories differ widely. In la, the heroine is a dowerless maiden who vows that she will remain single unless she can marry a king, and sets out to seek her fortune disguised as a man; in lb, she is a disinherited princess, the granddaughter of an enchanter; in the course of many adventures she is separated from her lover, a prince, and for the sake of secrecy she assumes the garb of a man, and enters the service of the king of China. In 2 and 6, the heroine, to save her father from military duty, disguised as a youth enters in his stead the service of the king. Thus the introduction of these versions is connected with the wide-spread marchen of the Warrior Maiden, who under similar circumstances enters a king's service, and whose life is thereafter spent in harassing and ultimately fruitless efforts to conceal her true sex. See Köhler, Jahrb. f. rom. u. engl. Lit., iii (1861), 57, No. iv; Wenzig, Westslav. Märchenschatz, Leipzig, 1857, 228; Hahn, Griechische Märchen, Leipzig, 1864, i, No. 10; Ferraro, Canti popolari monferrini, Turin-Florence, 1870, No. 38; Widter-Wolf, Volkslieder aus Venetien, Vienna, 1864, No. 79. For many further references, see the notes to this last; also Liebrecht, Zur Volkskunde, Heilbrunn, 1879, p. 217. Cf. also, especially with Capitaine Lixur, another Breton tale, Le Murlu, Luzel, Contes populaires de la Basse-Bretagne, ii, 296 ff.; see below, p. 257, note.

In 3, the maiden has eloped with her lover, from whom she has been stolen by some thieves for the sake of her jewels; she escapes from them, and to avoid detection, she disguises herself as a man, and enters the service of the king. In 4, the heroine after her mother's death is sent dressed as a lad to the king by her grandmother; the introduction to the story is evidently defective. In 5, the heroine despairing of supporting her family by hard toil, sets out in the garb of a man to seek her fortune.

^{page 234 note 2} From this point to the end of the story 6 diverges from the rest of the group.

^{page 234 note 1} Piera here varies from the rest of the group. The wild man remains silent after his capture. Jealous attendants tell the king that Piera has boasted of his own ability to make the wild man speak, and the king bids him put his boast into effect. Piera, guided by the advice of a fay, walks thrice around the wild man in the presence of the court, and asks him why he will not speak. The wild man replies, “Perchè tu sei una bella ragazza.”

^{page 234 note 1} The exact relation of these different sources to each other cannot, of course, be determined without a more elaborate study than is necessary here.

^{page 234 note 2} See above, p. 234, note 1; Cf. Storia di Merlino, ed. Sanesi, Bergamo, 1898, p. xxxiii; Rua, Giornale Storico, xvi (1890), 234 ff.

^{page 234 note 1} Ausland, xliv (1858), 1040; Orient u. Occident, i (1862), 344 ff.

^{page 234 note 2} Die Cukasaptati, translated by Schmidt, Kiel, 1894, pp. 11–23; for a summary, see Orient u. Occident, i, 346–352.

^{page 234 note 3} See Benfey, Ausland, xlv (1859), p. 459.

^{page 234 note 4} On beings who laugh roses, see J. and W. Grimm, Altdeutsche Wälder, Cassel and Frankfurt, 1813–1816, i, 73; Grimm, Deutsche Mythologie, Berlin, 1875–1878, p. 921, note 318.

^{page 234 note 1} Cf. the Persian translation of Cukasaptati, Tuti-Nameh (Das Papagaianbuch), translated from the Persian by Rosen, Leipzig, 1858, ii, 71 ff.

^{page 234 note 2} The fact that in the Cukasaptati the king's curiosity is stimulated by unexplained laughter from two sources, the dead fish and Pushpahasa, is probably due to the nature of the work, where, as in any collection of seventy tales, it is not remarkable that the same theme should be developed in more than one form.

^{page 234 note 3} Cf. the version from Sercambi, below, p. 244.

^{page 234 note 1} Die Märchensammlung des Somadeva, translated by Brockhaus, Leipzig, 1843, i, 24 ff. For the date, see p. xii. The tale has been summarized by Liebrecht, Orient und Occident, i, 345 (Cf. also Benfey, Ausland, 1859, 4601):—King Yogananda orders the execution of a certain Brahmin against whom his jealousy has been roused by seeing the queen show him some slight favor. As the Brahmin is led to execution a dead fish in the market place laughs aloud. The king postpones the execution until Vararuchi, a favorite of the god Siva, who has assumed a human form, shall have discovered the cause of the mysterious laughter. By the advice of the goddess Sarasvati, Vararuchi conceals himself at night in a palm tree where he overhears a rakshasi (i. e., ogress) relate to her children the story of the laughing fish, and explain to them that it had laughed because the king is jealous of the innocent Brahmin, when in reality there are in his palace many youths disguised as maidens, for whom his wives all indulge an unworthy passion. When the king hears Vararuchi's explanation, he sets the Brahmin free, and loads Vararuchi with honors.

In situation Grisandole is allied more nearly to the Cukasaptati than to Somadeva's tale; for a fairly close parallel exists between Merlin and Pushpahasa, while that is much more remote which may perhaps be traced between Vararuchi and Grisandole, and, as Liebrecht suggests, between Merlin on one hand, and the rakshasi, Brahmin, and fish on the other.

^{page 234 note 2} Knowles, Folk Tales of Kashmir, London, 1888, pp. 484–490.

^{page 234 note 1} See Köhler, Giorn. Stor., xiv (1889), 94 ff.

^{page 234 note 2} Sercambi, Novelle (De Magna Prudentia), ed. Renier, Turin, 1889, pp. 22 ff.

^{page 234 note 3} Giorn. Stor, xiv, 96 ff.

^{page 234 note 4} Cf. Ib., 98.

^{page 234 note 5} Even in Somadeva, whose story is not so closely related to the other tales of the group as they are to each other, it is a rakshasi from whom Vararuchi derives his information.

^{page 234 note 1} Child, English and Scottish Popular Ballads, Boston and New York, 1882–1898, i, 1; see p. 1–3, 7–14 for a collection of examples, and a discussion of this theme. See also, Benfey, Ausland, 1852, pp. 457, 486, 511, 567, 589.

^{page 234 note 2} That the Clever Lass might easily at no late stage have come to be represented as assuming a man's garb before going to court is clear from Sercambi's version, which, although it introduces late features, keeps on the whole pretty close to earlier models. Cf. also that branch of the cycle of the Clever Lass, in which the wise lady is a wife whose husband leaves her for a distant land, after demanding that she perform in his absence three apparent impossibilities. In the guise of a man she follows him, takes service with him, and performs the tasks that he has imposed. Her adventures have nothing in common with that of Grisandole. See Suchier, Germania, xx (1875), 283; Köhler, Ib., xxi (1876), 18 ff. Cf. also the clever lass in Die beiden Fürsten (Radloff, Proben der Volksliteratur der türkischen Stämme Süd-Iberiens, i, 197), who releases her father-in-law from prison by guessing riddles, disguised as one of his friends.

^{page 234 note 3} Knowles, Folk Tales of Kashmir, London, 1888, pp. 59 ff.

^{page 234 note 1} In a variant of the story (see Id., ib., pp. 61 ff.) a princess enters the service of a king, for whom she slays a large ajdar, that appears in the land and destroys many lives. The king gives her his daughter in marriage. Cf. also with this story those of the Warrior Maid cited above, p. 237, note 1; also that of a Celtic other-world princess, MacInnes and Nutt, Folk and Hero Tales, London, 1890, pp. 2 ff.

^{page 234 note 2} Aelian, Var. Hist., iii, 18.

^{page 234 note 3} Cf. Meyer, Indogermanischen Mythen, Berlin, 1883, i, 153 ff.; Grünbaum, Zs. der morgenländischen Gesellschaft, xxxi (1877), 218; Mannhardt, Wald- u. Feldkulte, Berlin, 1875–1877, i, 97, 98, 112, 113; ii, 117 ff., 137 ff.; Laistner, Das Räthsel der Sphinx, Berlin, 1889, ii, 204, 205; Rhode, Der griechische Roman, Leipzig, 1900, 222 ff.; Zingerle, Sagen aus Tyrol, Innsbruck, 1891, No. 187, 191; Schneller, Märchen u. Sagen aus Wälsch-Tyrol, Innsbruck, 1867, p. 210; Hartland, Legend of Perseus, London, 1894–1896, iii, 51–54.

^{page 234 note 1} Talmud, Gittin, 68. See Vogt, Salman u. Morolf, Halle, 1880, 213–217, for a summary; Cassel, Schamir, Erfurt, 1856, p. 62.

^{page 234 note 2} See below, p. 262, on the mysterious laughter.

^{page 234 note 1} A familiar example of this is found in the lays of Guingamor and Lanval; also in the Italian poem Pulzella Gaia.

^{page 234 note 2} The combination of the two situations—the faithless queen in love with disguised youths, and the king marrying the disguised maiden—is probably due to some narrator who wished to keep the conjugal balance even.

^{page 234 note 3} See Nerucci, Sessanta Novelle popolari Montalesi, Florence, 1880, pp. 341 ff., for the story of a youth in a king's service, who is involved in a series of difficult adventures through the jealousy of his fellow-servants.

^{page 234 note 1} Ed. Michel and Wright, Paris, 1837; San Marte, Sagen von Merlin, Halle, 1853, pp. 273 ff. The authorship and the date have been made the subjects of extensive discussion. In general the date is now fixed at ca. 1148. See Vita Merlini, pp. xcv ff.; Ward, Catalogue of Romances, London, 1883–1893, i, 278 ff.; Lot, Annales de Bretagne, xv, (1899–1900), 332–336; Mead, Outlines of the History of the Legend of Merlin (English Merlin, Pt. iv), London, 1899, p. xciii.

^{page 234 note 2} Vv. 404–472.

^{page 234 note 1} See Meyer and Nutt, Voyage of Bran, London, 1895–97, i, 72, 73; Proc. R. I. Acad., Irish MSS. Series, i, i, 36 ff.

^{page 234 note 2} Windisch, Irische Texte, Leipzig, 1880, pp. 197 ff.; Translated into English by O'Curry, Atlantis, i, 363 ff.; into German, Zimmer, Zs. f. vergl. Sprachf., xxviii (1887), 595 ff.; into French, d'Arbois de Jubainville, Ep. Celt., i, 174–216; summarized, Meyer and Nutt, Voyage of Bran, i, 153–158.

^{page 234 note 1} For a summary of this tale see Zimmer, Zs. f. vergl. Sprachf., xxviii (1883–1887), 587 ff.; d'Arbois de Jubainville, Cours de Littérature Celtique, ii, 312–322. Cf. also Kittredge, Arthur and Gorlagon (Studies and Notes in Philology and Literature, viii), p. 196, note 1.

^{page 234 note 1} Vv. 75 ff.

^{page 234 note 2} Vv. 138 ff.

^{page 234 note 3} Vv. 451 ff.

^{page 234 note 4} Baist, Zs. f. deutsches Alterthum, xxxiii, 100.

^{page 234 note 1} Guest, Mabinogion, London, 1849, i, 45, 46.

^{page 234 note 2} Vv. 346–349. Cf. also the giant herdsman in the fifteenth-century German poem, Der Ring (cited by Uhland, Schriften, Stuttgart, 1866, iii, 53), who rides to battle on a great stag, strikes down his foes with his iron club and bites them to death with his tusklike teeth, while his stag pierces them with his horns.

^{page 234 note 1} See Brown, Twain (Studies and Notes, viii), ch. v, sect. iii; Publ. Mod. Lang. Ass., xx (1905), 682–686.

^{page 234 note 2} A discussion of other episodes in the romances where Merlin appears as a giant herdsman, since they are irrelevant to Grisandole, is postponed to the Appendix.

^{page 234 note 3} It should be said that in Celtic material we do not find the giant herdsman as such under similar circumstances. He is essentially a guide to the other world. But we have an example of an enchanter appearing in the same shape when he acts as otherworld guide, and when he comes to earth in pursuit of his runaway wife. In the Imram Brain (Meyer and Nutt, Voyage of Bran, sect. 32–60), no less a person than Manannan mac Lir, the supreme lord of the other world, acts as guide to the Land of Women, riding over the waves toward Bran to tell him of the beauties of Emain whither he directs him; and in the same form Manannan appears in the Serglige Conchulaind, when he comes to take Fand away from Cuchulinn.

^{page 234 note 1} Kennedy, Legendary Fiction of the Irish Celts, London, 1866, pp. 255 ff.

^{page 234 note 2} For two other versions of this story, in which a captured wild man is the lover of the wife of his captor, who has made a servant of him, see Larminie, West Irish Folk Tales and Romances, London, 1893, pp. 10 ff., note, p. 255; Kittredge, Arthur and Gorlagon, pp. 274, 275.

^{page 234 note 3} Kittredge, as above, pp. 188–190, 195, 261.

^{page 234 note 1} A modern Highland tale, The Chest (Campbell, Popular Tales of the West Highlands, Paisley and London, 1890–1893, ii, 9 ff.) should be compared with Grisandole:—A certain king, believing in a false charge against his bride, suspects her of infidelity to him. He accordingly leaves the country. His innocent wife, distressed at his absence, dresses herself as a man, rows away to a neighboring land, and there enters a gentleman's service as stable gillie. Every night a herd of wild beasts guarded by a wild man come to an empty barn owned by her master. She wishes to capture the wild man, and finally succeeds in doing so by stealing the key of the barn door, and lying in concealment until the man and his herd are in the barn, when she shuts the door and makes him prisoner. When his beard is shaved off, she recognizes him as her husband, but he does not recognize her. At her request her master employs him to help her about the stables, and later she gets permission to go home to see her friends, taking the wild man with her. After several adventures he recognizes her, and is finally convinced of her innocence; “and they were as they were before.”

This story is connected in its structure with Le Roman du Roi Flore et de la belle Jehan, Le Roman de Violet, Cymbeline, Boccaccio, Dec., 2 gior., No. 9, and the large cycle to which these tales belong. Cf. Campbell, Tales, ii, 22; Paris, Zs. des Vereins f. Volkskunde, xiii, 1903, 141, n. 2. But we cannot fail to observe that in the capture of the wild man by his runaway and disguised wife we have the same theme that appears in so different a setting in the story of Grisandole's capture of Merlin.

^{page 234 note 2} It is plain that the story of Merlin as the wild man, or giant herdsman, coming in pursuit of his bride had been modified before it was incorporated into Grisandole. It is important to notice that, although in some of the parallel folk tales, the heroine is helped in her task for some special reason by the advice or gift of a supernatural being (1b, 2, 4, 5), Merlin, the object of pursuit, himself directs Grisandole how to capture him. Here the story seems to have been influenced by a widely diffused class of folk tales in which a captured wild man is a being under a spell, to obtain release from which he has submitted to capture or even sought it, although he is restive under it (see Grimm, Der Eisenhaus, Kinder- u. Hausmärchen, Göttingen, 1857, ii, 242 ff.; Straparola, Piacevole Notti, v, 1; Sommer, Sagen, Märchen, u. Gebräuche aus Sachsen u. Thüringen, Halle, 1846, i, 86, 131 ff.; Vulpius, Ammenmärchen, Weimar, 1791, pp. 175 ff.; Milenowsky, Volksmärchen aus Böhmen, Breslau, 1853, pp. 147 ff.; Dietrich, Russische Volksmärchen, Leipzig, 1831, No. 10, pp. 131 ff.; Cabinet des Fées, v, 81–101; Le Murlu cited below, on this page). Merlin's directions to Grisandole as to how she shall proceed in order to capture him remind us forcibly of Tam Lin's advice to Janet, his love, whom he came back to earth to meet, after he had been carried off by the Queen o’ Fairies. At midnight of Hallowe'en Janet must wait at a given place, past which the Queen o’ Fairies and her cavalcade, Tam among them, will ride.

^{page 234 note 1} See above, p. 246.

^{page 234 note 1} Considering the well-known tendency of folk tales to group actions as well as individuals in sets of three, we are justified in assuming that in x or its source, the prisoner laughed, not four, but three times; namely, on seeing his captor, at a funeral procession, and at the queen.

^{page 234 note 2} See below, p. 264.

^{page 234 note 3} Vv. 198–415.

^{page 234 note 1} Annales de Bretagne, xv (1899–1900), 336–347, 532, 533, 536.

^{page 234 note 2} Born., xxii (1898), 509, 510, 593.

^{page 234 note 3} Contained in the second fragment published by Ward, Rom., xxii, 522 ff.

^{page 234 note 1} See Rom., xxii, 523, 524: Lailoken says to the king:—“Tu me cepisti. et vinciri loris iussisti, gliscens nouum aliquod audire oraculum. Quapropter problema nouum de noua tibi proponam materia. De veneno stillauit dulcedo, et de melle amaritudo. Sed neutrum ita licet verum manet vtrumque…. Bonum pro malo fecit iniquitas. e conuerso reddidit pietas. Sed neutrum ita licet verum manet vtrumque.” When the chains have been removed from Lailoken, he says:— “Quid est amarilis feile muliebri, quod ab inicio serpentino infectum est veneno? Quid autem dulcius iusticie censura per quam mites et humiles a felle impiorum defenduntur? … Tunc iniquitas fecit bonum, cum mulier nequam suum veneraretur proditorem. Tunc pietas fecit malum. quando vir iustus suum fidelem occidit amicum.”

Cf. Orient u. Occident, i, 348, 352; Die Cukasaptati, ed. Schmidt, passim.

^{page 234 note 1} Vv. 481–534.

^{page 234 note 2} Paris, Huth Merlin (Merlin, ed. Paris et Ulrich, Paris, 1886), i, xiv. See Gittin, 68; for a German translation of this section by Badad, see Salman und Morolf, ed. Vogt, Halle, 1880, 213–217.

^{page 234 note 3} See above, p. 246.

^{page 234 note 1} On mysterious laughter that is caused by superhuman knowledge, cf., a Roumanian legend, cited by Gaster (Folk Lore, xvi, 1905, 419 ff.):— The Lord commands the archangel Gabriel to take the soul of a certain widow; Gabriel out of pity for her children does not obey. As a punishment the Lord condemns him to live on earth for thirty years as the servant of an Abbot, whose soul he is to receive at the end of his service. During the thirty years Gabriel never smiles, but on the last day of his servitude he laughs mysteriously four times:—at the Abbot, who orders him to buy a new pair of shoes for him; at a beggar who is asking alms; at the bishop and the governor of the town, as they drive past him in great pomp; and at a man who is stealing an earthernware pot. When the Abbot asks the reason for his laughter, he tells him who he is, and that he is to receive the Abbot's soul; he explains that he had laughed at the Abbot's order to buy shoes, because he had so short a time to live; at the beggar, because he was sitting on a treasure unawares; at the bishop and the governor, because they are the children of the widow whose soul he had spared; and at the thief, because clay was stealing clay. (Cited from Gaster, Feuilleton Zeitung, No. 299, Berlin, March 26, 1890, in Arthour and Merlin, ed. Kölbing, p. cvi, n.) See also, The Death of Fergus, an Irish tale contained in a manuscript of the fifteenth to sixteenth centuries (Silva Gadelica, ii, 278, 279). Iubhan, a fairy monarch, laughs at a soldier, who complains that the soles of his new brogues are too thin; he explains to a king, who asks his reason, that though the brogues are thin, the soldier will never wear them out. Before night the man is killed. “Yet, another day the household disputed of all manner of things, how they would do this or that, but never said: ‘if it so please God.’ Then Iubhan laughed and uttered a lay:—‘Man talks, but God showeth the event.’” Cf., in the Language of Animals, the hero's unexplained laughter on overhearing a conversation between animals, Benfey, Orient u. Occident, ii (1864), 152; Frazer, Arch. Rev., i (1888), 169–175; Schmidt, Marchen des Siraparola, p. 324; Larminie, West Irish Folk Tales, pp. 17, 18. On strange laughter, see Campbell, Tales, ii, 30, 31; Sébillot, Contes populaires de la Haute-Bretagne, ii, 221; Grimm, Deutsche Mythologie (4th ed.), i, 424. On the laughter of wood sprites, see Mannhardt, Wald- u. Feldkulte, ii, 115.

^{page 234 note 1} Huth Merlin, i, 48–51; Merlin, pp. 27–29; English Merlin, pp. 33, 34.

^{page 234 note 2} Folk Lore, xvi, 425.

^{page 234 note 1} The student of the Merlin legend cannot deplore too deeply the causes that left Gaston Paris's article on the “devinailles” of Merlin merely a projected piece of work. We have only his words that if Robert had had the Vita Merlini directly before him, he would not have failed to use in addition to the story of the churl, the other two examples, “au moins aussi piquants,” of Merlin's divining power contained there. “Il est donc probable qu'il circulait oralement des contes sur les ‘devinailles’ de Merlin, dont deux ont été recueillis et insérés ici par Robert (Huth Merlin, i, xiv, xv).

A reflection of Grisandole may perhaps be seen in the version of Merlin's journey to Vortigern, given in the Middle English poem, Arthour and Merlin (vv. 1296–1412). Here Merlin laughs three times, once at the churl, the second time at the funeral procession, and the third time apparently at nothing at all. He explains later that he was laughing because the chamberlain of the queen is a woman in the guise of a man, who has refused the queen's proffers of love; she has therefore accused him to the king of making base proposals to her, and the king has ordered that he be hanged. The messengers tell Vortigern Merlin's story, the truth of which the king proves. His eagerness to see Merlin is increased thereby. Nothing further is said of the queen and the chamberlain. Cf. on the sources of the episode Arthour and Merlin, ed. Kölbing, p. cxviii, note.

Merlin's statement to Grisandole that he had laughed when she bound him, because a woman with her craft had been able to do what no man could do is an echo of the Niniane story. For further instances of Merlin's strange laughter, see Merlin, pp. 24, 26, 234, 235.

^{page 234 note 1} Guest, Mabinogion, iii, 371. Cf. also the spell cast by the cor enchanté, Biquet, Lai du Cor, ed. Wulff, Lund and Paris, 1888, vv. 79 ff.; by Auberon's horn, Huon de Bordeaux, ed. Guessard et Grandmaison, Paris, 1860, vv. 3240–3243; cf., for further references, Studies in Fairy Mythology, p. 117.

^{page 234 note 2} Vv. 332 ff.

^{page 234 note 1} See Vesselovski, O Solomone i Kitovras, St. Petersburg, 1872, pp. 325, 326.

^{page 234 note 1} Sections 86–91, 94, 99.

^{page 234 note 1} See Brown, Iwain, pp. 145 ff.

^{page 234 note 1} See Usener, Der Stoff des griechischen Epos, Vienna, 1897, pp. 3, 11–13.

^{page 234 note 2} See Bragarour, ch. lvi.

^{page 234 note 3} See Thrymskvia.

^{page 234 note 4} See Zs. f. vergl. Sprachf., xxviii (1885), 587; Meyer and Nutt, Voyage of Bran, ii, 50.

^{page 234 note 5} Guest, Mabinogion, iii, 172 ff.

^{page 234 note 6} The traces of such a mythological stage in Celtic narrative are to be seen in the Cath Maige Turedh, Rev. Celt., xii, 57 ff. See also Meyer and Nutt, ii, 172 ff.; Nutt, Fairy Mythology of Shakespeare, London, 1900, pp. 17–23. Cf. the remarks on the degradation of supernatural beings to the ranks of mortals, Stokes and Windisch, Irische Texte, Leipzig, 1884–1900, iii, i, 232.

^{page 234 note 1} For an outline of this story, the Leinster version of which has not been translated, see Brown, Iwain, p. 40, note 2; for a translation from a fifteenth century manuscript see Silva Gadelica, ii, 290–291. Cf. also on the type of story, Twain, p. 99.

^{page 234 note 2} A curiously confused story contained in the French prose Tristan (Löseth, Le Roman en Prose de Tristan, Paris, 1891, sect. 323–325) should be compared with the episode from the Livre d'Artus:—The enchanter, Mabon, and his devoted friend, Menonnas, love the same maiden, Grysinde, whom they have met with a companion by a fountain. They have a contest for the right of possession, in which Mabon is defeated. Grysinde and Menonnas take up their abode in a castle of the latter, and soon they hate each other so thoroughly that they enter into an agreement by which Grysinde shall behead Menonnas if he is overcome in battle by a stranger knight, and Menonnas shall show the same attention to Grysinde if she is surpassed in beauty by any lady who comes to the castle. Mabon, in the meanwhile, is bespelled within his castle by the companion of Grysinde, with whom he has consoled himself for the loss of his former love, and whom he has instructed in the magic art. The spell is to last during the lifetime of Menonnas and Grysinde. He therefore sends to Cornwall the Nef de Joie, a rudderless fairy ship, the work of Merlin (cf. Studies in Fairy Mythology, p. 16, note 1), his master in the art of enchantment, to transport Tristan and Iseult to the scene, as a combination that will easily surpass Menonnas and Grysinde. The Nef de Joie bears them first to the Isle de la Fontaine, where there is exactly such a perilous fountain (Fontaine des Merveilles) as that established by Lunete in the Livre d'Artus. Tristan successfully performs the adventure of the fountain. He is relieved from the necessity of remaining on the island by the reappearance of the Nef de Joie, in which he and Iseult embark, and are borne to two other minor adventures before they arrive at the island of Mabon, who explains why he has sent for them. Tristan undertakes the combat with Menonnas, and the boat sails away to his tower. Iseult is promptly declared superior in beauty to Grysinde, whose head Menonnas at once cuts off; he is then slain in battle by Tristan, who sends the two heads to Mabon, and with Iseult leaves the tower.

This episode and that in the Livre d'Artus contain the same essentials. Mabon, like Merlin, is deprived of his love by a rival, to separate her from whom he calls in the aid of a mortal. The love of each is a fay (note that, although it is not expressly said that Grysinde is a fay, she and her companion are found by Mabon and Menonnas beside a fountain, a common place to meet fays; her companion has skill in necromancy; her adventures are laid in the other world); the opponent of each is an enchanter; in each the principal adventure, although in the Tristan it is not the final adventure, is that of the perilous fountain. To give the adventure its proper conclusion and make Tristan lord of the Isle de la Fontaine would have been impossible, for Tristan is handicapped by Iseult's presence; and the absurd conclusion of the story of Menonnas and Grysinde is evidently a late feature adopted by the narrator to relieve the situation, and turn Iseult to some account in the adventure. This termination, it should be said, is repeated from an earlier portion of the Tristan (sect. 40–41), where it forms one of the adventures performed by Tristan on sundry islands where he lands on his voyage with Iseult from Ireland to Cornwall. The account of this voyage and that in the Nef de Joie reminds one of a brief imram, and seems almost like an attenuated copy of that kind of narrative. These two episodes—that of the Isle de la Fontaine, and that of Lunete's fountain—point distinctly to a common source, although each has apparently passed through intermediaries before reaching us. It is noticeable that in the episode from the Tristan there are repeated echoes of the Merlin material. The Nef de Joie is Merlin's vessel; Mabon is Merlin's pupil; the treatment of Mabon by his makeshift love, the companion of Grysinde, to whom he has taught his art, distinctly reflects Niniane's bespelling of Merlin; the name of Mabon's true fairy love is Grysinde, which brings to mind Grisandole, the assumed name of Merlin's love—but this last is almost too faint to be called an echo. There is some ground therefore for assuming that the author of the Tristan at any rate had been influenced by the source of the story in the Livre d'Artus.

^{page 234 note 1} It need be no cause for concern that we find Merlin in one source seeking his wife who has turned from him to a mortal, and in another harassed by her desertion of him for an enchanter. Mider before him had led a life that was one series of quests for his fairy love, Etain; now with the great Mac Oc, now with Ailell, and most of all with the mortal, Eochaid, she kept him in a state of amorous uncertainty; and we merely find one of several parallels between the legends of Mider and Merlin, when we read the episode from the Livre d'Artus, Grisandole, and Guendoloena's Lover.

^{page 234 note 1} Sect. 24.

^{page 234 note 2} The incidents are the following:—(a) Merlin, pp. 36–38; English Merlin, pp. 42–50; Huth Merlin, i, 63–65. Uter and Pendragon desire to take a castle held by the Saxons. Pendragon sends messengers far and wide to find Merlin to ask his advice as to how the castle may be taken. Merlin, knowing that the king wishes him goes to the town where the messengers are, “vint comme uns boskerons en la ville une grant cuignie a son col, et uns grans solers cauchies et une courte cote vestue toute depecie si ot les kavels moult hirecies et la barbe moult grande et moult sambloit bien homme salvage.” He bids the messengers tell Pendragon to come to the forest of Norhomberlande on the following day, where he will meet Merlin. Here one of the king's followers finds “une grant plente de bestes et une moult let homme et contrefait qui ces bestes gardoit.” This man tells him that if the king will come to the forest he will tell him where he may find Merlin. When the king arrives he directs him to a certain town where Merlin will come to him. After further shape-shifting, Merlin in his true form visits the king and admits that it was he who appeared to him as the man of the woods, and the herdsman.

(b) Merlin, pp. 191 ff.; English Merlin, pp. 257 ff. (cf. Livre d'Artus, P., p. 26). Merlin wishes to inform Gawain and his brothers, who are in Camelot, that the knight Saigremor is hard pressed by Saxon enemies. He accordingly “prinst une vielle samblance et fu encors en une vielle cotele de burel toute deschiree et toute depanee et avant estoit il lons et corsus et ore se fist il cours et bochus et viel et si ot la teste entremellee et la barbe longue, et tenoit une machue a son col si cachoit moult grant foison de bestes devant li.” He comes with his herd before the walls of Camelot and there bewails the fate of Saigremor so loudly that Gawain and his brothers at once arm themselves to go to Saigremor's assistance.

(c) Merlin, p. 130; English Merlin, p. 167. “Il ot chaucies uns grans solers de vache et ot vestu cote et surcot de burel et caperon si fu chains dune coroie neuee de mouton, et sestoit gros et lons et noirs & hirechies si samble bien cruel et felon.” In this form he appears to Arthur, and tells him that Merlin will come to him later.