Arthur and Gorlagon

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ARTHUR AND GORLAGON

BY

GEORGE LYMAN KITTREDGE

/

Reprinted from

Studies aNd Notes in Philology and Literature

Vol. VUI

BOSTON, U.S.A.
GINN & COMPANY, PUBLISHERS

1903

ARTHUR AND GORLAGON

BY

GEORGE LYMAN KITTREDGE

Reprinted from

Studies and Notes in Philology and Literature'

Vol. VIII

BOSTON, U.S.A. ^^ \' %^

GINN & COMPANY, PUBLISHERS, ""'"x^ \

1903 *i;i^i ^, I

ARTHUR AND GORLAGON.

THE following text, which is here edited for the first time and
seems to have eluded all investigators of Arthurian tradition,^
is contained in Rawlinson MS. B. 149 (parchment) in the Bodleian
Library. The manuscript is of the end of the fourteenth century,"
and its contents, as catalogued by Macray,' are as follows :

1 . Historia trium Magorum.

2. Narratio de Arthuro Rege Britanniae et Rege Gorlagon lycanthropo.

3. De " Tirio Appolonio " narratio.

4. Historia Meriadoci Regis Cambriae.*

5. " Liber Alexandri Philippi Macedonum qui primus regnavit in Grecia
et de preliis ejusdem."

6. Tractatus, Aristotelis dictus, de regimine sanitatis, libris decern.

Arthur and Gorlagon occupies pp. 55-64, and has no title. It is
written in two hands, the second hand beginning with seminecem in
the last line of p. 60. I have expanded the numerous contractions
of the manuscript, have regulated punctuation, capitals, and the
separation of words, have divided the tale into paragraphs, and
have numbered the sections. All other changes are indicated in
the notes or by brackets in the text.

There is no clue to the authorship of Arthur and Gorlagon ; but
it was not written by the author of the Vita Meriadoci and the De

1 It is possible that this was one of the " five Latin romances " known to Sir
Frederic Madden {Syr Gawayne, Introd., p. x, note).

2 Or the beginning of the fifteenth (Meyer, Alexandre le Grand, II, 392).

' Catal. Codd. MSS. Bibliothecae Bodleianae, p. v, fasc. i, cols. 500-501 (1862).

* Edited by Bruce (from the Cotton MS., Faustina B. vi) in PuM. of the Mod.
Lang. Association of America, XV, 326 ff . (1900). The copy of Meriadocus in the
Rawlinson MS. escaped Professor Bruce's notice.

149

150 G. L. Kittredge.

Ortu Waluuanii} The style is enough to make that point certain,
and the whole character of the tale differs widely from those long-
winded romances. The Rawlinson copy is pretty accurate ; but it
shows a number of errors and at least one omission. These blunders
are enough to prove that it is not the author's autograph, even if
this were not immediately clear from the fact that it is the work of
two diiferent scribes.

A'

[ARTHUR AND GORLAGON.]

PUD Vrbem Legionum^ celebre festum diei Pentecostes rex
Arturus agebat, ad quod totius sue dicionis magnates et nobiles
inuitabat, peractisque de more solemnijs, ad instructum ^ cum omnibus perti-
nentibus conuiuium. Quibus copla afHuente dapum summa cum leticia
prandentibus, Arturus, in nimiam effusus leticiam, regiham sibi considentem
iniectis brachijs amplexatus est, amplexusque cunctis intuentibus strictissime
osculatus est. Ad hec autem ilia obstupef acta simulque rubore suffusa, ipsum
respexit, et cur se loco et hora insolita osculatus fuisset quesiuit. Arturus.
Quia nichil mihi in diuicijs gratius, nil in delicijs te constat suauius.
Regina. Si quam asseris me adeo diligas, mentem et voluntatem meam te
scire patenter existimas.

Arturus. Tuam mentem erga me beneuolam habere non dubito, tuam-
que voluntatem mihi prorsus patere certus existo. Regina. Arture, falleris
sine dubio ; quippe agnoscas te nunquam uel ingenium mentemue femine
comperisse. Arturus. Omnia cell obtestor numina, si me actenus latuere,
dabo operam, nee labori indulgens nunquam cibo fruar donee ea me nosse
contingat.

■i. Finito itaque conuiuio, Caium dapiferum suum Arturus aduocat atque
" Kai," ait, " tu et Walwainus nepos mens ascendite et ad negotium quo
propero me[c]um venite. Ceteri omnes remaneant, meos conuiuas mei loco
usquedum rediero letificate." Nee mora, iussi equos ascendunt et ad regem

1 Edited by Bruce (from the same manuscript that contains the Meriadocus) in
Publ. Mod. Lang. Assoc, XIII, 365 ff. (1898). Professor Bruce (XIII, 388-389;
XV, 338-339) refers the Meriadocus and the De Ortu Waluuanii to the second
quarter of the thirteenth century (the Cotton MS. is of the early fourteenth)
and ascribes them to a single author.

2 legione MS. ' instrictu MS.

Arthur and Gorlagon. 1 5 1

quendam sapientissimum in confinio regnantem, Gargol ^ dictum, cum Arturo
ipsi duo tantummodo properantes, die tercia in quandam vallem lassi deuene-
runt, — postquam enim a domo discesserant nee cibum nee sompnum cepe-
rant, sed noctes diebus continuantes semper equitauerant. E regione autem
aduersa ipsius vallis mons arduus extabat, ameno nemore eonstitutus, in
cuius recessu fortissimum ex politis lapidibus eminebat eastellum. Quod vbi
Arturus eminus intuitus est, Caium cursim preeedere imperat et cuius esset
illud opidum renunciare festinet. Citato igitur sonipede, Caius accelerauit,
intrauit, et iam vallum exterius subeunti in redeundo Arturo occurrens,
regis Gorgol ad quem tendebant municipium fore renunciauit.

3. Fortuitu autem rex Gorgol tunc mense pransurus consederat; ante
quem Arturus equo vectus ingressus eum lepide cum conuiuantibus saluta-
bat. Cui rex Gorgol " Quis es," ait, " et vnde, et que causa te tarn precipi-
temnostroingessit conspectui?" Arturus. " Arturus sum " respondit, "rex"
Britannie ; artem et ingenium mentemque femineam a te discere desidero,
quem in rebus huiusmodi peritum sepissime expertus sum."

Gorgol. Arture, magnum est quod queris, et perpauci sunt qui illud
nouerunt; sed crede nunc consilio meo, deseende et comede et hodie qui-
esce, quia itinere et labore te vexatum video, et eras quod inde sciero indi-
cabo tibi.

Negauit Arturus, se nunquam comessurum eonstip[u]lans nisi prius quod
querebat didicisset. Tandem turn ^ rege et conuiuantibus socijsque instanti-
bus annuit et descendit sedeque locata ante regem discubuit. Primo autem
dilueulo * Arturus, pacti non immemor, regem Gargol adijt atque " O mi
rex," ait, " insinua quod te mihi hodie dicturum heri spopondisti." Gor-
gol. Arture, stulticlam ventilas ; sapientem te actenus reputabam. Ars
ingenium et mens femine nuUius vnquam patuere noticie, nee [p. 56] ego te
scio quidquam docere. Sed est mihi frater, rex Torleil ^ dictus, vicinitate
regni coniunctus, me senior et sapientior, quem latere profecto non ^ autumo,
si aliquis huius rei peritus habetur, quam adeo scire affectas ; hunc pete et
ut tibi indicet quod inde nouerit mea ex parte edieito.

4. Regi igitur Gorgal valedicto, Arturus discessit, iter arripuit, et quatri-
duano confecto itinere ad regem Torbeil peruenit, ipsumque casu pranden-
tem inuenit. A quo resalutatus et quis esset inquisitus, se Arturum regem

1 Gargolu (u nearly erased) MS. On the variations in the names of the char-
acters, see pp. 201, 203.

' r«/<?ndit rex in margin, with a caret in text after sum.

' tu repeated in margin, the u being Hotted in text.

* dilicto MS. * Seep. 201. « n^c MS.

1 52 G. L. Kittredge.

Britannie esse respondit, et ad eum a fratre suo rege Gorgal missum
venisse, ut illud sibi panderet cuius ignorantia ^ se ilium adire compulerat.

Torleil. Quid est illud? Ar turns. Artem ingenium et men tern femine
indagare mentem adhibui, sed neminem qui ea mihi doceat inuenire potui.
Tu igitur ad quern missus venio hijs me instrue, nee a me si tibi nota sint
velis conculcare. Torleil. Arture, magnum est quod queris, et pauci sunt
qui illud agnoscunt. Vnde, quia super hijs tempus nunc non est disserere,
descende et comede, et hodie quiesce, et eras quod inde sciero indicabo tibi.
Arturus ait : " Satis potero comedere. Per fidem meam, nunquam come-
dam donee quod quero didiscero." Insistente tum huic rege et etiam omni
discumbentium multitudine, vix ut descenderet tandem concessit, et ex
aduerso regi mense consedit. Mane autem facto ad regem Torliel venit
et ut sibi quod promiserat indicaret rogare incepit. Gorliel autem se peni-
tus nescire confessus est, et ipse Arturum ad tercium fratrem evo maiorem
regem Gorlagon dirigit,^ procul dubio ei affirmans ipsum eorum que quere-
bat poUere scientia, si aliquem ea scire constabat.

5. Arturus autem nil moratus quo destinatus fuerat accelerauit, et post
biduum vrbem qua rex Gorlagon morabatur attigit, quem sibi, ut ceteros,
casus prandentem obtulit. Salutatisque sibi inuicem, Arturus quis esset
causamque aduentus insinuat, et ut se ea pro quibus venerat doceret rogi-
tando, cui a rege Gorlagon responsum est : magnum esse negocium quod que-
rebat; descenderet et comederet, et sibi in crastinum inquisita indicaret.
Arturus autem se illud facturum omnino negauit ; iterumque ut descenderet"
rogatus, iure iurando se nuUius precibus ad hoc flectendum affirmauit, donee
que querebat didicisset. Videns autem rex Gorlagon eum sibi ut saltem
descenderet nullo modo adquiescere, "Arture," ait, "quando sic animopersti-
tisti te nunquam cibum sumpturum nisi ea cognoueris que inquiris, licet sit
magnus labor narrandi et parua vtilitas, tamen cuiusdam rei euentum tibi
referam, quo artem et ingenium mentemque femine experiri poteris.
Verumptamen dico tibi, Arture, descende et comede, quia magnum est quod
queris et pauci sunt qui illud * agnoscunt, et cum tibi retulero parum inde
doctior habeberis.'' Arturus. Narra ut proposuisti, et de meo esu ne
quidquam loquaris. Gorlagon. [p. 57] Vel socios tuos sine ut descendant
et comedant. Arturus. Faciant.

Quibus discumbentibus, " Arture," ait rex Gorlagon, « quia huius nego-
cij adeo teneris auidus, aurem igitur adhibe, et que tibi dixero mente retine."

1 ignorantia MS. a Interlined.

' Interlined ; also inserted in margin. * i'' MS.

Arthur and Gorlagon. 153

INCIPIT DE LUPO.

6. /^VIDAM rex mihi bene cognitus extitit, nobilis lepidus opu-
Va^ lentus, iusticia et veritate famosissimus. Hie sibi amenum

et incomparabilem ortum parauerat, in quo omnia genera arborum, pomorum,
fructuum, et specierum aromatum conseri et plantari fecerat ; cuius inter
cetera virgulta virga pulcra et ad mensuram ipsius regis stature in altum
habebatur porrecta, que eadem nocte et hora qua ipse natus fuerat e terra
prorumpens crescere ceperat. De hac autem virga fatatum erat, quod
quicunque earn ab[s]cidisset, et graciliori parte ipsius * virge sibi caput
percutiens diceret ' Sis lupus, et habeas sensum lupi ! ' statim lupus fieret et
sensum lupi haberet. Ob quod magna cura magnaque diligentia' ipsam
obseruabat, de qua statum sue salutis pendere non dubitabat ; ipsumque
ortum forti et prorupto muro circumdans nullum preter eiusdem orti custo-
dem, et hunc sibi familiarissimum, in eo admitti sinebat, moreque cotidie
habebat illam virgam ter uel quater adire, nee ante cibum capere, licet usque
ad vesperam ieiunasset, donee earn viseret. Vnde sibi soli huius rei patebat
noticia.

7. " Huic autem regi erat vxor valde decora, sed quia pulcra vix inueni-
tur casta, ipsa suo decore nimis est sibi effecta perniciosa. Diligebat enim
quendam iuuenem, filium cuiusdam regis pagani, cuius amorem amori ' sui
domini preferens, operam et studium dederat ut suum coniugem alicui dis-
crimini traderet quo iuuenis posset licite'cupitis potiri amplexibus. Que
regera prefatum pomerij ortum die totiens ingredi aduertens, causamque
scire cupiens, ilium quidem sepius inde percuntari proposuit, sed nunquam
ausa fuit. Tandem vero die quadam dum rex venatu serius redisset, et
solito virgultum solus intrasset, ipsa adhuc ieiuna non amplius hoc sibi
celari ferens, vt moris est femine omnia noscere velle, ipsum regressum et
iam discumbentem fraudulenta subridendo interrogat cur totiens cotidie
etiam tunc usque ad uesperam ieiunus ortum adisset. Cui cum rex ' respon-
deret, hoc ad se minime pertinere inquirere, nee ipsum sibi illud propalare
debere, ilia in furorem conuersa et inconueniens suspicata scilicet* ilium
in orto rem solitam habere cum adultera, ' Omnia ' exclamat ' cell obtestor
numina me nunquam amodo commesturam, donee mihi eausam indieabis,'
confestimque surgens a mensa thalamum callida adijt simulata egritudine.
Lecto per triduum nihil omnino cibi sumens decubuit.

1 ipjiKJ interlined. * After rex the MS. has s cancelled.

* diligentia MS. * s, apparently for scilicet, MS.

* amore MS.

154 G. L. Kittredge.

8. "Tercia^ autera die videns rex mentis ipsius obstinaciam, timens ne
huius rei causa mortis discrimen incurreret, dulci earn precari et ortari cepit
affamine ut surgeret et comederet, dicens rem esse secretam quam nuUi
unquam ausus confiteri fuisset. E contra ilia, ' Nil te a tua coniuge [p. 583
decet habere secretum. Nouerisque pro certo me malle mori quam uiuere,
dum me a te tam parum amari perpendo,' nuUoque modo ut se reficeret
persuad[er]i poterat. Tunc nimis leuis et inconstans nimiumque muliebri
amori deditus et expositus negocium ut erat ei exposuit, fidei sacramento ab
ea accepto,^ se nulli aliquando hoc prodituram ipsamque virgam utpropriam
conseruaturam salutem. Ilia autem, quod omnibus votis optauerat ab eo
exacto, fidem ei cepit et maiorem amorem spondere, que iam fraudem in
mente conceperat qua scelus quod diu deliberauerat ad effectum perduceret.
Sequenti namque die, rege venandi gratia siluas adeunte, ilia, securim statim
arripiens, ortum subijt, virgam solo tenus ' abscidit, abscissam secum abstulit.
Atque vbi regem redire comperit, ipsam virgam sub sua manica, que longa
et diffusa pendebat, occulens, in eius obuiam usque ad limen hostij processit,
eumque quasi osculatura iniectis brachijs amplexa, subito virgam e manica
exeruit, semel et iterum ei caput percelluit, ' Sis lupus, sis lupus ' vocife-
rans ; ' habeasque sensum lupi ' volens adicere, ' sensum hominis ' adiunxit
'habeas.' Nee mora; fit ut ipsa dixerat, canibusque ab ea incitatis eum
insequentibus ad siluas concitus fugit, sed humanus sensus ei* ex integro
remansit.

g. " Arture, ecce artem et ingenium mentemque mulieris partim didicisti.
Descende nunc et comede, et postea quod reliquum est tibi latentius referam.
Magnum est enim quod queris et pauci sunt qui illud agnoscunt, et cum
inde tibi retulero parum inde doctior habeberis." Arturus. Res multum
bene vadit multumque mihi placet. Prosequere, prosequere quod incepisti.
Gorlagon. Que secuntur audire places. Sedulus esto, prosequar.

10. Regina igitur, viro legitimo fugato, iuuenem predictum absque mora
accerciuit, regni gubernacula ei tradidit, vxorque eius eifecta est. Lupus
uero interiores siluas ad quas fugerat per biennium frequentans se lupe
agresti coniunxit, duosque ex ilia catulos progenuit. Qui, non immemor'
nequicie sibi a sua coniuge illate, ut ille cui humanus inerat animus, anxie
cogitabat si aliquo modo se de ea vlcisci ^ valeat. I uxta illam siluam autem ''

' Tercia MS. ^ Letter blotted out between p and t.

' asc or asci crossed out before abscid/t MS.

* ei inserted in margin, with a caret in text.

' sue (cancelled by a line) before nequicie.

« vicissi MS. ' MS. au or an (ante, which makes no sense).

Arthur and Gorlagon. 155

quoddam castellum extabat, apud quod regina vna cum rege maxime per-
hendinare solebat. Humanus itaque ille lupus, sibi oportunitatem preuidens,
quodam vespertino tempore lupam cum catulis suis secum assumpsit, in
opidum inopinatus irruit, duosque paruulos, quos prefatus iuuenis de sua
coniuge genuerat, forte sub turri ludentes sine custode reperiens, inuadit
inuasosque crudeliter discerpens interimit. Quod quidem circumstantes
sero aduertentes eos cum vlulatu insequuntur. Sed, facinore patrato, fugam
accelerantes salui euaserunt. Regina autem infortunio nimis mesta dili-
gent! custodia eorum reditum obseruare suis imperat. Non multum temporis
eflSuxerat et lupus, non sibi adhuc satisfactum existimans, opidum cum
socijs repetit, duosque nobiles comites, fratres regina, in ipsis valuis pirgis
ludentes ofEendens, eos extractis visceribus neci horrende tradidit ; ad quo-
rum tumultum officiales concurrunt, valuas claudunt, catulosque cum suo
compari intercipientes laqueo suspendunt. Ipse autem astutior ceteris, e
manibus se tenentium elapsus, illesus aufugit. Arture, descende et comede ;.
magnum est quod queris, et pauci sunt qui illud agnoscunt, et cum tibi
retulero [p. 59] parum inde doctior habeberis. ^

II. Gorlagon. Lupus igitur amissis catulis maximo merore constrintus,^
et pre doloris magnitudine in rabiem conuersus, nocturnis excursibus in
domesticas pecudes illius prouincie tanta cede grassatus est ut omnes com-
prouinciales, canum collocata multitudine, ad eum inuestigandum et capien-
dum conueniunt, quorum cotidianas vexaciones lupus minime perferre pre-
ualens finitimam regionem pecijt ; solitasque cedes in ea agere cepit, a qua
ab accolis statim fugatus terciumque regnum adire compulsus iam non tan-
tum in pecudes sed etiam in homines impacabili rabie seuiebat. Illius autem
regionis quidam rex ceptra regebat, euo iuuenili, animo mansuetus, sapiencia
et industria preclarus. Cui dum innumerabiles strages tam hominum quam
pecudum a lupo illate relate fuissent, diem statuit qua ipsum cum venatorum
canumque copia^ indagare et prosequi aggrederetur. Tanta quippe lupi
omnes tenebantur formidine, quod nuUus circumquaque auderet quiescere,
sed nocte tota contra eius incursus peruigiles manebant. Contigit autem,
dum lupus ad quendam vicinum pagum cedibus inhians noctu peruenisset,
et sub cuiusdam domus stans protecto ^ intus fabulantes intencius a[u]scul-
taret, quod a suo proximo audiit referri quid rex die sequenti querere et
inuestigare proposuisset, multa de dementia et mansuetudine regis adi-
cientem. Quod vbi lupus percepit, ad siluarum latibula redijt tremebundus,
deliberans apud se quid sibi factu foret vtilius.

1 Arthur's refusal should follow, but there is no blank in the MS.

2 <ro«st?init«s MS. ^ ' copia MS. *■ pSo MS.

156 G. L. Kittredge.

12. Mane autem facto ecce venatores et regalis familia cum canum
immensa numerositate siluas subeunt, tubarum strepitu clamoreque omnia
replentes tumultu; quos cum duobus socijs familiaribus rex moderation
gressu sequebatur. At lupus, iuxta viam qua rex transiturus erat delitiscens,
omnibus pretergressis ubi regem aduenire conspexit, ex ipso vultu regem
esse coniiciens, dumo exiliuit, ceruice demissa ' ad eius vestigia cucurnt,
suisque pedibus dextrum ipsius pedem amplexus, suppliciter deosculaturus
acsi gemitibus quibus valebat veniam petens. Duo autem proceres qui
regis latus vallabant, immanem ilium lupum videntes (nunquam enim aliquem
tante magnitudinis viderant), " Domine, ecce" exclamant" quem querimus !
ecce lupus quem querimus ! percute, interime, ne nobis infesta nos invadat
bellua." Lupus vero nichil penitus eorum vocibus pauescens, regis stringe-
bat vestigia, ac dulcia imprimebat oscula. Rex autem mire motus, eum
diutius contemplatus, nilque in eo feritatis aduertens sed potius similem
indulgentiam supplicant!, miratus suis omnibus interdixit ne quis ei ^ quic-
quam auderet inferre discriminis, quiddam in illo humani sensus se depre-
hendisse contestans ; dextraque ad lupum demissa ei blandiendo caput et
aures leniter palpabat et vngulabatur. Deinde in hijs correptum eum ad se
conabatur erigere. Lupus vero manum se volentis erigere sentiens mox se
saltu sustulit, ac super sonipedis collum ante regem letabundus consedit.
Rex autem reuocato excercitu domum iter conuertit.

13. Nee multum processerat et ecce erectis cornibus ceruus ei mire mag-
nitudinis in saltu occurrit. Tunc rex " Experiar," ait, " si quid meo lupo
inest probitatis et virium, et an meis assuescat obsecundare ^ imperijs."
Voceque emissa lupum in ceruum [p. 60] incitabat^ manuque a se repellebat.
Lupus vero huius prede capiende non inscius, saltu dato ^ ceruo insequitur,
anticipat et invadit, guttureque comprehensum ante regis obtuitus mortuum
prosternit. Quo facto, rex eum reuocat, atque " Nempe seruandus es," ait,
" non necandus, qui talia scis nobis exhibere obsequia." Lupumque secum
ducens domum regressus est. Arture, descende et comede. Magnum est
quod queris et pauci sunt qui illud agnoscunt ; et cum tibi inde retulero,
parum inde doctior habeberis. Arturus. Etiam si omnes dij de celo cla-
marent: " Arture descende et comede ! " nee descendam nee comedam donee
quod restat agnouero.

14. Gorlagon. Lupus igitur cum predicto rege remanens, maximo amore
ab eo habitus est. Quidquid ei ab eo imperabatur perfieiebat. Nunquam
cuiquam aliquid uel feritatis ostendit uel lesionis intulit. Cotidie ad

1 dimissa MS. 2 Above the line, with a caret.

' A letter blotted out here. * ta above the line.

^ After dato MS. has s cancelled.

Arthur and Gorlagon. 157

prandium prioribus erectis brachijs ante regem ad mensam stabat, de pane
eius comedens, et de eodem calice bibens. Quocumque rex pergebat semper
se ei comitem exhibebat, ut eciam noctibus nusquam nisi ante lectum vellet
quiescere. Accidit autem regem extra suum regnum ad colloquium alterius
regis longius et idee expedicius debere proficisci, quod minus denvm spacio
dierum minime posse reuerti. Reginam aduocans, " Qui[a],i " ait, " me hoc
itinere expedicius oportet pergere, hunc tue tutele lupum commendo, et ut
eum mei loco, si remanere voluerit, conserues et necessaria ministres impero.
Ignoro enim an me abeunte ^ remanere voluerit." Ilia autem iam lupum
iabens odio propter magnam sagacitatem, quam in eo deprehenderat,' quia
multociens mulier odit quern maritus diligit,* " Domine," ait, " timeo ne te
absente, si solito loco iaceat, me nocte inuadat, cruentamque me relinquat."
Cui rex : " De hoc tibi metus ^ ne sit aliquis, in quo ' tanto tempore nil
simile deprehendi. Verumtamen, si inde dubitas, cathenam faciam fieri,
et eum ad mei strati suppedanium ' ligari." Aureamque cathenam rex
parari imperat, qua lupo ad scansile ligato, ad destinatum negocium prope-
rat. Arture, descende et comede, magnum est quod queris et pauci sunt
qui illud agnoscunt, et cum inde tibi retulero parum inde doctior habeberis.
Arturus. Si vellem comedere, vtique non me sepius ut comederem inuitares.
15. Gorlagon. Regeigitur proficiscente' lupus cum reginaremansit. Sed
non debita eum diligentia curauit. Semper enim^ interim nexus iacebat
cathena, cum rex tantummodo ut noctibus cathenaretur mandaret. Regina
vero regis dapiferum illicito amore diligebat, quem quotiens rex deerat
frequentabat. Octaua igitur die profectionis regis in thalamo meridie
conueniunt, atque ipsam lecticam pariter ascendunt, parui per[p]endentes
lupi presentiam. Quos ille intuens nefandis irruentes amplexibus, oculis
Tubentibus, iubis extantibus, furore exarsit, et quasi iam in eos impetum
facturus se agere cepit, sed retinente cathena retentus est. Vnde vbi eos a
cepta nequicia nolle aduertit desistere, tunc dentibus infremuit, terram pedi-
bus effodit, totoque corpore cum diro vlulatu seuiens, tanta vi cathenam
distendit, ut duas in partes dissiliret confracta. Solutus autem in dapiferum
f uribundus irruit a lecto deiectum, eaque seuicia discerpsit, qua eum | '" semi-
necem dereliquit. [p. 61] Regine vero nil mail intulit omnino, illam tantum-

1 MS. qzn ait (haplography). ' MS. repeats eu here.

2 A letter or two blotted out. » profiscisscente MS.

8 deprAendf ret MS. ° Two or three letters blotted out after enim.

* This observation is from Catonis Disticha, i, 8 : " Semper enim (rar. : Saepe
etenim) mulier quem coniux diligit odit."

5 After metus one letter (s?) cancelled in MS.

6 que MS. " '" Second hand begins and continues to the end.

158 G. L. Kittredge.

modo toxi[c]o lumine intuitus. Ad lugubres autem gemitus dapifen,
auulso cardine, irruunt famuli ; quibus causam tanti tumultus inquirentibus
ilia versipellis, fraude composita, lupum respondit suum deuorasse filium,
atque dum paruulum inter[itu conar]etur eripere,i ita laniasse dapiferum ;
idem sibi eum fecisse asserens nisi sibi cicius suppeciaturi aduenissent.
Dapifer igitur semiuiuus ad hospicium deducitur. At regina nimis metuens
ne rei quoquomodo pateret Veritas, seque de lupo vindicare deliberans,
infantem quem ab ipso deuoratum dixerat in quadam ypogea ab omni
accessu remota cum nutrice inclusit, vniuersis eum a lupo deuoratum autu-
mantibus. Arture, descende et comede ; magnum est quod queris, et pauci
sunt qui illud agnoscunt ; cum tibi retulero, parum inde doctior habeberis.
Arturus. Jube, queso, mensam auferri, quia fercula tibi apposita tociens
nostra interrumpunt coUoquia.

16. Gorlogan. Hijs ita gestis, regine celerius quam putabatur regis redi-
tus nunciatur. Cui ilia fraudulenta et subdolositate plena, scissis comis,
laniatis genis, sanguine veste conspersa, occurrens : " Heu, heu, heu, me
miseram, domine, me miseram ! " exclamat. " Quanta in tui absencia incurri
discrimina ! " Ad hec rex obstupefactus et quid haberet sciscitans : " Tua,
tua," respondit, "nefanda ilia bellua, mihi hactenus nimis vere suspecta,
tuura meo in gremio natum consumpsit; tuum dapiferum subsidium ferre
nitentem usque ad necem pene discerpsit, michimet idem facturus nisi
famuli ad nos irrupissent. Ecce rei testis sanguis paruuli nostris conspersus
vestibus." Vix ipsa hec verba compleuerat, et ecce lupus, audito regis
aduentu, cursim e thalamo prosilijt, in regis amplexus vt bene meritos ruit,
gaudens et tripudians, et nuncquam maiori leticia exultans. Ad hec rex,
per diuersa mente distractus, quid ageret dubitabat, hinc suam coniugem
sibi reputans falsa nolle proferre, illinc tanto in se ^ commisso facinore lupum
sibi cum tanto tripudio procul dubio non audere occurrere. Fera namque
veretur ilium quem se scit offendisse. Dum igitur super hijs mens nimium
sibi fluctuaret, et se reficere renueret, lupus iugiter assistens ei, pedem suo
pede leuiter tetigit, horam ipsius clamidis ore accepit, et vt se sequeretur
nutu capitis innuit. Rex autem, illius nutus solitos non ignorans, surrexit
atque per diuersos thalamos eum ad ypogeam qua puer latebat secutus est.
Cuius hostium obseratum offendens, lupus terque quaterque pede percussit,

vt sibi aperiretur insinuando. Sed dum in querendo clauem mora fieret,

regina eam penes se absconderat, — lupus moras non f erens se parum retro
retraxit, pedumque suorum quatuor vngularum protensis aculeis in hostium
preceps irruit, impulsumque media area fractum et quassatum deiecit •

1 interetur eripfre MS. 2 ge in MS.

Arthur and Gorlagon. 1 59

precurrensque infantem e cunabulo inter hispida brachia accepit, atque ori
regis osculandum suauiter applicuit.

17. [p. 62] Miratur rex atque " Aliquid aliud," ait, " superest, quod mee
noa patet noticie." Delude egreditur, precedentemque lupum subsequens,
ad dapif erum languentem ab eo educitur. Quem lupus vt vidit, vix a rege
retentus est quin in eum irruisset. Rex autem, ante eius lectura considens,
infirmitatis causam euentumque vulnerum ab eo sciscitabat. Sed nihil aliud
f atebatur nisi quod in eripiendo puerum a lupo ea ^ incurrisset, testem reginam
adhibens. Econtra rex " Mentiris," ait, " plane : meus filius viuit ; nequa-
quam mortuus est. Et quia te et reginam erga me inuento [filio] ^ falsitate
conuictos michimet commenta finxisse deprehendo, aliud quod ne [falsum] ^
sit timeo ; causam fuisse agnosco, qua lupus, pudorem domini non ferens,
in te tam crudeliter insolito seuierit ; cicius igitur rei veritatem mihi confitere.
Aliter surami maiestatem obtestor numinis quod te flammis vrentibus tra-
dam." Lupusque in eum impetum faciens iugiter insistebat, iterumque
•dilacerasset, nisi a circumstantibus retentus fuisset. Quid multa? Insis-
tente rege tum minis turn blandicijs dapifer commissum confitetur facinus,
vt sibi indulgeret suppliciter exorans. Rex autem nimio succensus furore,
dapifero carcerali mancipato custodie, illico tocius sui regni principes
coadunauit, a quibus super tanto scelere iudicium exigit. Sentencia datur ;
dapifer viuus excoriatur, et laqueo suspenditur. Regina menbratim ab
equis distracta ignium globis traditur. Arture, 'descende et comede.
Magnum est quod queris, et pauci sunt qui illud agnoscunt ; cum tibi retu-
lero, parum inde doctior habeberis.^ Arturus. Nisi te pigeret comedere,
me parum curares diucius ieiunare.

18. Gorlogan. Postquam hec gesta sunt, rex super incredibili sapiencia et
industria lupi cepit cedula mente vehementique studio cogitare et cum viris
sapientibus inde propensius tractare, asserens ilium humanum sensum habere
cui tan tam intelligenciam constiterit inesse, " quia nuUus vnquam in irra-
cionabili pecude tantam sapienciam re[p]perit, tantamque fidem alicui exhi-
buisse, quantam mihi iste exhibuit. Quecunque namque ei loquimur bene
intelligit ; sibi imperata perficit ; vbicunque fuero, mihi semper assistit ; me
gaudet gaudente, dolet dolente. Et qui meam iniuriam tanta seueritate
ultus est hominem esse et magne sagacitatis et potencie procul dubio fuisse
sciatis, atque aliqua incantacione uel transmutacione lupinam formam

^ ea written twice, but first ea crossed out.
^ Supplied by conjecture. Blot in MS.

' Abbreviated as follows in MS. : d. &. 9. m. est quod q. &. p. s. q»i ill«d a. cum
tibi re. p. i. d. h.

i6o G. L. Kittredge.

induisse." Ad hec verba lupus ei assistens ingenti se gaudio agebat,
manusque et pedes regis deosculans et genua eius constringens, vultu capitis
et gestu tocius corporis eum vera dixisse ostendebat.

19. Tunc rex ait : " Ecce quanta hillaritate mihi loquenti annuit, meque
vera locutum certis notat indicijs. Jamque vlterius quid hoc fuerit dubitari
non poterit atque o vtinam etiam cum mearum rerum dampno cum mee etiam
vite periculo mihi indagandi daretur facultas si qua arte aut ingenio eum
ad pristinum statum possem reducere." Consilio igitur super hoc diucius
inter eos habito, hec tandem regi sentencia placuit, ut lupus dimitteretur
precedere, et quo vellet terre marive abire. Affirmabat uero eum propriam
tellurem petiturum ; promittebat quod cum suis in eius subsidium eum quo-
cunque pergeret subsecuturum. " Forsitan quippe," ait, "si eius patriani
possemus attingere, et rem gestam ag[p. 63]nosceremus, et ei aliquod
remedium inueniremus." Lupus uero quo vellet, omnibus eum sequentibus,
ire sinitur. Qui statim mare pecijt, et quasi vellet transire se vndis marinis
impetuose ingessit. Ipsius uero patria illi regioni e latere mari interfluente
coniungebatur, licet alias terrestri sed longiori itinere inde adiri posset.
Rex autem eum videns velle transire, classem continue eo deduci miliciam-
que imperat conuenire. ^Arture, descende et comede. Magnum est quod
queris, et pauci sunt qui illud agnoscunt; cum tibi retulero, parum inde
doctior habeberis.^ Arturus. Lupus transfretare cupiens astat in litore.,
Timeo ne si solus relinquatur desiderio transeundi vndis mergatur.

20. Gorlogan. Rex igitur, imperato nauigio excercituque armis instructo,
cum ingenti militum copia equor aggreditur ; dieque tercia ad patriam lupi
prospere applicatur, quibus in continent! nactis, lupus prior omnibus e rate
prosilijt, atque solito nutu et gestu illam sui esse patriam euidenter intimauit.
Tunc rex, suorum quibusdam secum assumptis, ad quandam vicinam ciuita-
tem clam properat, excercitui imperans se nauibus continere donee negocio
inuestigato ad eos redisset. Sed vix vrbem intrauerat, et rei euentus ordine
quo euenerit ei innotuit. Omnes uero nobiles et ignobiles prouincie illius
regis qui lupo successerat importabilem gemebant tirannidem, suumque domi-
num fraude et dole sue .coniugis transmutatum vtpote benignum et mansue-
tum vna voce conquerebantur. Re itaque quam querebat cognita, et quo rex
illius prouincie eo tempore degeret comperto, rex ad naues ocius redijt,
acies educit, et cum excercitu super eum improuisum et inopinatum irruens,
illius omnibus propugnatoribus cesis et fugatis, eum cum regina cepit sue-
que dicioni mancipauit. Arture, descende et comede. Magnum est quod

1 Abbreviated: Ar. de. &. 9. m. &st. quod q»«is &. p. s. q. i. a. cum Ubi retulero.
p. i. d. h.

Arthur and Gorlagon. i6i

queris, et pauci sunt qui illud agnoscunt, et cum tibi retulero, parum inde
doctior habeberis.^ Arturus. Tibi mos extat cithariste qui, melodie pene
peracto concentu, dum nemini succinit, reciprocas clausulas interserendo
sepius repetit.

21. Gorlogan. Igitur rex, fretus victoria, regni nobiliumque coadunato
consilio, in conspectu omnium reginam constituit atque " O," ait, " perfidis-
sima et nequissima feminarum ! que te demencia tuo domino tantam frau-
dem machinari compulit? Sed nolo diucius tecum verba disserere, que
digna nullius censeris coUoquio, rem quam a te inquisiero mihi cicius
notifica, aut certe fame et siti inexquisitisque te faciam interire tormentis,
nisi illam " ait " virgam qua eum transformasti quo lateat manifestes. Forte
uero quam perdidit humanam formam recuperari poterit." Ad hec ilia quo
virga esset se iurat nescire, quam in frusta ^ conf ractam se igne constabat
cremasse. Verumtamen fateri nolentem rex illam tradidit tortoribus, cotidie
torquendam, cotidie supplicijs exanimandam, nichil cibi uel potus ei prorsus
indulgens. Tandem penarum coacta angustijs virgam protulit regique
porrexit.

22. Qua accepta, rex letus effectus lupum in medio adduxit ; maiori parte
virge ei caput percussit atque " Sis homo hominisque sensum habeas " intulit.
Nee mora: ipsius verba rei effectus sequitur. Fit homo ut ante fueratj
licet longe pulcrior atque decencior, tanta iam venustate preditus vt etiam
ab inicio vir magne nobilitatis deprehenderetur. Videns autem rex hominem
ex lupo reformatum [p. 64] tanti decoris ante se' consistere, cum ingenti
gaudio turn ab eo perpessas miseratus iniurias, eius in amplexus irruit,
osculatur et plangit, lacrimas effundit. A quibus inter mutuos amplexus
tot prolata suspiria tanteque lacrime effuse sunt, vt omnem circumstantem
multitudinem ad fletus compungerent. Hie gracias agebat, de sibi innumeris
ab eo impertitis beneficijs. Ille indignius quam decebat se eum tractasse
conquerebatur. Quid vltra ? incredibilis vniuersis exoritur leticia. Rexque,
antiquo iure principibus sibi submissis, suo potitur imperio. Deinde adul-
ter cum adultera in eius presencia ducitur, atque quid de illis fieri censeret *
consulitur. Ille autem paganum regem capital! sentencia dampnauit ; regi-
nam a suo coniugio tantum amouit, sed vitam quam non meruerat pro sua
ingenita clemencia ei indulsit. Alius vero rex magnis ut decebat ditatus
et honoratus muneribus ad propria reuersus est. Ecce, Arture, mentem et
ingenium femine didicisti. Caue tibi si inde sapiencior haberis. Descende
nunc et comede, quia ego narrando et tu audiendo cibum bene meruimus.

1 Abbreviated: Ar. d. & 9. m. est q. q. & p. s. q. i. a. &. cum. tibi re. far. inde d. h.

2 frustra MS. ' se above the line with a caret. * senseret MS.

i62 G. L. Kittredge.

23. Arturus. Nequaquam descendara donee quod interrogauero mihi indi-
caueris. Gorlogan?- Quid? Arturus. Quenam est ilia femina contra te
opposita facie tristis, humanumque caput sanguine conspersura ante se in disco
continens, que etiam tociens fleuit quociens risisti, tociens cruentum caput
osculata est quociens tu tue coniugi, dum predicta referres, oscula impres-
sisti? Gorlogan. " Si hoc," inquit, " Arture, mihi' soli pateret, tibi nequa-
quam referrem ; sed quia omnibus mihi considentibus hoc notum est, non
pudor erit tibi etiam illud intimare. Ilia femina que mei ex aduerso residet,
ipsa extitit que tantam, ut tibi superius retuli, nequiciam in suum dominum,
jn me scilicet, operata est. Me autem ilium lupum noueris, quem ab humana
in lupinam et a lupina in humanam formam transmutatum audisti. Lupus
autem f actus, regnum quod primum adij, fratris mei medij, regis Gorleil,
constat fuisse. Ille vero rex qui tantam diligenciam mee cure adhibuit,
fratrem meum iuniorem, regem Gorgol, ad quem primum venisti, extitisse
ne dubites. Cruentum quoque caput, quod ilia femina mihi ex aduerso
residens in disco ante se amplexatur, illius iuuenis extitit cuius amore tantam
in me exercuit nequiciam. In propriam namque reuersus ymaginem, ea[m]
vita^ donans, hac sola dumtaxat pena puniui, ut semper illius caput pro
oculis habeat, et me aliam sibi subductam osculante coniugem, ipsa eadem^
oscula imprimat cuius gracia illud nefas commiserat. Quod etiam condi
feci balsamo ut imputribile perseueret. Sciui quippe quod nulla sibi grauior
foret punicio quam in conspectu omnium tanti sceleris iugis representacio.

24. " Arture, nunc descende, si descendere volueris, quia ibi pro me
amodo imprecatus remanebis." Descendit igitur Arturus et comedit ; die-
que sequenti, super hijs que audiuerat valde miratus, domum itinere dierum
nouem redijt.

EXPLICIT.

I. THE FOUR VERSIONS OF THE WEREWOLF'S TALE.

The reader will at once perceive that the text here printed is
closely related to two well-known Old French poems, both " Breton
lays" (whatever that may mean), — the Lai de Bisdavret of Marie
de France and the anonymous Lai de Melion. Before we proceed
to compare these three documents, however, we must familiarize
ourselves with a fourth, — a popular tale widely current in Ireland
at the present day. This Irish mdrchen resembles Arthur and

1 Gorlogam MS. ^ vita MS. 3 eadam MS.

Arthtir and Gorlagon. 163

Gorlagon in a remarkable manner, and must therefore be summa-
rized at the outset, even at the risk of repetition by-and-by. Several
versions have been printed, all of which we shall have to examine
sooner or later. The summary that follows is based upon the ver-
sion published by Mr. Larminie in his West Irish Folk-Tales.

MORRAHA.

Morraha sees a currach, short and green, coming toward the shore, and
in it is a young champion, playing hurly with a hurl of gold and a ball of
silver. Landing, he challenges Morraha to a game at cards [clearly it should
be hurly\. Morraha wins, and the champion pays what he demands. The
same thing happens on the next two mornings, and Morraha wins a splendid
castle, and the fairest of women for his wife. On the fourth morning he
goes out to play again, contrary to the advice of his wife, and is beaten.
Says the champion : " I lay on you the bonds of the art of the druid, not
to sleep two nights in one house, nor finish a second meal at the one table,
till you bring me the sword of light and news of the death of Anshgay-
liacht." [O'Foharta's version has " the sword of light and the knowledge
of the cause of the one story about women.'''' This is certainly right (see
p. 218).]

Acting according to the instructions of his [fairy] wife, Morraha secures
a talking mare, which carries him to the " land of the King of France "
[really, the Other World], who is his wife's father. He is well treated,
and furnished with another horse. The queen bids him ride to the house
of Rough Niall of the Speckled Rock, turn his horse's head away from
the door, and ask for the sword and the news of Anshgayliacht's death.
This he does on three successive days, barely escaping with his life. Then
Niall goes to sleep, thinking all danger is past, and Morraha slips in and
secures the sword.

Morraha then threatens Niall with death if he will not tell him the news
of the death of Anshgayliacht. At first Niall prefers to lose his head, but
at last his wife, who is present, persuades him to tell the story. " I thought
no one would ever get it," says he, " but now it will be heard by all."

" I knew the language of birds," says Niall, " and one day I heard the
birds arguing, and one of them declared that three rods of magic and mas-
tery grew on his tree. Then I laughed, and my wife thought I was laugh-
ing at her, and to quiet her, I was obliged to tell her what the birds were
saying. She secured one of the rods and changed me to a raven and did

164 G. L. Kittredge.

her best to have me killed. Later she changed me to a horse, and gave
out that I was dead. After that she changed me to a fox and finally
to a wolf.

" I went to an island, where I passed a year, and from time to time I
killed sheep. A pursuit was made after me. And when the dogs came
near me there was no place for me to escape to from them ; but I recog-
nized the sign of the king among the men, and I made for him, and the
king cried out to stop the hounds. I took a leap upon the front of the
king's saddle. The king took me home with him and treated me well,
saying that I had been well trained.

" This king had lost eleven children, all of whom were stolen the same
night they were born. When the twelfth child was born, I was appointed
as its guardian. A coupling was put between me and the cradle. One
night a hand came down the chimney and seized the child. I bit off the
hand at the wrist and laid it in the cradle with the child. Then I went to
sleep, and when I awoke, I had neither child nor hand. I was covered
with blood, and everybody said that I had eaten the child. But the king
refused to believe it. ' Loose him,' said he, ' and he will get the pursuit
himself.'

" When I was loosed, I followed the scent of the blood till I came to
the door of the room where the child was. I went to the king, and took
hold of him, and went back again and began to tear at the door. The
king followed me and asked for the key. A servant said it was in the
room of the stranger woman [the Werewolf's false wife^]. But she could
not be found. The king then broke down the door. I went in and went
to the trunk.^ The king broke the lock of the trunk and opened it.
There were the child and the hand, side by side, and the child was
asleep.

" After that, I was not tied any more. I cared for the child constantly.
When he was three years old, a silver chain was put between me and the
child. One day the child loosed the chain and ran away and could not be
found. Then I was out of favor and neglected. When summer came, I
swam back to my own country. I hid in my own garden. In the morn-
ing, I saw my wife out walking, and the child with her. The child cried

1 Her presence at the king's court is not explained, but may be cleared up by
comparison with other versions (see p. 178).

2 No trunk has been mentioned. Such imperfections as this are due to the
laudable fidelity with which Mr. Larminie has reproduced the words of his
reciters.

Arthur and Gorlagon. 165

out : ' I see my shaggy papa ! ' I hid, and the woman took the child into
the house. Early the next morning, I saw the child in the house and
entered through the window. He began to kiss me. I saw the rod of
magic in front of the chimney, jumped at it, and knocked it down. The
child took it up, but did not hit me with it as I had hoped he would. So
I scratched him and made him angry. Then he struck me a light blow
with the rod, and I came back to my own shape again.

" When my wife came in, she offered to drown herself. But I said to
her, ' If you yourself will keep the secret, no living man will ever get the
story from me till I lose my head.' Many a man has come asking for the
story, but I never let one return. Now everybody will know it.'^

" Then I took the child back to his father in a ship. On the voyage I
came to an island, in which there was but one habitation, a court dark and
gloomy. I entered, and found no one within but a frightful hag. I heard
somebody groaning. She said it was her son, whose hand had been bitten
off by a dog, — in another country, twelve years before. I offered to cure
him, and was left alone with him in an inner room. He had but one eye,
and that was in the middle of his forehead. I had heated an iron bar,
pretending that it was to burn away the corrupt flesh, but I plunged it into
his eye as far as I could. He tried to catch me, but I got out of the
chamber and shut the door. I told the hag that he would be quiet pres-
ently and would then sleep a good while. She gave me the reward that
she had promised, — eight young lads and three young women, who, she
informed me, were the sons and daughters of the king and had all been
stolen by her son.

" I took ship again, sailed to the king's country, and restored the twelve
children to him and his queen. The king gave me the child whose keeper
I had been. I spent a time, till my visit was over, and I told the king all
the troubles I had been through ; only I said nothing about my wife.

" And now you have the story. Go home, and when the Slender Red
Champion asks you for the news of the death of Anshgayliacht and for
the sword of light, tell him how his brother was killed, and say you have
the sword. When he asks for the sword, say to him that you promised to
bring it to him but did not promise to bring it for him. Then throw the
sword into the air, and it will come back to me."

Morraha went home, and did as he was bidden, and the sword returned
to Blue \sic\ Niall.

1 The parallelism between Arthur and Gorlagon and the Irish mdrchen ceases
at this point.

1 66 G. L. Kittredge.

Of this complicated Irish mdrchen eight versions have been
printed: (i) K, Kennedy, Legendary Fictions of the Irish Celts, 1866,
pp. 255 if. ; (2) J, P. O'Brien, The Gaelic Journal, IV (1889-90), 7 ff.,
26 if., 35 if. ; (3) L (summarized above), Larminie, West Irish Folk-
Tales and Romances, 1893, pp. 10 if.'; (4) Ci, Curtin, Hero-Tales of
Ireland, 1894, pp. 323 if.''; (5) C^, the same, pp. 356 if.; (6) O'F,
O'Foharta, Zeitschrift fiir Celtische Philologie, I (1897), pp. 477 if.;
(7) H, Hyde, Annates de Bretagne, XV (1899-1900), 268 if. (with
translation by Dottin), also in his An Sgtaluidhe Gaedhealach, London,
[1901,] pp. 400 if. ; (8) S, J. G. Campbell, Scottish Celtic Review,
no. I, March, 1881, pp. 61 if.' (cf. no. 2, November, 1881, pp. 140-141).

K, L, Ci, and Cj are published in an English translation only ; of
O'F and H, we have the Irish, and of S the Scottish Gaelic text, with a
translation in each case ; J is in Irish, untranslated. K is translated
from a manuscript; all the other versions are from oral tradition.
Mr. Larminie had two complete versions, one from County Mayo and
the other from County Galway ; his translation (our L) uses the Mayo
version for the frame-story and the Galway version for the wolf story
proper. In his notes, however, he records all the important diifer-
ences, so that there is no confusion. It appears that the Mayo and
the Galway version were substantially identical. Whenever there is
occasion to mention their diiferences, we may designate the complete
Mayo version as Lj and the complete Galway version as Lj- Larminie
also knows of the tale as existing in Donegal,* from which county
Hyde's version comes. J is from West Munster. Curtin's first version
(Ci) is from County Kerry ; his second (Cj) from Galway (Connemara).
O'Foharta's version (O'F) is from " Foreglas." Campbell's Highland
version (S) was written down in Gaelic from the dictation of a native
of Tiree ; the editor mentions other versions ° and says that " the
tale was at one time well known." Thus it appears that our mdrcfien

1 Reprinted by Jacobs, More Celtic Fairy Tales, 1895, pp. 80 ff.

2 Being the second part of Curtin's Art and Balor Beimenack (pp. 312 ff.);
the first part is really a distinct tale, and we need give it no further attention.

8 The four numbers of The Scottish Celtic Review (March, 188 1, to July, 1885)
were collected into a volume and issued with a title page dated Glasgow, 1885.
* Introduction, p. viii.
6 At p. 141 Campbell gives an important variant taken from one of these.

Arthur and Gorlagon, 167

is still told in at least five counties of Ireland, and that it had
passed over to Scotland and was current in the West Highlands a
generation ago.

The eight versions of the Irish tale (KJLCiCaO'FHS) differ consid-
erably, but they are all merely variants of a single Irish version
(which we may call I). This needs no demonstration ; a cursory
reading of the eight texts establishes it beyond a shadow of doubt.

Thus we have four extant forms of The Werewolf's Tale: ( i) Marie's
Lai de Bisdavret (B) ; (2) the Lai de Melion (M) ; (3) the Latin
Arthur and Gorlagon (G) ; and (4) the Irish mdrchen (I) extant in
eight published variants. A comparative study of these four versions
ought to throw some light on certain vexed questions of mediaeval
literature. [See Additional Note, p. 274, for a ninth Irish version.]

II. RELATIONS OF THE FOUR REDACTIONS.

As we compare the four versions of The Werewolf s Tale one fact
becomes clear immediately : all four (B, M, G, and I) are derived in
some manner from a single original.

Further, certain relations between the four versions (B, M, G,
and I) are easily discernible. Gorlagon (G) and the Irish (I) make
a group by themselves and must be referred to a common source.
In both, the werewolf tells his own story, sorely against his will, to
a quester who is under bonds to learn it, and in both the revelation
takes place in the presence of the faithless wife who is to blame for
her husband's transformation. In I, the quester has been compelled
by a supernatural being to discover "the cause of the one story
about women " ' ; in G, King Arthur has taken a great oath to find
out the " ingenium mentemque feminae." Thus the frame into
which The Werewolf's Tale is inserted is practically identical in G
and I.^ In B and M, on the contrary, there is no frame at all, nor
is the story told by the Werewolf himself. Again, an entirely inde-
pendent anecdote {The Defence of the Child') has been incorporated
into the Werewolf's adventures in both G and I,' but is lacking in B

^ See pp. 212, 218. ' See pp. 222 if.

* For further discussion of the frame-story, see pp. 209 H.

1 68 G. L. Kittredge.

and M. These special resemblances in features which cannot have
been present in the original Werewolf's Tale are enough to establish
the group GI, in the absence of evidence to the contrary ; and the
correctness of the inference is abundantly supported by agreements
in detail, which will come out as the investigation proceeds. That
G is not derived from I, or I from G, but that the correspondences in
question are due to a common original, is also certain, and will
appear with sufficient clearness as we go on. For convenience we
may designate the common original of G and I by the letter y.

The relation of the Lai de Melton (M) to Marie's Bisclavret (B),
on the one hand, and to y (the common original of G and I), on the
other, remains to be determined. There is slight difficulty in settling
the question. M cannot be derived from y, for it resembles B in
lacking certain characteristic features of y which were no part of
the original Werewolf's Tale, namely, the frame in which G and I
are set, and The Defence of the Child. Furthermore, M is (like B)
a poem, whereas G and I are in prose,^ and (like B) it professes to
be a lay of the Bretons.^ On the other hand, the resemblances
between M and GI (y) in points in which both G and I differ from
B are numerous and extend to matters of detail. They prove
beyond a shadow of doubt either (i) that y is derived from M,
or (2) that M and y go back to a common source distinct from B.
The former alternative is excluded by a decisive piece of evidence :
in M the hero is one of King Arthur's knights, and the plot is more
or less complicated by this circumstance. In particular, the role
of the king who (in B, G, and I) hunts the wolf and afterwards
befriends him, is in M shared between two persons, — the King of
Ireland and Arthur. M thus presents an elaboration of the narrative
which is found in neither B nor y and which puts it in a category by
itself. Hence y cannot come from M. We are therefore forced to

1 There is nothing to indicate that G and I are prose versions of a poetical
text. On the contrary, the style and the general air of the narrative seem to
preclude this possibility. Notice particularly the recurring formula; in Gorlagon
(" Arture, descende," etc.) and Larminie (" Here she is herself").

2 The statement is not made in plain terms in M, but the implication is clear.
Should we read "li Breton" for "li baron" in v. 598? Whether Great or Little
Britain is meant is of no consequence at this stage of the investigation.

Arthur and Gorlagon. 169

adopt the second alternative : M and y go back to a common source
(x) distinct from Marie's lay. This conclusion is supported by other
evidence, which will emerge as we proceed.

It remains to inquire whether Marie's lay (B) is derived from x
(the source of the group My), or x from B, or whether both x and
B go back independently to an older form of the tale.

The first of these three hypotheses is manifestly untenable : B is
not from x, for B preserves the werewolf superstition in a simpler
and purer fonn than that afforded by any other redaction,^ In B
the hero is a born loup-garou. His transformation from man to
wolf is not brought about by his wife's act. It takes place in obedi-
ence to a necessity of his nature,^ and is periodic' He is compelled .
to spend three days of every week in the form of a wolf. Thus he
belongs to that great class of uncanny creatures who are doomed to
pass a definite portion of their lives in animal likeness, — a category
exemplified by the many heroes and heroines of popular or roman-
tic story who are mortals by night but beasts or monsters by

1 On werewolves in general, see Hertz, Der Werwolf, Stuttgart, 1:862 ; Baring-
Gould, Book of Were-Wolves, London, 1865; Lenbuscher, Ueber die Wehrwolfe,
Berlin, 1850; Liebrecht, Des Gervasius von Tilbury Otia Imperialia, -pp. 161 ft.;
Rolland, Faune pop. de la France, I, 153 ££. ; Tylor, Primitive Culture, 3d ed.,
I, 113 ff., 308 ff. (references, p. 314, note); Sloet, De Dieren in het germaansche
Volksgeloof en Volksgebruik, pp. 43 ff.; Ons Volksleven, II, 101-102; IV, 150 ff.;
Immerwahr, Kulte und Mythen Arkadiens, I, 10 ff. ; Roscher, Das von der
" Kynanthropie " handelnde Fragment des Marcellus von Side, in Abhl. of the
Saxon Gesellsch. d. Wissensch., Philol.-hist. Classe, 1897, XVII; etc., etc. On
were-tigers, see Landes, Contes et Legendes Annamites, p. 23 ; Crooke, Pop. Reli-
gion and Folk-Lore of Northern India, 1896, pp. 320 ff. (2d ed., II, 210 ff.); Skeat,
Malay Magic, pp. 160 ff. Werewolf stories were known in Ireland (see p. 257).

2 Marie does not expressly say that the knight is actually forced to become a wolf
at certain times ; but it is clear that such is the case. Perhaps she did not quite
understand the situation. What we know of the werewolf superstition, however,
leaves no doubt about the matter. Here, as in other instances, Marie's silence,
or lack of definiteness, is a guaranty of good faith. She may tell the tale imper-
fectly, but she is not inventing.

3 On such periodicity, see Hertz, Der Werwolf, p. 133: "Allen jenen altesten
Ueberlieferungen genieinsam ist die periodische Dauer der Verwandlung.'' One
of the oldest recorded instances of lycanthropy, that of the Neuri in Herodotus,
iv, 105, is periodic (" once a year for a few days ").

170 G. L. Kittredge.

day.^ In B the metamorphosis is accomplished in the simplest manner.
The knight puts off his clothes and becomes a wolf ; at the end of
his three days, he puts them on again and resumes his human shape.
In all this, B agrees with what we know of werewolves and must be
close to the original form of the story.'

In M, G, and I we have another state of affairs. The original
Werewolf's Tale has been influenced by a different type of story r
that in which an enchanter transforms a man into bestial shape by
means of external magic. The role of the magician is played by the
faithless wife, as in many tales of the type just mentioned.' This

1 For examples, see Child, Ballads, I, 290-291, 295 ; IV, 454, 495 ; V, 39-40 ;
Maynadier, Wife of Bath's Tale, pp. 201 ff.

2 Properly no deuteragonist is necessary to enable or force a. natural werewolf
to assume his animal form. Sometimes he puts on a wolfskin, which he takes off
when he returns to human shape. This is a very primitive idea, corresponding to
the belief in swan-maidens, serpent-men, seal-men, mermaids, and so on. The
importance attached to the Bisclavret's clothes may be regarded as the converse
of this doctrine. The clothes are taken away and hidden, and the knight is
obliged to remain a, wolf till he recovers them. Compare the famous werewolf
story in Petronius, 62, where the clothes of the versipellis are apparently turned to
stone, perhaps to prevent any one from stealing them ! According to still another
belief, werewolves change from man to wolf and vice versa at will, without cere-
mony and without any condition either of periodicity or of garb (see p. 258).
Here, too, no deuteragonist is required.

8 A typical instance is the story of _Sidi Numan in The Arabian Nights (cited
by Kbhler in Warnke, Lais, 2d ed., p. cvi). Sidi Numan discovers his Vfife with
a ghoul, devouring a corpse. He speaks of the occurrence to her. She sprinkles
him with water and transforms him into a dog. She attempts to kill him, but he
escapes. A baker takes him into his house and makes a pet of him. He aston-
ishes everybody by his intelligence as a detector of false coin. A woman hears
of his fame and thinks he must be a man in beast shape. She takes him home.
Her daughter, who is an enchantress, sprinkles him with water, saying : " If you
were born a dog, remain a dog ; but if you were born a man, resume the form of
a man by the virtue of this water." Sidi Numan then transforms his vrife into a
mare by means of water and a formula which he receives from the enchantress
(Les Mille et Une Nuits, ed. Loiseleur Deslongchamps, Paris, 1838, pp. 545 ff. ;
Galland, ed. 1832, VII, 294 ff., ed. Janin, 1881, IX, 4 ff. ; Forster, 1802, V, 71 ff. ;
Scott, 181 1, V, 68 ff.; Habicht and von der Hagen, 1840, nights 360-363, VIII,
166 ff.). Galland derived the story from recitation in 1709, and it is not, strictly
speaking, a part of the Arabian Nights: see Zotenberg, Hist, tf 'Aid al-Dtn,
PP- 29, 33 ; Payne, Alaeddin, Introd., pp. vii ff. Cf. p. 177, note 3. This is the same

Arthur and Gorlagon. ' i/r

modification of the original idea has gone farthest in I, in which the
hero is not a natural werewolf at all, but is subjected to successive
transformations at the hands of his wife, who employs a magic rod.
G also has the rod, but retains a distinct trace of the hero's werewolf
nature. In his garden there is a certain wand (virgd), which sprang
up when he was born and has grown with his growth, so that it exactly
corresponds with his stature. If he is struck with the slender end
of this rod and a certain formula is pronounced, he must become a
wolf. Per contra, a blow with the thicker end will restore him to his
proper guise. To avoid danger, he keeps the existence of the wand
a secret and guards the tree with the utmost care.

In this shoot we immediately recognize the life-tree or life-plant of
story and custom. Such trees or plants sometimes spring up at the
moment of the hero's birth or soon after, or they are planted when
he is born. In either case, his life and safety are mysteriously
bound up with the plant. If the plant is cut down, the hero
perishes, or, conversely, the plant acts as a "life-token," withering
or drooping when he is in peril. ^ The use which the author of
Gorlagon makes of the belief in life-trees is peculiar. The shoot is
not bound up with the hero's existence; it serves as a magical rod
of transformation. His wife extorts the secret from him and uses
the rod to get rid of her husband.

In M there is no life-tree. The magical implement is a ring
which the hero wears. It contains a white and a red stone. If
he undresses, and is struck on the head with the former, he must
become a wolf ; the latter will undo the spell. Importuned by his
wife to procure her a piece of the flesh of a certain stag, Melion
gives her the ring, informs her of its properties, and allows her to
change him into a wolf. When he returns with the meat, the lady
has fled. The ring is obviously a congenital talisman," like the

tale as the Story of V&madatta and his Wicked Wife in the Kathasaritsigara, bk. xii,
chap. 68 (Tawney's translation, IT, 134 ff.); cf. also chap. 71 (Tawney, II, 167-168).

1 On life-trees, life-plants, and so on, see Frazer, Golden Bough, 2d ed.. Ill,
391 ff.; Hartland, Legend of Perseus, chaps, ii and iii (vol. I), viii (vol. II);
Mannhardt, Wald- u. Feldhulte, I, 45 ff., 50.

^ The author of M does not make this clear. Perhaps he did not understand
it himself. He neglects to inform us how Melion came by the magic ring.

172 G. L. Kittredge.

necklaces in the Knight of the Swan^ so that M (as well as G) pre-
serves a trace of that genuine werewolf nature which comes out so
plainly in B and is completely lost in I. The trace, however, is not
so obvious as in G. On the other hand, M attaches importance
(like B) to the guarding of the hero's clothes,^ — a feature which G
and I have lost, for obvious reasons.*

From what precedes it is evident that B cannot come from x (the
common source of M and y). For B preserves a simple form of the
werewolf superstition, whereas x has modified this by substituting
a congenital talisman, which appears in M as a ring with two gems
and in G as a life-tree, and which in I has become a simple rod of
magic.''

^ See Joannes de Alta Silva, Dolopathos, ed. Oesterley, pp. 74 ff. ; Herbert's
Dolopathos, vv. 9368 f£., ed. Brunei and Montaiglon, pp. 324 ff. ; Todd, La Nais-
sance du Chevalier au Cygne, Publ. of the Mod. Lang. Assoc, of America, IV, ii ff.
Compare the head-jewel of the heavenly maiden Mandhara in the Thibetan Kah-
gyur (Schiefner, Tibetan Tales, transl. by Ralston, no. 5, pp. 54, 58, 61-62). In
werewolf tales the talisman is usually a wolfskin (or a girdle of that material), as
in the case of other animal transformations (of swan-maidens, serpent-princes, and
the like). Instances are countless.

^ See p. 178, and note i.

5 The transformation in G and I is not expected by the hero. Hence his
undressing for the purpose is out of the question.

* The reason for the modification which M, G, and I have undergone is plain
enough. Marie's hero is a terrible monster, and his wife is excusable for wishing
to be rid of him. We are expressly told that she was afraid to live with him
when once she had learned his frightful secret (vv. 97 ff.). That B takes sides with
the Werewolf and shows no sympathy whatever for the wife is precious testimony
to its antiquity. The Werewolf's Tale goes back to a conception of the world
' (familiar to all savages and mirrored in countless traditions) in which such hus-
bands were not regarded as repulsive or horrible. Marie's contemporaries must
have felt the difficulty in her story. Perhaps she felt it herself. But she was a
faithfal reporter of her original and did not try to soften its barbarity. In the
other versions, on the contrary, we have a pretty successful attempt to deprive
the wife's conduct of all excuse. Mellon is not in the habit of changing himself
into a wolf. It does not appear that he has ever before taken that shape. He
allows his wife to transform him, that he may do her a particular favor. For this
she owes him gratitude ; certainly she has no ground for alarm or abhorrence.
In G it is the worst fear of the husband that he may be subjected to the influence
of his rod, and the lady transforms him against his will, in order to enjoy the society

Arthur and Gorlagon. I'j'^

The second hypothesis — that x (the common source of M and y)
is derived from B — is possible, but does not seem likely. The
impression that one gets from reading B and M together is that they
are independent redactions of the same saga, and this appears to be
the view of most scholars.^ The comparison is now pushed one step
farther back; for the question is not whether M is derived from B,
but whether a lost x, the common original not only of Melton but of
the Latin and the Irish redaction, is to be sought in Marie's lay.
Th^ probability of independent derivation from the original is mani-
festly increased. The case is considerably strengthened by certain
points in B. The Lai de Bisclavret is no doubt a faithful rendering
of The Werewolf ^s Tale as it was told in Brittany in Marie's time.^
The Breton version which Marie followed, wherever it originated,
had certainly been localized in Armorica.^ The king is King of
Brittany. The Bisclavret is one of his vassals. The lady's lover is
another knight attached to the same king. The wolf ranges a forest
near home, both during his periodical fits of lycanthropy and after
his wife has betrayed him. The lady marries her lover and con-
tinues to reside on her husband's fief. The hunt takes place in the
woods near the Bisclavret's home. The wolf becomes the pet of his
liege lord. He attacks the lady's second husband at a court held by
the king. Later, he tears off his wife's nose when she is waiting
on the king, with homage and rich presents, at a hostel near her abode.
The lady is banished from the country and her lover accompanies
her. They have many children, and their descendants are still
alive ; but the women of the race are occasionally born without noses.
All this has the air of a folk-tale which has been pretty thoroughly

of her lover. In I the werewolf nature of the hero has entirely vanished, and the
wife has become a wicked enchantress, as we have seen. Thus there has been a.
steadily operating tendency to deprive the wife of all excuse for her treacherous
act, in order that the reader's sympathies may remain with the husband.

1 See Kohler in Warnke, Lais der Marie de France, 2d ed., pp. ciii-civ.

2 Despite the arguments of Lot, Rom., XXIV, 515, note i.

' For werewolves in Brittany, see Warnke, Lais, zd ed., p. xcix (where the
■editor cites Revue Celtique, I, 420; VIII, 197 ; XI, 242); Sebillot, Traditions et
Superstitions de la HauU-Bretagne, I, z8g ff. ; II, l" ; id., Contes pop. de la Haute-
Bretagne, I, 294 ££. ; Luzel, Contes pop. de Basse-Bretagne, I, 306 ff., 318 ff.

174 G. L. Kittredge.

localized, abandoning the indefinite geography of the mdrchen and
fitting itself to the conditions of a limited district. The tradition of
the noseless ladies is particularly significant. It is found in B alone,
and looks like a bit of Breton family legend, originally unconnected
with the story. All the conditions of the problem are satisfied if
we suppose that The Werewolf's Tale (wherever it originated) was
utilized in Brittany as a kind of pourquoi, to explain the flat noses
hereditary in a particular family.^ So the ferocity of Richard I was
accounted for by attaching to his father a well-known type of popular
story ; ^ and something similar may be conjectured with regard to the
shoulder of Pelops and the golden breast of Caradoc's wife. Other
examples will occur to every student of folk-lore. Such consider-
ations tend to exclude the hypothesis that B is the source of x, that
is, of all the other versions of The Werewolf's Tale, — French, Latin,
and Irish. A trace of the looseness with which the trait of the
noseless ladies has been attached to The Werewolf ' s Tale may be
detected in one particular. The faithless wife and her second hus-
band are banished, and we should expect to hear no more of them.
How can the fact that their descendants sometimes have no noses
be known to the narrator unless they remain in Brittany? The
inconsistency is slight, but significant.^

1 This particular hypothesis need not be insisted on. The nose-biting may
have got into the story in other ways. On cutting off the nose as a punishment
(especially for adultery), see Kathasaritsdgara, chap. 6i (Tawney, II, 54) ; Jacob,
Hindoo Tales, p. 263; Landau, Quellen des Dekameron, 2d ed., pp. 132-133;
Brown, Studies and Notes, VII, 188, note i; cf. Pahcatantra, transl. Benfey, II, 41,
and the remarks of the editor, I, 140 ff., 441 ; Kathasaritsdgara, chap. 58 (Tawney,
II, 15); passage quoted by Lecoy de la Marche, fitienne de Bourbon, p. 23, note 3;
A.Bugge, Contributions to the Hist, of the Norsemen in Ireland, -pii. 16-17 (Schofield).
Noses are sometimes bitten off in popular tales : see, for example, .lEsop, ed. Coray,
no. 48, p. 30 (with the notes of Oesterley, Schimpf u. Ernst, no. 19, p. 475, and
Jacobs, Caxton's .Msop, I, 258); fitienne de Bourbon, ed. Lecoy de la Marche, p. 52;
Kathasaritsagara, chap. 77 (Tawney, II, 248); Benfey, as above, I, 140 ff.

2 See p. 194, note 2.

8 The story of Arthur's knight Biclarel in Renart Contrefait (Tarbe, Proverbes
Champenois, pp. 138 ff.) is certainly derived from Marie's lay (see Hertz, Der
Werwolf p. 93 J Kbhler, in Warnke, 2d ed., pp. xcix ff.) and need not detain us.
It represents the lady as having a lover and omits the nose-biting, but these
changes have no significance for our problem.

Arthur and G or lagon. 175

Again, the idaircissement is not well managed in B. It is incred-
ible that the guilty wife should so carelessly expose herself to the
attacks of the wolf. Her husband had already been assailed by the
•creature on a visit to the court, and the occurrence had excited won-
dering comment. He had returned home and must have told his
wife of his adventure. There can have been no question in the
lady's mind as to the identity of the animal; yet she visits the king
soon after with complete sang froid, only to have her nose bitten off
and to be arrested and put " en mult grant destresce " till she con-
fesses. This is rather the inconsistency that results from corruption
than primitive simplicity of plot.

To all these considerations we may add the fact that in x the wife
is ^fie (see p. 176, below), but that she is a mere woman in B. This
goes far toward proving that x is not from B.

On the whole, then, we may safely reject the hypothesis that B is
the source of x. This leaves only the third hypothesis, — that B
and X are independent derivatives of the original Werewolf's Tale,
— a view which has nothing against it.

It is now clear how our four redactions (B, M, G, I) are related.
They fall into two groups : B and MGI. The group MGI is likewise
divisible into M and GI, and G and I are neither of them derived
from the other. Thus, —

This genealogy is sufficiently established by what precedes, in
the absence of evidence to the contrary. A further comparison of
the different versions will show not only that there is no such evi-
dence,^ but that corroborative testimony is abundant.

1 With the exception of one very small matter, easily accounted for (p. 179,
jiote i).

176 G. L. ltitti^d§&.

III. RECONSTRUCTION OF x (THE SOURCE OF MGI).

We may now proceed to a reconstruction of x, the lost source of
MGI.

I. The wife is a fie or a visitant from the Other World (MI).

This is perfectly clear in I.' In M the false wife is actually the
daughter of the Irish king, while Melion is one of Arthur's knights.
The way in which Melion makes her acquaintance, however, leaves
no doubt in our minds as to her true character. He is hunting in
a wood in Britain when a beautiful woman meets him and tells him
that she " has come to him from Ireland." She protests that she
loves but him alone and has never loved before. Her declaration
falls in with a vow that he has made, not to have an amie who had
ever loved another, and accordingly he takes her to wife. The
meeting in the wood is a close parallel to the situation in Desirk,
Lanval, Graelent, and the legend of Gerbert and Meridiana,^ to say
nothing of countless other tales of a fairy mistress. The author of
M has rationalized the narration and represents the fee as a mortal,
but his euhemerism (or misconception) cannot possibly mislead us.
In G there is complete rationalization ; the lady is a mere woman.'

M alone has this introductory incident, but something of the kind
doubtless stood in x. An account of the hero's first interview with
the fie was a plain necessity.* The encounter in the forest is a

1 This appears from Ci, in wiiich siie is tlie daughter of King Under-the-Wave,
and from KJ, in which she is the daughter of the King of Greece, himself described
as a magician (K). Greece stands for the Other World in many Irish tales. In O'F,
by a turn-about, the hero is the son of a fairy potentate and his wife is a mortal.
L is reconcilable with KJCi, though not quite clear as it stands. CjH give no
information as to the wife's parentage. In S a wicked stepmother replaces the
faithless wife.

2 Walter Mapes, De Nugis Curialium, iv, ii, ed. Wright, pp. 170 ff.; cf. J. W.
Wolf, Beitrage zur deutschen Mythologie, I, 181 ; II, 233 ff.

' One reason for this procedure on the part of G will appear later (p. 249). We
shall find that 6 has been affected by an entirely independent tale, T%e Dog and
the Lady, — a cynical Eastern anecdote in which the wife is, and must be, a mortal
and nothing else.

* 6 and I do not tell us how the hero made his wife's acquaintance, except for
KJ, in which he meets her at her father's court in Greece (i.e. the Other World).

Arthur and Gorlagon. i TJ

stereotyped incident in such cases, as we have seen, and x may well
have contained it. It is also likely that Melion's rash vow (not to
have a love who had ever loved another) was a feature of x; but
this question must be deferred for the present. The evidence,
which is very curious, will be presented at a later stage of the
investigation.'^

2, The hero possesses a congenital talisman capable of transforming
him into a wolf and of restoring him to human shape (MG).^ His
wife teases him till (GI) he confides the secret to her (MGI), when she
strikes him (on the head MG) with it, and he becomes a wolf Q&.QT).'^
She keeps the talisman and never intends to release him (MGI).

What the talisman was in x we cannot be sure ; perhaps a ring
with two stones, as in M. In y it was a rod (GI). At all events,,
in X the hero had to be naked (as in B) when he was struck (M),.

1 See pp. 190 ft.

2 M does not say that the talisman was congenital, but this is clear from G and
is quite consistent with M. See next note.

3 Here the influence of a distinct type of story has been operative in x : that
in which an enchantress transforms her husband to animal shape by the aid of
external magic (see p. 170, and cf. Kohler in Warnke, Lais, 2d ed., p. cvi). I has
gone farthest in this direction, losing all trace of the hero's wolfish nature. Yet
in some versions of I a faint trace of the congenital talisman remains. In C2 the
husband owns the rod, having found it by accident, but it does not appear how
his wife learned of its powers. In Ci the rod is not said to belong to the hus-
band, but in other respects this part of the story agrees so closely with C2 that it
must once have coincided with it in this point also. L has here annexed a portion
of the well-known tale of The Language of Animals (studied by Benfey, Orient it.
Occident, II, 133 ff., Frazer, Archaological Review, I, 81 ff., 161 ff., and Basset,
Nouveaux Contes Berbires, pp. 119 ff., 327 ff. ; cf. Radloff, Proben der Volkslitte-
ratur der nordlichen tiirkischen Stamme, VI, 250 ff.). The hero learns from a
dialogue between two birds that there are three "rods of magic and mastery'"
growing on a certain tree. He laughs, and his wife thinks he is deriding her (a
characteristic feature of The Language of Animals). To pacify her, he tells her
what the birds are talking about, and she gives him no rest till he has procured
a rod for her. (For birds boasting of their trees, as in L, cf. Stumme, Marchen
der Schluh, p. 90.) In K the rod is stolen by the wife from her father, the wizard
King of Greece ; in J it is given to her by the king. In O'F the rod seems to be
in the wife's possession; in S it of course belongs to the wicked stepmother. In
H the wife has a magic ring instead of a rod (cf. p. 257).

178 G. L. Kittredge.

and his clothes were (as in B) of importance for his restoration (M).*
In y these last two points had disappeared (GI).^

3. The wife, after turning her husband into a wolf, goes back to her
father, taking one of her husband's servants with her, — the attendant
who is present when the transformation takes place (MI).* The wolf
follows his wife to her father's country (MI), apparently by swimming
(I; traces in MG).* He becomes the leader of a band of wolves, and
they commit great depredations (MGI), destroying cattle or sheep (MGI)
and killing men (MG). The king (who is the wolf's father-in-law,
MI) leads a great hunt (MGI) against them, accompanied by his daughter
(MI). All the wolves are killed except the werewolf (MGI).

The return of the lady to her father's kingdom is what we should
expect if she is a fk. Like all creatures of the Other World, —
mermaids, swan-maidens, and the rest, — when she abandons her
husband she should go back to the mysterious realm from whence
she came. The Irish versions have all sufEered here and exhibit
considerable variety, but comparison shows that I once agreed with
M." G is quite different. The lady remains at home with her lover,

1 M shows alteration in the matter of the clothes. These are to be guarded
<as in B), but the author forgets their importance, for Melion recovers his shape
" durch die einfache Kraft des Rings, . . . ohne dass gesagt wird, er habe seine
Kleider in Irland wieder bekommen " (Hertz, Der Werwolf, p. 96, note).

2 For the relation between x and B with regard to the transformation scene,
see pp. 183 fiE.

' The question whether the attendant is her lover will be discussed presently
(see pp. i87ff.).

* The swimming is an easy inference from L, in which the wolf returns from
the island in this way (though it is not said how he got there in the first place),
and from G. In G the wolf journeys to the foreign country by land, but when he
is about to return, he plunges into the sea "as if to swim." The author explains
that the shortest route was by water. The king fits out a fleet and sails to the
wolf's country, taking the wolf with him. Obviously the story has been ration-
alized. In M, the wolf, abandoned by his wife, gets passage to Ireland as a stow-
away. Clearly the swimming (in x) was too much for the authors of M and G to
credit. They would have found a good deal of difficulty with the swimming
match between Beowulf and Breca!

' In L the wolf flees from his country to an island, and the king of the island
leads the hunt against him. The false wife is present at the hunt and urges the
king to slay the wolf. How the wife got there is not explained ; but we must

Arthur and Gorlagon. 179

■whom she marries.' The wolf, after ravaging the country till it
becomes too hot to hold him, seeks refuge in a foreign land, where
he continues his depredations till the king of that domain goes out

remember that L gives no account of the lady's parentage. K, if compared with
L, makes the case better. The leader of the hunt is the King of Greece, the
wolf's father-in-law, who is on a visit to his daughter. Here the wife and the
wolf have both remained in the wolf's own land, to which the father-in-law has
come. No doubt K (which is very brief here) has reversed the localities. The
argument is clinched by Ci, in which King Under- Wave, the wolf's father-in-law,
is among the hunters, spares the wolf, and takes him home. "My wife" con-
tinues the narrative, " was at her father's that day, and knew me. She begged the
king to kill me" What follows in Ci takes place in the land of King Under-
Wave. In other words, Ci represents the lady as residing in the land of her
husband, but the original idea (in x) that she has returned to her father and been
followed by the wolf, shows through. The narrative in Ci clumsily accounts for
the situation by making the lady a temporary visitor at her father's castle. (On a
subsequent occasion in Ci the formula is repeated, p. 332 : " My wife was at her
father's castle that night.") O'F is also of assistance. Here the wolf kills his
wife's sheep. " She visited her father and said that there was a. wolf on the hill
killing her sheep, telling him he should gather the hounds and set the hunt on
him. He took the hounds with him and went on the hunt in the hope of killing
me. As there was the sense of a human creature in me, when the hounds were
coming up with me, I went on my knees in the king's presence. . He lifted me up
between his arms and did not allow the hounds to kill me. Then he took me
■with him to his own house. At this she was quite beside herself with him, when
he did not kill me at once." Here the lady and her father (the wolf's father-in-
law) simply occupy adjacent estates; they are neighboring gentlefolk who can
visit. This vulgarization necessitates some change in the story, but the original
situation is clear. H agrees in the main with O'F, except that the king is the
Werewolf's father and there is no vulgarization. C2 has suffered such alteration
as to afford little evidence at this point. The reconciliation between the wolf
and the hunting king (which is in all other versions, BM6 and LHKJCjO'FS) has
quite vanished. Yet even C2 assists us slightly: the wolf escapes to an island
(p. 368). In S the wife has been replaced by a stepmother, as we have had occasion
to remark before. J agrees pretty closely with K.

1 Here G agrees with B (against x), but the agreement must be fortuitous.
We have found that in some of the Irish versions the lady also remains at home
instead of returning to her father, but such was not the case in I, and no one
would think of making a cross-line from I to B on the strength of this variation.
This is the only point which interferes in the slightest with the genealogy indi-
cated on p. 175. Everything else confirms the pedigree there set forth.

i8o G. L. kittredge.

to hunt him down.^ This king is not his father-in-law, but, as after-
wards appears, his brother. The original form of x, as preserved
by M and I, shows through, despite the alterations of G. The
depredations of the wolf are emphasized in MGI,'' but are not men-
tioned in B. They appear to be of some importance from the point
of view of folk-lore. It is common for a bespelled animal to make
his existence felt in this way, in order to bring about his restoration to
human form.' We may conjecture that these ravages were a feature
of the original story.* The band of wolves takes a curious form in G.
The bespelled Gorlagon consorts with a she-wolf,' and two whelps,
their offspring, join him in his raids. The whelps are killed, and
Gorlagon becomes fiercer than ever.*

1 The hunt is instigated by the lady in KJHO'FCiCa (by the henwife in S), but not
so in B or in MG. This point, then, may pass for a peculiarity of I. In MGI the
hunt is undertaken for the express purpose of ridding the country of the wolf.
In B this is not the case : the king goes hunting in the forest where the Bisclavret
dwells, and the dogs fall in with the beast and run him hard all day.

2 The depredations occur in most versions of I (LHO'FCiS), but the band
is found only in HCjS. It is, however, a feature of M and G, and was certainly
present in x. The correspondence between Ci and M is very close here. It is
even possible that there were two hunts in x (as in Ci), one of which is replaced
in M by the wolf's encounter with King Arthur, but the point is trivial.

' See Nutt, Scottish Celtic Review, pp. 139-140, and Folk-Lore Record, IV, 25,
note.

* If so, we have another argument against the derivation of x from B.

^ In C2, which has been much changed by amalgamation with a distinct story,
the wolf finds a she-wolf in the island to which he flees. She is a woman, trans-
formed by enchantment long years before when within a week of her time, and
has been pregnant ever since. The Werewolf accidentally wounds her with his
teeth, and her son is born. The son subsequently pursues the hero for causing his
mother's death. All this has little or nothing to do with G, but is part of quite
another type of story. On long pregnancy and the full size at which the children
are born under such circumstances, see Child, Ballads, I, 82-87, 4^9 i IIIi 497 ;
V, 285.

8 In S the hero and his two brothers are turned into wolves by a witch at their
stepmother's instigation. Their ravages result in their being driven to an inacces-
sible rock. They are dying of hunger, and twice cast lots to see who shall be
killed to feed the others. The hero of the story is the last survivor. He swims
out towards a passing ship and is taken on board by the captain, who replaces
the king in the incidents that follow.

Arthur and Gorlagon. 1 8 1

4. Seeing that there is no escape, the wolf approaches the king and
makes submissive signs (BMGI). The king, observing his tameness,
forbids his followers to injure him (BMGI). The false wife (the
king's daughter) urges her father to kill the beast (I ; trace in M), but
he takes the wolf home and treats him as a pet (BMGI). The wolf eats
meat and drinks wine (MI) and so conducts himself that it is inferred
that he has been domesticated. He never leaves the king, and sleeps in
his bedchamber (BM; I in part).

In these features all the versions (B as well as MGI) are in sub-
stantial agreement, except for a special development in M, to be
discussed in a moment. In B, of course, the lady is not present at
the hunt, and the same is true of G (see p. 185).

The peculiar development in M just referred to is the result of
the attachment of that version to the Arthurian cycle. The wolf
escapes from the hunt led by his father-in-law, and the false wife,
who is present, expresses her regret that he has not been killed.'
At this point Arthur intervenes in the plot. Arthur visits Ireland,
and, before he reaches the king's court at Dublin, is obliged to spend
the night at a certain house. The wolf visits him, falls at his feet,
and so conducts himself that the king decides that he is tame and
takes him as a pet. The wolf sticks to Arthur's side and sleeps at
his feet that night. Next day the Irish king goes to meet Arthur
and conducts him to Dublin. The wolf goes, too, never leaving
King Arthur, and, when the two kings sit in state, he lies at the
feet of his protector. The role of the king who hunts the wolf has,
then, been divided in M between the King of Ireland and Arthur.
We have already observed that this peculiarity of M proves that M
cannot be the source of GI.

Certain picturesque details of the scene at the hunt may be
claimed for x. In G the king takes hold of the wolf as if to lift
him up, and the creature leaps upon the horse in front of the king
like a dog. The incident occurs also in 1,,^ but nowhere else, though
there is something similar in O'F: "I went on my knees in the

1 This corresponds with her urging the king to Icill him in I.

2 " The king cried out to stop the hounds. I took a leap upon the front of the
king's saddle" (p. 20).

1 82 G. L. Kittredge.

king's presence. He lifted me up between his arms and did not allow
the hounds to kill me." We may confidently ascribe the incident to
I, and therefore to y ; but it is not certain that it stood in x, since
there is no trace of it in M.

Another curious detail is found in L, but in no other Irish version ;
its presence in M, however, makes it secure for x. It affords one of
the strangest cases of the way in which this, that, and the other ver-
sion preserve details in this extraordinary farrago of redactions.
In M Arthur not only feeds the wolf with bread and lardi, which
he eats with such relish that the king and his knights think that he
is tame and disnatured {^privh, tous desnaturks), but he drinks wine
from a basin which the king causes to be set before him. In L the
same idea is carried out in modern style. The wolf will not eat
without a knife and fork : " The king gave orders to bring him drink,
and it came ; and the king filled a glass of wine and gave it to me.
I took hold of it in my paw and drank it, and thanked the king.
' Oh, on my honor, [said the king,] it is some king or other has lost
him . . . ; and I will keep him, as he is trained." ^

In G, immediately after the king has taken the wolf upon his
horse, a great stag comes into view. The king makes signs to the
wolf to pursue him, and the creature brings down the deer. In M,
it will be remembered, a similar incident occurs in another place.
Melion is hunting, and his wife is with him. She longs to eat of a
certain stag, and Melion, in order to procure the flesh for her, causes
her to turn him into a wolf. In this shape he hunts down the stag.
There is no trace of the incident except in G and M, but its presence
in those two versions proves that it stood in x. It has dropped out
of I because in x it was a mere detail. The author of M, however,
utilized it to give a new motive for the hero's metamorphosis, not

1 In B the wolf takes hold of the king's stirrup and kisses his feet. The king
remarks that the beast "a sen d'ume" and that he "merci crie"; "ceste beste
a entente e sen " ; "a la beste durrai ma pes " (cf. I, : " He knew me j he must be
pardoned "). He takes the wolf home with him and gives orders that " bien seit
abevrez e peiiz," but nothing is said of wine. In K the wolf imitates the human
voice, holds up his fore-paws, and weeps big tears (cf. J). In O'F he " goes on his
knees in the king's presence." In H he throws himself at the king's feet.

Arthur and Gorlagon. 1 83

being satisfied with what he found in his original (x).^ What the
motive in x was, we have not yet considered. The question must
be left in abeyance till we study the catastrophe of The Werewolf s
Tale.

5. The eclaircissement varies greatly in the several versions. In B,
as we have already seen, it is rather clumsily managed. The lady's
second husband, who had assisted her in the plot against the Bis-
clavret, goes to court and is attacked by the wolf. Soon the king
chances to lodge in a house near the lady's residence. Regardless
of her husband's experience, which must have reached her ears, she
visits the king to do homage. The wolf springs at her and tears off
her nose. The husband is arrested [but nothing is done to him].
The lady is put " en destresce," confesses everything, and produces
the Werewolf's clothes. These are laid before the wolf, but he pays
no attention to them. A wise courtier suggests that the beast be
left alone with the garments.

Cist nel fereit pur nule rien.
Que devant vus ses dras reveste
Ne mut la semblance de beste.
Ne savez mie que ceo munte.
Mult durement en a grant hunte.
En tes chambres le fai mener
E la despueille od lui porter;
Une grant piece I'i laissuns.
S'il devient huem, bien le verruns.

The advice is accepted, and after a time the king, entering the
chamber, finds the knight asleep on the bed. The lady is banished,
and her lover goes with her. They had children enough and

Plusurs des femmes del lignage,
C'est veritez, senz nes sent nees
Et si viveient esnasees.

In M there is no nose-biting and the whole seems better managed.
Probably M is very near to x in this place, if we allow for the

1 It is conceivable that M here represents x correctly and that G has transferred
the incident to a new position ; but the other hypothesis is far more probable.

184 G. L. Kittredge.

changes made to accommodate the plot to Arthurian romance : Arthur
and the Irish king are sitting together, and the wolf is with them.
He sees the servant who had carried off his wife, and attacks him
forthwith. The bystanders would have killed the beast, but Arthur
says he is his wolf. Ydel, son of Urien, avers that the wolf must
have some cause of anger against the man, and Arthur declares that
the fellow shall confess or die. He confesses to Arthur, who calls
upon the king of Ireland for the ring. The latter goes to his
daughter's chamber, induces her to give it to him,^ and hands it
over to Arthur. The wolf sees the ring and kisses Arthur's feet.
Arthur is about to touch him with it when Gawain interposes :

" Biaus oncles," fait il, " non fer&,
En une chambre I'en menrds
Tot seul a seul privdement,
Que il n'ait honte de la gent."

Arthur, Gawain, and Ydel then accompany the wolf into a private
room, where the transformation is accomplished. The king of
lueland then delivers up his daughter to Arthur for punishment.
Mellon is about to touch her with the ring ; but Arthur declares he
shall not do it, — for his children's sake. Mellon consents to spare
the guilty woman. Arthur returns to Britain, taking Melion with
him. The lady is left in Ireland. Melion would have had her
hanged or burned before he would have taken her again to wife."

If we eliminate Arthur and his knights from the account in M,
restoring the role of deliverer to the Irish king, to whom it rightfully

1 Tant le blandi et losenga
Qu'ele li a I'anel done (vv. 536-537).

''■ In Guillaume de Palerne the guardian and constant helper of the hero and
heroine is a Spanish prince who has been changed into a wolf by the magic power
of his stepmother. The enchanted prince's interview with his father (vv. 7207 ff.,
ed. Michelant, pp. 209 ff.) reminds one of that between the Werewolf and his
father-in-law in our tale, and there are other resemblances (see vv. 7629 ft., 7731 ff.,
7759 ff-)- There may or may not be some connection between Guillaume de
Palerne and The Werewolf s Tale. Paris (Litt.frang. au Moyen Age, § 67) inclines
to the affirmative; Ahlstrom {Studier i den fornfranska Lais-Litteraturen, p. 81)
and Warnke (Lais, 2d ed., p. civ) oppose.

Arthur and Gorlagon. 185

belongs, we have a narrative which must resemble closely that which
stood in X. It is very near to B, but has none of the difficulties
which confront us in that version. The lady does not expose
herself to the attack of the wolf after her lover h?is been assailed.

In G there are many changes, occasioned by a modification in a
previous part of the plot. The king who protects the wolf is not his
father-in-law, and the false wife has remained at her husband's home
with her paramour. [This is a variation both from x and from y,
as is shown by the condition of things in M and I : see p. 178.] The
actions of the wolf at the king's own court (in an incident ' which
has nothing to do with the false wife) convince the king that he is a
man under enchantment. He holds a council (cf. the prud'homme
in B and Ydel in M) and declares his opinions. The wolf indicates
the shortest route to his native land, and the king leads an expedi-
tion thither to right Gorlagon's wrongs. He takes captive the lady
and her lover (now her husband). Then he informs the wicked
queen that she must produce the rod. [Here is a manifest flaw.
The king knows nothing of the rod. He feels sure that the wolf is
an enchanted man, but he has not yet learned the details of the
metamorphosis. He should have extracted the truth from the lady's
lover, as in M. The incident may have been left out by the scribe,
who has omitted at least one other passage from the manuscript.^
Perhaps, however, it is chargeable to the author of G. Earlier in
the story he has complicated the plot by introducing an intrigue
between a steward and the king's wife.' To this intrigue he has
transferred some of the occurrences that should come in at the end
of the story : the wolf has attacked the steward, and the king has
forced the guilty man to confess. This circumstance may have led
the author of G to omit the forced confession of the wolf's rival in
the place where it properly belongs.] The lady avers that the rod
has been destroyed, but she produces it when tortured.* The king
then strikes the wolf with the larger end of the rod in the presence

1 To be discussed later (see pp. 234-5, 246 ff.).

2 See p. 155, note i.

^ See pp. 246 ff. for proof that this is an insertion.

* Compare the similar treatment of the Bisclavret's wife in Marie.

1 86 G. L. Kittredge.

of all, and he becomes a man, — no other than King Gorlagon, the
narrator. Gorlagon puts his wife's lover to death, but spares the
lady. He divorces her, however, and weds another. His first wife is
doomed to sit at all feasts, having the embalmed head of her lover
before her on a plate. This concluding piece of barbarity we may
here disregard, as being peculiar to G ; we shall return to it
in due time.^

The Irish version aifords us little assistance in reconstructing the
disenchantment incident in x; for it has been specially influenced
by another story, which we shall have to consider by-and-by.^ It
preserves, however, one important point: the king who befriends
the werewolf is his father-in-law; the disenchantment takes place
at his court and (though somewhat remotely)' through his instru-
mentality. Thus I agrees, in part, with what M records if we ignore
(as we must) the Arthurian element in the latter. At the very end
of the story, however, I gives us some help. The lover is burned
by order of the hero's father-in-law, but the wife is spared at her
husband's request.^ He even takes her back, promising never to
mention her crime. This corresponds pretty well with G, in which
the guilty woman is also spared and is kept at Gorlagon's court,
though no longer as his wife.^ We shall be forced to scrutinize the
condonation incident with some care in a moment.^

1 See pp. 245 ff.

2 See pp. 235-6.

' It is not easy to decide what is the correct form of I here. The versions
differ a good deal.

* So in KCi. In L it does not appear what becomes of the lover, but the hus-
band takes his wife back. In K the King of Greece takes his daughter home
with him, and the hero hears no more of her (in this version, it will be remem-
bered, localities are reversed [see p. 179], and the disenchantment occurs while the
hero is on a visit to his daughter). O'F is imperfect at the end, containing no
account of what happens after the hero is released from the spell. In C2 (which
has suffered many changes) the hero strikes his wife with the rod (as Mellon
threatens to do with the ring) and " she springs over the wall, a gray wolf, and
runs off through the pastures." The lover he turns into a sheep, hoping that the
gray wolf may devour him. In H the lover departs and the wife is taken back.

5 See p. 162.

6 See p. 189.

Arthur and Gorlagon. 187

On the basis of what has been said, it is now possible to recon-
struct, with some degree of positiveness, the conclusion of x, as
follows :

One day, at the court of his father-in-law, the wolf catches sight of
his wife's lover and attacks him furiously. Everybody is surprised,
since the creature has hitherto been as gentle as possiblt. A wise man
remarks that the wolf must have some cause for his enmity. The lover
is threatened (or tortured) and confesses. The king compels his daugh-
ter to give up the talisman and is about to strike the wolf with it in the
presence of the whole household. The wise counsellor suggests that the
disenchantment should take place in private, and the king accordingly
takes the wolf into a chamber and restores him to human form. The
lover is put to death, but the lady is spared, and her husband receives her
once more as his wife and returns with her to his own country.

Two details of this reconstruction require to be justified : (i) the
statement that the squire is actually the lady's lover, and (2) the
condonation of the faithless wife.

In M there is nothing said of the relations between the wife and
the person with whom she flees to her father's court. He is simply
a squire who was with Melion at the time of the transformation. As
soon as Melion becomes a wolf and goes in pursuit of the stag, the
lady remarks to the squire: "Let him have his fill of hunting,"
mounts her horse, and rides with the squire to the port, whence she
takes ship for Ireland.^ At Dublin the squire enters the service of
the Irish king, the lady's father, and is acting in that capacity when
the wolf recognizes him and attacks him. G and I, however, make it
clear that he was the lady's lover before the transformation, and this
is confirmed by B (for 0).^ In G the lady is in love with a neighboring

1 La dame dist a I'escuier:
" Or le laissons ass^s chacier."
Montee est, plus ne se targa,
Et I'escuier o lui mena (vv. 191 ff.).

9-

The abruptness of M at this point is highly significant. The lady simply
speaks one line, and the squire goes off with her without a word.

2 In B the lady, on learning her husband's terrible secret, summons a knight
who has long sought her love in vain and promises to accept him if he will assist

i88 G. L. Kittredge.

prince, for whose sake she is glad to be rid of her husband. In I
the lady's lover is a strange figure. He is a wild man whom her
husband has found in the woods and whom he has taken into his
service. The husband discovers the guilty pair together.^ The
transformation follows, and the lady returns to her father's court,
taking her lover with her, as in M.

We are now able to answer a question which has so far been
ignored, but which must already have occurred to the reader : How
was the transformation to wolf form motivated in x ? In B no moti-
vation is necessary : the Bisclavret becomes a werewolf by his very
nature; his wife is horror-struck by the secret which she has wrung
from him, and summons a rejected lover to her aid. In x the hero.

her by getting possession of the Bisclavret's clothes and thus preventing him from
leaving his wolfish form. This looks like a slight change made by Marie under
the influence of the institution of chivalric love. It is quite in accordance with
popular story that the lady should turn for aid to one of her husband's squires
or servants and should promise him her love, or her hand, as a reward. We may
compare the Lombard saga of Rosemunda (Paulus Diaconus, ii, 28), to say
nothing of the countless tales in which a queen is accused of loving a servant,
a beggar, a leper, etc. (see next note).

1 The lover occurs in most Irish versions (KLiH0'FCiC2) but not, of course, in
S, which has substituted a stepmother for the wife. In K and Li he is a wild man
whom the husband has caught and made a servant of. In Ci he is a cripple who
has lived at the hero's castle for years. In K he appears to be beautiful but near
the end is compelled to resume his true form — that of a humpback (see below).
In C2 he is a " dark tall man." In H he is a dark man of the wife's country who
has put her under a spell. In O'F, which has been more or less vulgarized, he is
the swineherd. In KL1C1C2 the husband discovers the pair together.

The cripple or humpback (KCi) is certainly to be ascribed to modern sophis-
tication of I, brought about by the influence of a large class of stories in which
a woman loves (or is accused of loving) <t cripple, a mutilated man, a leper,
etc. See especially the Oriental story How a Woman Rewards Lovi (see p. 251,
note 2); cf. Natesa Sastri, Dravidian Nights Entertainments, pp. 279 ff.; Katha-
saritsdgara, chap. 64 (Tawney, II, 97-98) ; the ballad of Sir Aldingar (Child,
no. 59, II, 33 ff., with the editor's remarks). The Oriental tale of the woman
who fell in love with a cripple or deformed man who had a peculiarly sweet
voice (see especially Benfey, Pant., Einl., I, 441-442 ; cf. the fairy man's singing
or horn-blowing in Child, I, 22 ff.) has made its way to Ireland, as may be seen
from Kennedy, pp. 74 ff. (a version of the Perilous Princess in which a deformed
bard replaces the giant or other monstrous lover: see p. 250, below).

Arthur and Gorlagon. 189

as we have seen, does not suffer a periodical change of form ; he
merely possesses a congenital talisman, which is capable, in the
hands of another, of working the transformation. His wife gets
the secret out of him, and transforms him. Why? The answer is
suggested by G and I (assisted by comparison with B) : She has a
lover whose society she wishes to enjoy without molestation. The
author of M has cut out this motive, which he found in his original
(x), and has substituted the curious incident of Melion's stag-chase,
which he found as a mere detail at a subsequent point of the story
{where it is preserved by G).' The operation has left a scar : M
neither gives nor suggests any explanation of the lady's act in desert-
ing her husband and fleeing to Ireland with the squire, or of the
squire's treachery in consenting to betray his master.

We may now take an important step under the guidance of I
(assisted in part by other features of M). In x, as we have seen,
the lady is ^ fie, a visitor from the Other World (MI"). Clearly
her lover has followed her from the same region. The wild man of
I was manifestly the lover (or husband) of the lady in the Other
World, whom she has forsaken for a mortal and who has pursued
her. He wins her again and takes her with him to the land of
faerie. Incidentally, her mortal husband is transformed into a wolf
to prevent his following. Yet, in spite of all, he makes his way to
the Other World and wins back his fairy wife, whom he receives
again on the old terms. These considerations put a new face on
the condonation of the faithless wife. The incident might seem
unnatural if she were a mere woman,' but fies are not subject to the
laws of human society. The mortal husband regularly loses his
fairy wife and has a hard time to recover her. If his quest is suc-
cessful, he never searches too curiously into her conduct during her
absence. He is satisfied to win her back. Her temporary reunion

' See p. 182.

^ Though M does not state this in plain terms, perhaps from misapprehension,
it still affords abundant evidence on the subject.

5 Though not necessarily so, as romance and observation alike instruct us.
Many of the runaway wives of romantic story, however, are daughters of the
gods, — perhaps most of them, — enough, at all events, to raise the present con-
tention to a high pitch of probability.

190 G. L. Kittredge.

with her heavenly lover leaves no stain, or, at all events, is no bar
to her joyful reception by the happy mortal whom she has honored
with her alliance.

We are now able to see a special significance in one particular
point in M which has hitherto attracted no attention, — the hero's
boast that he would never have wife or amie who had loved another.
The_/?if whom he meets in the wood is clearly aware of this boast '
and professes to fulfil the requirement. Her words are true, so far
as mortals are concerned; but we now see that she has had a lover
nevertheless, — a fairy man, who pursues her into this world. The
misfortunes which come upon the hero are of the nature of a rebuke
to his pride. The reason why the author of M has suppressed
the fact that the squire with whom the lady fled was an old flame
becomes immediately evident. He did not understand fairy ethics,,
and the delicious irony of the situation seemed to him a flat contra-
diction. Accordingly he reduced the lover to the rank of an acci-
dental supernumerary and left the lady's conduct in abandoning her
husband quite unmotivated.

The vicissitudes of the lady's love affairs in x may be compared
with one of the most famous of ancient Irish stories, — The Wooing
of Etain, which is preserved in a manuscript of about 1 100 and is well
known to be centuries older than that date. Etain was 2^ fie and the
wife of the fairy prince Mider. She was reborn as a mortal and
married King Eochaid Airem of Ireland. Mider endeavored to-
recover her and finally succeeded in carrying her off to his Other-
World abode. King Eochaid pursued her thither and won her back
again. The parallel between x and the Tochmarc Etaine in the
general outline of the saga is too obvious to need emphasis.^

1 The author does not tell us how. If she is a mortal (as M makes her out),,
this is a question to be asked ; if she is a fie, however, no explanation is needed.

2 In Arthurian romance we have the abduction of Guinevere by a person
(clearly of supernatural antecedents) who claims to have been her lover or hus-
band in former days, and her recovery by Arthur or one of his knights. The
Arthurian legend has lost much of the supernaturalism which it once must have
had and which the Wooing of Etain still keeps in its entirety, but its general
character is still recognizable. For the abduction of Guinevere, see Vita Gildae ;
Ulrich von Zatzikhoven, Lanzelet ; Chretien, Chevalier de la Charrete ; Heinrich.

Arthur and Gorlagon. 191

But the resemblance between M and the Tochmarc Etaine is not
confined to the general outline. There is a very striking parallel
between the introductory incident in M and a particular passage in
the ancient Irish tale. To appreciate this parallel we must under-
take a somewhat closer study of the first part of M than we have yet
made.

Melion is a bacheler of Arthur's court. He makes a vow which
has disastrous consequences :

II dist ja n'ameroit pucele,

Que tant seroit gentil ne bele,

Qui nul autre home '^ eiist am^,

Ne qui de nul eiist parM (w. 19 ff.).^

His vow is widely reported, and he becomes an object of bitter hatred
to the maidens of the court.

Celes qui es canbres estoient

Et qui la roine servoient,

Dent il en i ot plus de cent,

En ont tenu un parlement :

Dient jamais ne I'ameront,

N'encontre lui ne parleront.

Dame nel voloit regarder,

Ne damoisele a lui parler (vv. 29 ff.).

Melion is much distressed. He abandons the quest of adventures
and takes no heed to arms. To cheer him up, King Arthur gives
him a fief, — a castle on the coast, — with a great forest. Melion
takes up his residence there with a hundred knights, and has much
pleasure in hunting.

If we leave out the Arthurian paraphernalia (and the machinery of
•courtly love), which were no part of x,' we shall at once recognize the
startling likeness of the situation to that in the Tochmarc Etaine.

von dem Tiirlin, Krdne ; cf. Arthur and Cornwall (Child, Ballads, no. 30, I,
274 ff.) ; see Paris, Rom., X, 471 ff . ; XII, 459 ff . ; Rhys, Arthurian Legend,
pp. 49 ff. ; Foerster, Karrenritter, pp. xx ff. ; Miss Weston, Legend of Sir Gawain,
pp. 67 ff., and Legend of Sir Lancelot, pp. 40 ff.

1 Both MSS. have que and home ; Horak reads hom. Cf. also vv. m ff.

2 So the older MS. (with que for qui). Horak reads (with the Turin MS.) :
■"Ne de qui nus eiist parle." ^ See p. 181.

192 G. L. Kittredge.

Eochaid, king of Erin, appointed a great feast in the first year of his
reign ; but the men of Erin refused to attend it, since he had no queen>
Then Eochaid sent his messengers throughout Erin to seek for him the
most beautiful woman among the maidens of Erin. Also he declared that
he would marry no wovian whom any 07ie of the vien of Erin had known,
before him?

The resemblance between Melion's vow and Eochaid's needs no
emphasis. The one might almost be a translation of the other.
But the parallel does not stop here.

One day, while hunting in the woods, Melion sees a maiden riding towards
him. She is richly dressed and of surpassing beauty. He salutes her and
asks her of what kindred she is and what brings her thither ;

Dites inoi dont vos estes nee

Et que ici vos a menee (vv. 103-104).

Compare the Tochmarc Elaine :

King Eochaid's messengers traverse all Erin until they learn of a maiden,
who is a fitting match for him.^ They return to Tara with their report,

' Of course the king was disgraced by this refusal, as Melion was by the
ladies' sending him to Coventry.

^ The original may be added on account of the significance of the passage :
•' Al asbert, ni biad ina farrad acht ben nad fesser nech do feraib hErend riam "
(Lebor na h-Uidre, Windisch, Irische Texte, I, 119). The version in Egerton MS.
1782 (Windisch, ibid^ has the same requirements, but includes also the proviso
that the woman shall be Eochaid's equal "in form and beauty and family."
The version prefixed to the Togail Bruidne Da. Derga (Stokes, Revue Celtique,
XXII, 13 £f.) omits Eochaid's feast and his vow, and begins with his meeting with
Etain at Brig Leith. A part of the Tochmarc Etaine is translated by Thurneysen,
Sagen aus dem alien Irland, pp. 77 f£.

3 What follows is not in the Lebor na h-Uidre, which concludes the first epi-
sode of the Tochmarc Etaine with the bald statement (immediately following the
king's declaration, just quoted) : " There was found for him [one], at Inbir
Chichmaine, namely, Etain, daughter of Etar, and Eochaid took her home then,
and she was a match for him in shape and form and family,'' etc. (Windisch, I,
119). It then proceeds directly to the love of Ailill for the queen. The details
of Eochaid's meeting with Etain are preserved not only in Egerton MS. 17S2
(edited by Windisch, Irische Texte, I, 113 ff.), but in three manuscripts of The
Destruction of Di Derga' s Hostel (Togail Bruidne D& Derga), including the Yello-M
Book of Lecan (see the edition and translation of Stokes, Revue Celtique, XXII,

Arthur and Gorlagon. 193

and the king sets out to win lier. He finds the damsel at Brig Leith, on
the margin of a spring. Her beauty and the splendor of her attire are
described in florid language. The king accosts her with these words :
" Whence art thou, maiden, and whence comest thou ? " '

Let us return to M for a moment :

Cele respont: "J el vos dirai,

Que ja de mot ne mentirai.

Je sui ass& de haut parage,

Et nde de gentil lignage ;

D'Yrlande sui a vos venue ;

Sachids que je sui mout vo drue;

Onques home fors vos n'amai,

Ne jamais plus n'en amerai.

Forment vos ai 01 loer;

Onques ne voloie altre amer

Fors vos tot seul, ne jamais jor

Vers nul autre n'avrai amor '' (vv. 105 £E.).

Melion takes the lady with him to his castle and marries her.
Again we must compare the Wooing of Etain :

" It is not hard [to reply to thy question]," the maiden answers. " I
am Etain, daughter of the king of the horsemen, from the side [i.e. the
fairy folk]." " Shall I lie with thee now ? " asks Eochaid. " For that have
I come here into thy protection," says the maid. " It is twenty years since
I was bom in the sid\\.e.. fairy hill], and men of the sid, both kings and
fair men, a- wooing me, and no man of them has known me, because I have
loved thee and set affection and desire upon thee since I was a child and
capable of speech, on account of thy fame and thy glory ; and I have never
seen thee before this time, and I recognized thee immediately by thy

9 ff.). Though Egerton 1 782 and the Dd Derga manuscripts are later than the Lebor
na h-Uidre, there is no doubt that they afford us a very old version. According
to Stokes, the Yellow Book "preserves some Old-Irish forms which have been
modernised in the elder copy" (i.e. in the Lebor na h-Uidre). The Lebor na
h-Uidre copy seems to have been condensed at this point. Compare the relation
between the longer and the shorter version of The Wooing of Emer (Tochmarc
Entire) : K. Meyer, Archaological Review, I, 68 ff., etc. ; id., Revue Celtique, XI,
442 ff. ; Hull, Cuchullin Saga, pp. ^5 ff.

1 " ' Can deit iarum a ingen,' ar Eochaid, ' ocus can dollot ? ' " (Irische Texte,
I, 120, 1. 16); cf. Revue Celtique, XXII, 16-17.

194 G. L. Kittredge.

description, and it is thou to whom I have come." The king promises
. to forsake all other women and have her for his sole wife, and she goes
to Tara with him, where she is warmly welcomed and the feast takes
place.^

The parallels just given sufficiently justify the conjecture (p. 176)
that X contained a passage corresponding to the introductory inci-
dent in M and including the rash vow of the hero," his meeting with

1 Irische Texte, I, 120; Stokes, Revue Celtique, XXII, 16-17 (except the last
sentence).

" King Adier, in a curious little poem (midway between romance and ballad)
found only in the Percy MS. (Hales and Furnivall, II, 296 ff.), declares:

There were not that woman this day aliue,

I kept [i.e. should care\ to bee my wedded wiffe,

Without she [MS. the\ were as white as any milke

Or as soft as any silke,

And the(y) royall rich wine ran downe her brest bone,

And lord! shee were and a leal [MS. leatK\ maiden (w. 5 if.).

He is informed that King Estmere has such a paragon, and proceeds to win her,
against heavy odds. The story, as Professor Child has noted (Ballads, II, 50),
is that of Hugdietrich in the Heldenbuch (von der Hagen, 1855, 1, 169 ff. ; Amelung
and Janicke, I, 167 ft.), and there is some relation between Kinge Adler (as the
romance is called in the manuscript) and the superb ballad of King Estmere
(Child, no. 60, II, 49 ff.). The impossible tasks in King Adler are like those
which adventurers must undertake in mdrchen (and elsewhere) to win the
daughters of supernatural beings.

It seems to be the rule that mortals who make vows of this kind -mnfees, and
sometimes have trouble with them. See, for example, Richard Coer de Lion,
vv. 43 ff. (Weber, Metrical Romances, II, 5 ff.), with regard to the demon wife of
Henry II (and cf. Child, Ballads, IV, 463).

I take this opportunity of comparing Richard's eccentric method of killing the
lion {Richard Coer de Lion, vv. 1063 ff., Weber, II, 43-44) with that followed by
Cuchulinn in disposing of the sea-monster in the Fled Bricrend (§ 86, Irische Texte,
I, 298; Henderson, pp. 106-107) and of Conall's hound Conbel in the Aided
Guill ocus Aided Gairb, 40 (edited and translated from the Book of Leinster by
Stokes, Revue Celtique, XIV, 422-3; cf. also The Pursuit after Diarmuid, ed.
O'Grady, Ossianic Soc. Trans., Ill, 102-103). The incident, as well as the account
of King Henry's demon wife, occurs in a part of the poem which is foreign to the
Auchinleck text and which Paris thinks has no French source {Rom., IX, 54^ ff ■
XXVI, 356-7, note 3).

Arthur and Gorlagon. 195

they?!?, and a conversation between them much like that preserved
in M. Thus these parallels enable us to supply certain signifi-
cant details in our reconstruction of x, the common source of M
and y (GI).

The resemblance between the general outline of x and that of the
Tochmarc Etaine, as well as the particular correspondences which
present themselves in so remarkable a manner, suggests the next
step in our investigation and enables us to take it with a feeling
of security. We are now in a position to understand the make-up
of X, the source of all our versions except B. It was manifestly a
complex tale. In its main outlines, it was a fairy mistress story
of the type exemplified in ancient Irish literature by the Wooing of
Stain. A fie abandons the Other World and marries a mortal.
Her fairy lover or husband follows her and takes her back with
him. Her mortal husband visits the Other World and recovers his
wife. Into a story of this type has been worked an anecdote of
an entirely different character, — The Werewolf's Tale proper. In
this the hero was a born werewolf, forced by his very nature to
spend a definite portion of his life in the shape of a wolf. His
wife induced him to disclose his secret, and, with the help of her
lover (or of a rejected suitor whom she promised to reward with
her hand), forced the hero to retain his wolfish shape for a long
time. At last, however, he took refuge with a certain king, who
disenchanted him. The faithless wife was discarded, and her lover
was punished.

The result of combining these two stories has been to disguise
somewhat the original plot of the former ; yet we can still recognize
the character of that plot in two versions of the composite story, — the
" Breton lay " of Melion (M), and the mdrchen I, still current through-
out a large part of Ireland and well known, until recently, in the
Scottish Highlands.

Where did this amalgamation take place ? The almost inevitable
answer is, — in Ireland. There, and nowhere else, the composite
in question is still thoroughly at home and in active circulation as a
folk-tale. There, too, we find the Tochmarc Etaine, with its startling
correspondences to the Lai de Melion, preserved (in part) in a manu-
script of about 1 1 00 (nearly a century earlier than Marie's time), and

196 G. L. Kittredge.

antedating by two or three hundred years the manuscript that con-
tains it.* We need not hesitate, then, in pronouncing for Irish as the
language of x, and for Ireland as the country in which that version
originated. This Irish x was not a mere floating folk-tale, in all prob-
ability ; it was a pretty definite piece of literary work (oral or written),
composed at a time considerably antecedent to the earliest French ver-
sions of Arthurian romances. We should never forget that the Irish
legends which we know from the Lebor na h-Uidre (c. iioo), and
others of similar character, are simply the debris of a great literature,
often betraying centuries of redaction by the form in which we find
them at that early time. Fixation by literary means is a sufficient

1 The Tochmarc Etaine is not cited as one of the sources of our tale, but
merely as an extant and very early example of a type of Irish saga to which that
tale owes its outline (exclusive of the werewolf material) and <i number of its
details. At the same time, in view of the surprising correspondences which we
have just been studying, one cannot deny the possibility that x may actually go
back to the Tochmarc Etaine for some of its material. The Tochmarc Etaine
was one of the most famous of Irish tales. We are expressly informed that
Etain's beauty was a proverbial standard of comparison (Irische Texte, I, 120;
Revue Celtiqtie, XXII, 15-16). In one version of the burlesque Vision of Mac
Conglinne, a wise cleric has the Tain Bo Cuailgne and the Bruiden Da Derga in
his right shoe and the Tochmarc Etaine and the Tochmarc Entire in his left
(ed. Meyer, p. 152). It was one of theprimscila or " stories of capital importance "
that every good poet was expected to know, according to the list in the Book of
Leinster (R. I. A. facsimile, p. 189, col. 3, 1. 11 ; cf. O'Curry, Manuscript Materials,
pp. 243, 584 ff.). Undoubtedly it would have been famihar to any Irish min-
strel or raconteur who was enterprising enough to seek his fortune in a foreign
land. With this in view, I ventured to suggest, some fifteen years ago, that the
non-classical elements in the Middle Eiiglish Orfeo might conceivably be derived
from the Tochmarc Etaine (Amer. Journ. of Phil., VII, 176 ff.). On this sugges-
tion (which was made very guardedly, as I should still wish to make it), cf. Brandl,
Paul's Grundriss, II, 630; Bugge, Arkiv for Nordisk Filologi, VII, 108; Hertz,
Spielmannsbuch, 2d ed., pp. 361-362. An Irishman, it should be remembered, is
described in the Lai de I 'Espine as playing the Lai d'Orphee on a rote at the court
of a king of Brittany (vv. 176-181, ed. Roquefort, Poesies de Marie, I, 556; ed.
Zenker, Ztsch.f rom. Phil., XVII, 246), and the English Orfeo professes to be a
"lay of the Britons." (Cf. p. 197, note 2.) On the Tochmarc Etaine, see (besides
Stokes, Revue Celtique, XXII, 1 1 ff.), O'Curry, Manners, and Customs, II, 192 ff..
Ill, 189 ff. ; Zimmer, Kuhn's Ztsch., XXVIII, 585 ft. ; d'Arbois, Cours, II, 311 ff. ;
Nettlau, Revue Celtique, XII, 229 ff.; Nutt, Voyage of Bran, I, 175 ff.; II, 47 ff.,
54 ff. ; Rh;^s, Arthurian Legend, chap. ii.

Arthur and Gorlagon, 197

explanation for the close correspondence in detail which we have
found among the different versions of our story.

The simple Werewolf's Tale, uncombined with the story of a fairy
mistress and her alternate loss and recovery, doubtless passed from
Ireland into Brittany at an early date.* There it became localized
and attached to itself specifically Armorican features (in particular
the anecdote of the noseless ladies^), without, however, losing its
substantial integrity. It was made the subject of a Breton lay, and
is preserved to us in Marie's Bisclavret, which niust be accepted as
a faithful rendering of the Breton version. Marie's translation was
made in England, about 1180, for the entertainment of the English
court.

The Irish x (a combination of a fairy mistress story with The Were-
wolf's Tale proper) also made its way into Brittany, became the sub-
ject of a lai, and was rendered into French by an anonymous poet,
who attached it to the Arthurian cycle. The result of his efforts is
the Lai de Melton, which preserves, in its remarkable resemblances
to the Tochmarc Etaine, convincing evidence of its ultimate deriva-
tion from an Irish source. That the story should have passed from
Ireland in both a combined and an uncombined form at different
times (not necessarily very far apart) is nothing extraordinary. We

^ Probably through Wales, since that country was the natural medium for such
communication. It is possible, however, that the tale was carried from Ireland
to Brittany by some Irish minstrel or story-teller (compare what is said of the
Lai d'Orphie, p. 196, note i).

2 See p. 174. It may be held that the anecdote of biting off the nose is not
Armorican in origin and that the explanation suggested at p. 174 {^e. pourquoi) is
whimsical. This objection, if admitted, will not particularly affect the argument.
It may still be maintained that the anecdote was added after the Irish x had
reached Armorica, even if the anecdote itself be regarded as of Oriental origin.
Breton lays were under no greater obligation to refuse foreign matter than other
mediaeval fictions were. Marie's Dous Amam is in some way related to a Persian
tale (Ztsch. d. Deutschen Morgenl. Geselhch., XVI, 527, cited by Liebrecht, Zur
Volkskunde, p. 108; see Kohler, in Warnke, 2d ed., p. cxxii; on the story, cf. the
very learned study of Laistner, Rdtsel der Sphinx, I, 272 ff.). The Lai d'Orphee
should also be remembered (see p. 196, note 1). Dr. Schofield has argued power-
fully for the view that Chaucer's Franklin's Tale (which professes to be a lay of
the " olde gentil Britouns ") is founded on a Celtic story that had been affected by
Eastern tales (Publ. Mod. Lang. Assoc, of America, XVI, 405 ff.).

198 G. L. Kittredge.

have duplicate lais in three other instances : Marie's Lanval and the
anonymous Graeknt'^ ; Marie's Milun and the anonymous Doon^ \
Renaut's Jgnaure and the lost Guiron described in Thomas's Tristan?
Our extant text of the Lai de Melion is in the Picard dialect and is
found in two manuscripts.* Neither of these presents a perfect text,
and the Picard version may therefore be put back some time. Prob-
ably it is not much later than Marie herself.' It is impossible to say
whether the Picard poet made his translation directly from the Breton
or whether he worked over an earlier French (Norman ?) rendering.
The considerable differences between M and its source x may perhaps
favor the latter hypothesis.

The passage of x into Brittany naturally had no effect on its con-
tinued existence in Ireland, where, indeed, it has survived in full
vigor to the present day. The Irish x developed considerably in its
native land (unattached, of course, to the Arthurian cycle) and
assumed the form y, still in the Irish language. In y the story of
X was complicated by being set in a frame : the Werewolf is made to
tell his own story to a qtiester who is under bonds to learn it. This
y, like x, was a prose tale, which may have developed at a very early
date, even before the passage of x into Brittany." It is the source

1 See particularly Schofield, Puhl. of the Mod. Lang. Assoc, XV, 121 ff. ; XVI,
423-424.

" See Wamke, Marie de France u. die anonymen Lais, pp. 22-23 i Kohler, in
Warnke's Lais de Marie, 2d ed., pp. cxxxiii ff.

8 Michel, Tristan, III, 39; cf. Schofield, Publ., as above, XV, 122 ff.

* Arsenal MS., P. 283, of the last quarter of the thirteenth century, described in
Monmerque and Michel, Lai d'Ignauris, etc., pp. 35 ff.; Turin MS., of the late
fourteenth century, described by Michelant, Meraugis de Portlesguez, pp. 257-258 ;
Friedwagner, Meraugis, pp. xx-xxi; on the Picard dialect, see Horak, Ztsch. f.
rom. Phil., VI, 103 ff.

^ Though Marie wrote her Lais about 1 180, there is no manuscript earlier than
the second half of the thirteenth century. Compare the date of the Arsenal MS.
of Melion. Grober, Grundriss, II, i, 598, refers Melion to the first half of the
thirteenth century.

« For of course the travels of x had nothing whatever to do with the growth of
y. There was nothing to prevent y from developing, and existing side by side
with X for a long time, before x became known outside of Ireland. Indeed, the
development of y may even have preceded the passage of the uncompounded
Irish Werewolf s Tale (the source of B) out of that country. We should be careful

Arthur and Gorlagon. 199

of our Latin version G, now published for the first time. G, however,
is not a translation from Irish, but apparently from the Welsh, as
appears from the names Gorlagon, Gorgol, and GorbeilQ), given in
G to the Werewolf and his two brothers. We must suppose, therefore,
that the Irish y passed into the sister island, where it was rendered
into Welsh. The Welsh version is lost, like a great many other
Welsh tales, but it was translated into Latin, and this Latin text is
preserved to us, by a happy accident, in a single manuscript of the
late fourteenth century. Either the Welsh author, ■'^ or-the translator
to whom we owe the Latin adaptation (G), attached the story to the
Arthurian cycle by making Arthur the quester who is forced to learn
the Werewolf's tale. The attachment is very loose, and has nothing
whatever to do with the Arthurian coloring of M. Its precise charac-
ter and its relation to the frame of y may best be studied later, in
connection with I."

The passage of y into Wales could have no effect on the further
history of that version in Ireland. Here the story has continued to
exist and is not yet extinct among the people, having been taken
down within the past fifty years in at least four different counties, as
well as in the West of Scotland.

One peculiarity of y, as we have seen, which distinguishes it from
X, is the ascription to the Werewolf of an adventure which we may
call The Defence of the Child. This appears, as it should, in G,
though in a considerably modified form and an unusual setting.
Version I expanded this anecdote in a manner quite out of proportion
to the modest place which it occupied in y. The expansion is one
of the peculiarities of I as distinguished from all other versions. Two
other such peculiarities are : (i) the complication of the anecdote

to observe that the actual development of the various versions in Ireland does
not determine the time when they were carried abroad. An older version
could be exported later than a younger one. Chance alone would govern ; for a
younger version need not immediately (or ever, for that matter) crowd an older
out of existence. These facts are commonplaces, but they are too often ignored
by investigators, who sometimes forget that a story, unlike a human traveller, may
be in two places at the same time.

1 The forms Caius and Walwainus (c. 2) would then be due to the Latinizer.

2 See p. 212.

200 G. L. Kittredge.

which frames the tale, and (2) the succession of metamorphoses
through which the hero passes. To these points we shall direct our
attention presently.* Meantime we must revert to G and its Welsh
original.

IV. THE WELSH GORLAGON.

In the preceding chapter we have provisionally inferred, on the
basis of the proper names Gorgol, GorbeilQ), and Gorlogan, that the
immediate source of the Latin G was a Welsh version of y. This
inference must now be scrutinized with some particularity.

In G, Arthur visits successively three brothers, Gorgol, Gorbeil,
and Gorlagon, in his search for knowledge of the " ingenium
mensque feminae." Gorgol is at table when Arthur arrives. He
asks him to dismount and eat, and promises to answer the question
in the morning. Arthur consents, transgressing his vow. When
morning comes, Gorgol declares that he knows nothing about the
problem and sends Arthur to Gorbeil, who tricks him in the same
way and passes him along to Gorlagon. But by this time Arthur is
on his guard ; he refuses to " dismount and eat," and Gorlagon is
obliged to tell the story that the quester demands. Gorlagon inter-
rupts his own narrative with constantly recurring invitations, always
couched in the same terms (" Descende, Arture, et comede," etc.),
but the king is proof against temptation and does not join in the
feast till he has ascertained everything that he wishes to know.

It is to be noted that Arthur sets out from his capital with the
express purpose of visiting Gorgol, from whom he expects the solu-
tion of his problem." Apparently he has never heard of Gorbeil and
Gorlagon. Now we have seen that in the group GI (and therefore
in its source y) there was a quester (not Arthur) who set out to

^ See pp. 213 f£.

2 There is an inconsistency in G. Arthur visits Gorgol because he has often
found him skilled in such problems (" quern in rebus huiusmodi peritum sepis-
sime expertus sum," cap. 3), Yet when he reaches Gorgol's castle, he fails to
recognize it, nor does Gorgol seem to be acquainted with Arthur (" Quis es,"
is his greeting, " et unde ? "). This confusion indicates that the author of G as we
have it (probably the Latinizer) did not understand the identity of the three
mysterious " brothers."

Arthur and Gorlagon. 20 1

learn " the cause of the one story about women." ^ There can be
little doubt that in y the quester was to go to a certain person who
knew that " one story " because he was himself the hero of it. A
trace of this situation may be seen (in G) in Arthur's determination
to go to Gorgol and interrogate him. It is clear, too, that Gorgol
knows the werewolf story, and would have told it if Arthur had not
disregarded his vow and joined in the feast; and so of Gorbeil.
We may safely infer "that Gorgol, Gorbeil, and Gorlagon are but
three manifestations of the same person, ■ — in accordance with a
feature well known in Irish tales." The restored Werewolf is very
loath to tell his story, and deludes the quester by thus meeting him
at three different places and under three different names.'' The
similarity of the names in question supports this hypothesis.

The names Gorgol, Gorbeil, and Gorlagon are peculiar to G. The
form Torleil seems to be corrupt; one expects the name to begin
with Gor- like the others. In the part of the manuscript written in
the first hand, this name occurs six times on p. 56 and always begins
with a capital. It is spelled Torleil three times, Torbeil once, Torliel
once, and finally — the last time it occurs, we actually find it as
Gorliel. The scribe was obviously doubtful or confused. Further,
the first, second, and fourth times, the initial T is not made in the
scribe's ordinary manner, but is a capital G changed into a. T hy
means of a stroke over the top. In the part of the manuscript written
in the second hand, the name occurs but once (cap. 23) and is written
gorleil. We have good reason, then, since we know that the manu-
script is a copy, not an autograph, for regarding the proper form of the
second brother's name as Gorleil, Gorliel, or Gorbeil, though we can-
not be quite certain of the second syllable.

1 So in I. The vaguer quest (to learn the " ingenium mensque feminae ")
is less in the popular vein and shows a fading of the older motive, though the
identity of the two is an inevitable inference.

2 See A. C. L. Brown, Twain, pp. loi ff., above.

^ The sending-on of an adventurer from one person to another is common
enough in folk-tales. So is the existence of a succession of brothers, commonly
three, each of whom must be visited. So also is the succession old, older, oldest
(typically, however, of son, father, and grandfather). But these facts do not
make against the identity here suggested.

202 G. L. Kittredge.

These three names in Gor- are certainly not Irish. One of them,
however, is immediately recognizable as a well-established Welsh-
Breton name. In Welsh we have in charters : "G^wrw^/ sacerdos filius
Merchion " {Liber Landavensis, p. 162 ^), " Guorguol filius Clemuis "
(id., p. 164), Gurguol (p. 166), and Gurgal (p. 167). In Breton,
Uuruual and Uurgual occur in ninth-century charters (Redon Car-
tulary).^ This uur- later becomes gur-, ' so that Gurgual would be
a perfectly good Breton form. In the first syllable of this Welsh-
Breton name, we have doubtless the stem vera- (Latin vir, Goth.
wair, A.S. wer), "man" (modern Welsh ,gwr).* The second part of
the compound {-uual, -guaP) is very uncertain. It is common in
Old Breton names.' Rh^s has suggested that it is cognate with
the Germanic wolf.^ He equates the Welsh Catgual with Hatho-
wulf^ the Welsh Tutgual {Tudwal) with Theudulf,^ and the Welsh

1 Ed. Evans and Rhys. The Book of Llan Ddv is in various hands, but the
portion that here concerns us is the oldest part of the manuscript and dates from
c. 1 1 50. The charters, however, are copies of much older originals.

2 Loth, Chrestomathie Bretonne, I, 171, 180, cf. 207. The name occurs as
follows in De Courson's edition of the Cartulary: Uuruual, pp. 168 (no. 218),
171 (no. 221, misprinted Uruual), 173 (no. 224) ; Uurgual, p. 78 (no. 104).

^ See Loth, Chrestomathie, I, 210-211.

* Modem Breton gour ; Cornish gor, gour ; Irish fer. Confusion with the
Celtic prefix ver- (Breton uuor-, uur-, gur- ; Welsh gor- ; Irish for-) has occurred
in some names (Loth, I, 178, note 3).

^ De Courson, Cartulaire de VAbbaye de Redon, indexes; Loth, I, 171, 207.
Note the Latin genitives CVNOVALI, CLOTUAUI (cf. Breton Conuual, Clutuual, Loth,
I, 171) in inscriptions found in Cornwall (Archaologia Cambrensis, 5th Ser.,
XII, 55).

« Lectures on Welsh Philology, 2d ed., 1879, PP- 379> 4o6. Loth (Chrestomathie,
I, 171, note 2) speaks respectfully of Rhjs's theory, but in Revue Celtique, XV.
224, suggests an etymology of his own. He regards Breton -uualart, Welsh
■waladr (in Cat-uualart, Cat-waladr, etc.) as cognate with Old Norse Valfa&ir,
a name of Odin, and as coming from a form *valii-{p)atir. This would make
-uual cognate with the Germanic *walu- (O.H.G. wal, seen in Ger. wahlstatt ;
A.S. ivcel ; O.N. valr, val-kyrjd). Stokes (Bezzenberger's Beitr., XXIII, 41)
mentions Loth's equation of -uualart and Valfa&ir, but without committing him-
self. It is impossible, however, to attach any weight to Loth's etymology. It
is altogether improbable that the Scandinavian Valfa&ir is old enough to be
cognate with the Celtic -waladr, and there are other difficulties.

' Fbrstemann, 2d ed., col. 799. 8 ij^ jqI 1453.

Arthur and Gorlagoti. 203

Gurgjwl ^ith Waraidf} These correspondences ^ make out a strong
case, in the lack of any other satisfactory explanation. If Rh^s's
etymology of uual (jguaT) is correct, the name Gorgol in our Latin
text not only means " werewolf " but is etymologically identical with
that word.' If it is not correct, we are face to face with an amazing
coincidence : more than twenty years ago, on linguistic grounds alone,
Professor Rh^s equated Gurgual with werewolf, and now the name
turns up as that of an actual werewolf (or his brother) in the Latin
text which we are studying.*

Let us turn to Gorlagon.^ This word occurs also in the prose
Perceval, in the forms Gorgalan, Gurgalain, etc.,' as the name of a
heathen king of " Albania." Its etymology is not beyond conjecture.

1 Id., col. 1537.

2 Rhys also equates the Welsh Budgual [Breton Butgual'\ with Botolf, but
this is an error. Botolf, Badulf (Forstemann, col. 230) are from O.H.G. badu-,
A.S. beadu, " battle," which is not cognate with Breton but-, bud-, Irish buaid,
" victory." On Butgual, cf. Zimmer, Ztsch. f. franz. Sprache, XIII, 51. In sense,
however, Butuual (-gual) may be compared with A.S. Sigewulf.

' On werewolf as " man-wolf," see the decisive remarks of Mogk and Napier
(Paul and Branne's Beitrdge, XXI, 575-576; XXIII, 571 ff.) in reply to Kogel
(Paul's Grundriss, ist ed., I, 1017, note).

* No one, it is to be hoped, will maintain that Gorgol is a corruption of Garulf
which Marie gives as the Norman equivalent of bisclavret (" Garulf [var. garwal'\
I'apelent li Normun "). This would doubtless be maintained by any one who
wished to derive G from Marie's lay. Such a theorist, however, would have to
account not only for G, but for M and I ; for it has been proved, beyond cavil,
that G and I have a common source (y) and that y and M have a common source
(x). In other words, the theorist in question would have to derive x from B.
This hypothesis would encounter many difficulties, already pointed out in the course
of the argument, and finaily, it would force its upholder to explain why Gorgol
occurs (or something that may certainly be identified with it) as the name of
certain actual Welshmen in the twelfth century and of actual Bretons in the
eighth and ninth. To be sure, Gorgol shows some similarity to Garulf, but that
is not strange if Rh^s's theory of the Welsh name Gurguol as = werewolf is cor-
rect, iox garulf is the Germanic wariwulf.

5 The MS. has both Gorlagon and Gorlogan, and Gorlogam occurs once (c. 23).

« Gurgalanz (Potvin, p. 65), Gurgalain (p. 72), Gorgalan (pp. 73, 74), Gorga-
ranz (p. 74). The episode is curious. Gorgalan has the sword with which John
the Baptist was beheaded. Many have sought to win it of him, but nobody has
ever returned. Gawain essays the quest at a favorable moment, when Gorgalan's

204 ^- ^- Kittredge.

Side by side with Breton -uual {-gual), which does not occur out
of composition, we have the form Uuallon, which is found a good
many times in the Redon Cartulary both as a proper name by itself ^
and as the second part of compound proper names. It corresponds
exactly to the Welsh -guallaun. We may cite the following pairs '^ :

Breton

Welsh

Cat-uuallon

Cat-gual

Cat-guallaun

Drid-uual

Drid-uallon

Dum-uual

Dum-uallon

Dum-gual

Dun-guallaun

larn-uual

larn-uallon

lud-uual

lud-uallon

lud-gual '

lud-guallaun

lun-uual

lun-uallon

Tut-uual

Tut-uallon

Tuta-gual (Tut-

wal)

Clearly uuallon (Welsh -guallaun) is a derivative of -uual (Welsh
-gual), probably with the adjective suffix -Ion (Welsh -laun)^ or, at all
events, uuallon was early associated with -uual in the Welsh-Breton
etymological consciousness, and names in -uallon (^-guallaun) were

son has been carried off by a giant. Gawain recovers the son's body, which is then
cooked by the king and eaten by his men. The grateful heathen gives Gawain
the sword and receives baptism. Evidently something pretty savage has been
imperfectly toned down. I do not know of the name elsewhere in French.
Gorgalians (nom.), the name of a brother of Julien li Gros (prose Perceval, ed.
Potvin, p. 3) is perhaps a different word. Gargeolain is the name of Ruvalen's
amie in an intensely Celtic episode in the prose Tristan of MS. Bibl. Nat.fr. 103.
But this is still another name. Eilhart, who draws from the same source (Beroul)
as MS. 103, calls the lady Garidle. See Bedier's edition of a long passage from
the manuscript, Romania, XV, 496 ff. (especially p. 484). I cannot refrain from
comparing Tristan's Sport with the rushes in this episode with Cuchulinn's needle-
feat in the Fled Bricrend, 65 (Windisch, I, 286-287 i Henderson, p. 82).

1 See De Courson's index, and cf. Loth, Chrestotnathie, I, 171-172, 207-208.
There is also a name Uuallonic.

2 The Breton forms are from the Redon Cartulary (see De Courson's index,
and cf. Loth, I, 171-172) ; the Welsh forms are from the genealogies in MS. Harl.
3859 (end of nth or beginning of 12th century), thought to have been collected in
the loth century, ed. Phillimore, Cymmrodor, IX, 169 ff. (see Anscombe's index,
Archiv f. Celtische Lexicographie, I, 187 ff.), or from charters in ^& Book of Llan
Ddv, ed. Evans and Rhys. ^ Cf. Loth, Revue Celtique, XI, 145.

* See, however, Gliick, Die bet Caesar vorkommenden Keltischen Namen,
pp. 49, 164-5, '78 ff-; cf. Kossina, Idg. Forsch., II, 181.

Arthur and Gorlagon. 205

freely formed from those in -ual {-gual). Nothing hinders us, there-
fore, from adding to the pairs already cited :

Breton : — Uur-uual, U ur-gual : * Uur-uallon.

Welsh : — Gurgal, Guorguol, Guruol, Gurguol : * Gur-guallaun.

Thus the Gorlagon {Gorlogati) of our version G appears to be an
easy metathesis for *Gorgolan, corresponding to the Gorgalan of
the prose Perceval and to a lost Welsh * Gurguallaun. And if Gorgol
means "werewolf," Gorlagon (*Gorgolari) means practically the same
thing.

The other name Gorbeil, Gorleil, or Gorliel has so uncertain a form
that it is idle to dogmatize about it. The second syllable, -beil, is con-
ceivably a corruption of Welsh Beli (Breton Bili, -bili, -uuili), in
•which case Gorbeil may be compared with the Breton name Uuor-
uili (Guor-uili, Uur-uili)} Another possibility is that we have in
the second syllable {-beil?) a corruption of the Welsh bela {bald),
■" wolf," " wolf's cub." ^ This would give us " werewolf " as the mean-
ing of Gorbeil as well as of Gorgol and Gorlagon, and the condition
of things would agree exactly with our inference (made on other
grounds than those of etymology) that the " three brothers " of G
•were originally three separate manifestations of one and the same
person. But Gorbeil is a rather dubious reading to operate with,
and the case is good enough without it.

Whether the etymologies suggested for Gorgol, Gorbeil (?), and Gor-
lagon are right or wrong, the names are unquestionably not Irish, and
therefore cannot have stood in y. They are either Welsh or Armori-
can. Between these two languages it is impossible to decide on the
basis of the forms preserved in the Latin G. G is certainly rendered
from a prose text, either Welsh or Breton, which was similar in
style and general character to the " Four Branches " of the Welsh

1 For these names, see De Courson's indexes; Loth, I, no, 178 (cf. 191,
note 2) ; index to Book of Llan Ddv ; Red Book of Hergest, ed. RhJ^s and Evans,
II, index.

2 So defined by Silvan Evans, Dictionary, following Owen Pughe. The word
is rare, however, and its meaning doubtful. Professor Robinson refers me to
Loth's discussion of bala (Archiv f. kelt. Lexicographic, I, 457-458). where " fox "
is suggested.

2o6 G. L. Kittredge.

Mabinogi. No such texts are preserved in Armorican. The passage
from the Irish y to Wales would be a shorter journey than the
passage from y to Brittany ; indeed, the latter itinerary would involve,
in all likelihood, an actual transit through Wales. It is, then, much
easier and more natural to regard the immediate original of the Latin
G as a Welsh than as an Armorican version of the Irish y ; and accord-
ingly I have adopted that hypothesis. It accords with the well-known
influence of Irish literature upon that of Wales.

The Welsh hypothesis may perhaps be strengthened by certain
special considerations. The rationalization of G in one significant
particular has already been mentioned and accounted for. In x the
wife was certainly z. fke and she was not punished for abandoning
her mortal husband. These features were not abandoned by y, as is
shown by their preservation in I. In G, however, the insertion of an
Oriental tale, The Dog and the Lady, has necessitated a complete
change in the lady's nature, — she is no longer a fie, but a mere
woman, conceived after the cynical manner of the East. The inser-
tion of this tale and the consequent rationalization of the story may
be ascribed to the Latin translator, who was doubtless a clerk,* and
therefore likely to be familiar with such material ; The Dog and the
Lady, we should remember, was afterwards made a part of the Gesta
Romanorum,^ a monkish collection of exempla for the use of preach-
ers. In the Welsh text, then, of which G is a translation, the Other-
World character of the lady was probably preserved. With this in
view, it is pleasant to find in the mabinogi of Pwyll Prince of Dyvet a
tale which resembles, in general outline, as well as in some particular
features, the fairy mistress story of x and y. Rhiannon, Pwyll's wife,
is certainly z-fte, and his first interview with her is similar to Melion's
with the (fairy) Princess of Ireland and Eochaid's with Etain of the
side. Pwyll sees Rhiannon as the result of sitting on a marvellous
mound (or seat).' He asks whence she comes, and why, and who
she is. She replies that she has come to seek him, mentions her par-
entage, and adds : '' Je n'ai voulu d'aucun homme, et cela par amour

1 Note his quotation from Catonis Disticha in chap. 14 (see p. 157, above).

^ See p. 247, below.

' Lady Guest, Mabinogion, III, 46; Loth, I, 38 ff.

Arthur and Gorlagon. 207

pour toi, et je ne voudrai jamais de personne, k tnoins que tu ne me
repousses." This is remarkably like the Tochmarc Etaine and the
Lai de Mellon. We may also compare Pwyll's reply with that of
Eochaid : " If I had my choice of all the women and maidens in the
world," says Pwyll, " it is thou that I should choose." '^

Nor does the parallel end here. Pwyll is subsequently deprived of
Rhiannon by Gwawl, an old suitor of hers, but follows her to Gwawl's
abode and wins her back. All these correspondences between the
mabinogi on the one hand and M and the Tochmarc Etaine on the
other, point to such a resemblance between native Welsh fairy-
literature and the Irish story of which y was a version as would have
made the naturalization of y in Wales (according to our hypothesis)
the simplest thing imaginable. Add to all this the fact that the
mabinogi of Pwyll likewise contains the incident of the Hand and
the Child (which, as we have seen,* stood in y, though not in x) and
the hypothesis that favors a Welsh (rather than an Armorican) trans-
lation of y as the immediate source of the Latin G must be admitted
as extremely probable.'

Finally, the resemblance between extant Welsh literature and the
story that we are investigating extends even to some of the werewolf
elements.

In the fourth branch of the Mabinogi {Math, Son of Mathonwy),
Math strikes with his enchanted ring his nephews Gwydyon and Gil-
vaethwy, sons of Don, and transforms them successively into a doe

1 Lady Guest, III, 51 ; Loth, I, 44. With the year's postponement in Pwyll,
cf. Tochmarc Entire, Arch. Rev., I, 304; Haupt's Ztsch., XXXII, 240-241; Hull,
Cuchullin Saga, p. 82.

^ See p. 168 ; cf. pp. 222 ff.

' It might even be contended that the elements in Pwyll which we have been
comparing with x and y are borrowings from Irish (perhaps from y itself). This,
however, is not my opinion (except, perhaps, with reference to the Hand and the
Child). For our immediate purpose, the point is of no moment. The presence in
Welsh literature of these close parallels to the remoter original of G must certainly
give us confidence in choosing between Wales and Armorica as the country in
which the immediate original of G was written, — it being remembered that the
proper names in G (which cannot have stood in the Irish y) point either to Brit-
tany or to Wales. On the resemblance between the story of Rhiannon and the
Tochmarc Etaine, cf. Anwyl, Ztsch. f. celt. Phil., I, 288-289.

2o8 G. L. Kittredge.

and a deer, a boar and a sow, a pair of wolves.^ Each transforma-
tion is accompanied by a speech, in terms practically identical, and
always including the provision that they shall have the instincts of
the animals in question : " Vous aurez les instincts des animaux
dont vous avez la forme " ; " Vous aurez les m^mes instincts que les
pores des bois " ; " Ayez les instincts des animaux dont vous avez la
forme." Compare the formula in Arthur and Gorlagon: " Sis lupus
et habeas sensum lupi " (c. 6). Math restores his nephews to human
form with a stroke of the same magic ring.^

In view of what has been said, the fact that G is a translation or
adaptation from the Welsh can hardly be denied. The lost Welsh
document, if we had it, would prove to be very similar to some of the
tales in the extant mabinogion. It may almost be described as a lost
"branch" of that collection, though actually it was a translation or
adaptation from the Irish, like some things in the extant mabinogion

1 Loth, Mabinogion, I, 132 fl[. On the remark "vous avez eu la grande honte
d'avoir des enfants I'un de I'autre " (1, 134), cf. Lokasenna, sts. 23, 33 ; Helgakvi&a
Hundingshana I, sts. 38, 39 (Bugge) ; Hyndlulj6^ , st. 40 (Bugge) ; Gylfaginning,
c. 42. Observe that the hero consorts with a she-wolf in G and that the pair, and
their two whelps, correspond to the band of wolves in M and in some versions of I
(see p. 180). Probably G here preserves an old incident which has been softened
or suppressed in all other versions. Doubtle.ss it stood not only in y and x but in
the Irish Werewolf's Tale proper (0), the source of B. In B, however, there is no
mention of a band of wolves. This may be taken as further testimony that x is
not derived from B, if more evidence is needed.

Paris has subjected the ignominious punishment inflicted on the enchanter
flliavres by the elder Caradoc to a learned and ingenious examination, with happy
results (Rom., XXVIII, 217, note). He has overlooked, however, the excessively
curious episode in the mabinogi of Math Son of Mathonwy, which furnishes a
striking parallel. In the mabinogi, as in the Perceval, the initial offence is an
intrigue with the prince's favorite or wife. All this may go to support the present
text of the Livre de Caradoc and to vacate Paris's conjecture that the incident has
been transferred from an earlier portion of the poem and shifted from Caradoc
Senior to filiavres. At all events, though no one would think of deriving the
incident in Math from that in the Perceval, or vice versa, the parallel certainly
aids in establishing not only a Celtic but a specifically Welsh source as that from
which the adventures of Caradoc (or some of them) made their way into French,
and so confirms the arguments of Lot (Rom., XXVIII, 578) ; see also Rhys,
Celtic Folklore, II, 689-690, 694 (note to pp. 579-580).

^ There is also a werewolf incident in Kulhwch and Olwen (Loth, I, 266).

Arthur and Gorlagon. 209

themselves.^ Whether the Arthurian elements were added by the
Welsh redactor or by the author of the Latin G cannot be determined,
— very likely by the latter.

The date at which the Welsh version was made cannot be fixed.
If Gorgol means " werewolf," however, the Welsh version must have
arisen before the etymological signification of the term had lapsed
from the Welsh consciousness, since the name was the insertion of
the Welsh redactor. We do not know how early this sense was lost,
but, on the other hand, nothing prevents our putting the Welsh version
pretty far back. The Latin text itself is preserved in a manuscript
of about the age of the Red Book of Hergest.

V. THE FRAME-STORY IN VERSION y.

The most striking distinction between x and y is, as we have
seen, the fact that in y The Werewolf's Tale, which stands by
itself in x (see M and cf. B), is told by the Werewolf, under com-
pulsion, to a quester who is in duty bound to learn it. This
method of introducing a story is not unexampled. It is familiar
to all readers of Irish mdrchen. Nor are instances wanting in
which a tale occurs both without such an introduction (like B
and x) and with it (like y). An excellent example is the favorite
Irish story called The Fairy Palace of the Quicken Trees, This is
found without the frame in no less than fourteen versions.'^ In five

1 See p. 245, below.

2 (i) J. F. Campbell, Revue Celtique, I, 193 ft. ; (2) MacDougall, Folk and
Hero Tales, pp. 56fiE. ; (3) MS. of 1600 in the Advocates' Library, Edinburgh, cited
by MacDougall, p. 270 ; (4) Dunstaffnage MS. of 1603, in' the same, cited ibid.,
p. 271, printed by J. F. Campbell, Leabhar na FHnne, pp. 86 ff., and imperfectly
summarized by the same, Pop. Tales of the West Highlands, II, 187, and fully by
MacDougall, pp. 271 ff.; (5) J. F. Campbell, Fof. Tales, II, 168 ff.; (6) another
MS. in the Advocates' Library, cited by MacDougall, p. 271 ; (7) Joyce, Old Celtic
Romances, pp. 177 ff., from three Irish MSS., of 1733, 1766, 1841 (p. xiv) ;
(8) Curtin, Hero-Tales, ^^. 407 ff. ; (9) J. G. Campbell, The Fians, pp. 233 ff. ;
(10) the same, p. 74 (summarized) ; (11) Curtin, Myths and Folk-Lore, pp. 221 ff. ;
(12) the same, pp. 281 ff.; (13) the same, pp. 292 ff. ; (14) Kennedy, Bardic Stories
of Ireland, pp. 1 16 ff. Cf. also The Chase of Slieve Fuad, Joyce, pp. 362 ff. (and the
poem published by O'Daly, Transactions of the Ossianic Society, VI, 20 if.).

2IO G. L. Kittredge.

versions,^ however, it has precisely the kind of introduction that we
are investigating : a quester is compelled to discover " what has kept
the King of Erin cheerless and laughterless for the last seven years "
(or the like) ; the king objects to telling his story, since it involves
the disclosure of a disagreeable and humiliating experience, but he
yields to force majeure.

The pressure exerted to elicit the story may be physical, or consist
in threats of death or violence. On the other hand, it may assume
a finer form (as in G).^ King Arthur comes upon Gorlagon at table,
but refuses to dismount and join in the feast until he gets the story.'
Gorlagon pauses several times in his narrative to repeat his invita-
tion : " Arture, descende et comede," but to no purpose ; he is forced
to continue. The compulsion is involved in the disgrace that befalls
a host whose hospitality is rejected.* It is a kind of ceremonial
interdict : he must not go on with the banquet till his guest is con-
tent to share it. A striking instance of this method of moral suasion
may be seen in one of Larrainie's West Irish tales ^ : A great feast
has been prepared for Finn by Pampogue, but he declares that " he
will not eat a bit until Pampogue grants him a request." Pampogue
replies that she "will grant any request except to let her husband go
to fight with the Blauheen Bloye," — an expedition which she is sure
will be his death. " Unless you grant me that," says Finn, " I will
not eat any food." " Sooner than you should be without eating, I

1 (15) MacInnes,i'o//5a«(^^^ytf7fl/«, pp. 72-73; {id) Cwxixa, Myths and Folk-
Zore.-pp. 121 ff. ; (17) the same, pp. 256 ff. ; (18) the same, pp. 428 ff . ; (19) the
same, Hero-Tales, pp. 477 ff.

'^ For other instances of extorted stories, see Larminie, pp. 45, 151, 171.

8 For the heroic lengths to which a king might be expected to go when his
hospitality was impugned, see The Destruction of Da Derga's Hostel, cap. 63, ed.
by Stokes, Revue Celtique, XXII, 60, 61.

* The mounted messenger (or the like) riding into the hall and refusing to get
off his horse till his boon is granted is a familiar figure in Arthurian romance.
We should also remember King Arthur's habit of refusing to eat, on a high day,
until some adventure had happened (Child, Ballads, I, 257, note % ; III, 51, and
note §). There is a striking Irish parallel in the shorter Fled Bricrend (from the
Yellow Book o/Z(f<:fl«), Windisch, Irische Texte, II, i, 174, 188: "It is not fitting
to consume this feast of mine without a brave deed of the Ulstermen in return
for it." 6 j^gji /„-j^ Folk-Tales, pp. 76-77.

A rthur and Gorlagon. 211

■will grant even that," replies Pampogue. A stronger instance, or
one more thoroughly Celtic, could hardly be required.'

We may safely infer that in y the compulsion exerted to get the story
from the Werewolf consisted in refusing his hospitality (as in G).^
This accords with the quester's vow not to eat (in G) — and with
the requirement (in I) that he shall not eat twice at the same table
— until he has learned what he wishes to know.

King Arthur's adventures on his way to the abode of Gorlagon have
already been described: he visits successively Gorlagon's younger
brothers, Gorgol and Gorbeil (?), and is cajoled by them both. We
have seen reason to believe that Gorgol, Gorbeil, and Gorlagon are
really one and the same person, — the Werewolf, who, to avoid telling
his story, attempts to delude Arthur by meeting him at three different
times and under three different names, — a device common in Irish
legend (p. 201). In these preliminary adventures, G probably follows
the plot of y,^ though the actual names of the masquerading Werewolf
must first have made their appearance in the Welsh (p. 205). The
similarity of the names may indicate that the Welsh redactor, who is
responsible for them, understood the identity of the three "brothers ";
and if all three of the names (or even two of them) mean "werewolf,"

1 A very curious instance of moral pressure is in Coise CHn (Kiati's Leg),
Maclnnes, pp. 235 ff. Here the hero refuses to allow his broken thigh to be
treated until he has elicited story after story from the would-be healer. " Stretch
forth your leg, Kian, that I may apply to it leaves of herbs and healing. Pressure
and business are upon me ; and I am under the necessity of going to the big
church of Rome to-morrow to listen to joy.'' " I will not stretch forth my leg . . .
until you tell me why . . . ." And so on, time and time again, in this extraordinary
conglomerate of stories. See J. G. Campbell, Superstitions of the Highlands and
Islands of Scotland, p. 132.

2 In I the quester first steals the sword of light and then threatens to kill the
Werewolf with it unless he shall tell the story. The sword of light (as we shall
see presently) was not in y. I, then, has certainly departed from y in its account
of the means which the quester adopts to make the Werewolf answer his question.
In J the Werewolf gives up the sword and tells the story readily enough when the
quester has passed two dragon guards.

3 I here leaves us in the lurch. It has taken in an independent tale, The Sword
of Light (see pp. 2 1 3 ff .), and the combination obscures the original course of the
narrative. Yet even I affords a trace of the situation in y : in KJ, the Werewolf
is the brother of the quester's father-in-law and of the challenger.

212 G. L. Kittredge.

there can be no doubt that he comprehended the situation perfectly.
The Latin translator, however, failed to grasp the device. He took
the three " brothers " for three distinct characters, and accordingly
equated Gorgol with the king who befriended the Werewolf^ and
effected his restoration to human form.

In both G and I the faithless wife is present while the tale is told.
Much is made of her presence in I, and it was doubtless a feature
of y.^

The occasion of the quest for " the cause of the one story " in y
must remain a matter of conjecture. In I the adventurer is required
to learn the story as the penalty for losing a game to a supernatural
challenger. This is an excellent Irish incident, but the evidence of I
is worthless here, since the gambling incident is ^borrowed from a
distinct tale which I combines with y to make the frame-story.^ In
G we find an exceedingly lively and picturesque introduction :

Arthur is holding his Pentecostal feast at Caerleon. After dinner, in
the joy of his heart, he throws his arms about his wife, as she sits by his
side, and kisses her in the presence of the assembled court. Scandalized
at such a breach of decorum, the queen blushes furiously and asks the
reason for his undignified behavior. "Quod nichil mihi in diuiciis gratius,"
" nil in deliciis te constat suavius," is the amatorious response. " If you love
me so much," rejoins the queen, " you must believe yourself well acquainted
with my mind and will." Says Arthur, " Your mind, I am confident, is
well-disposed towards me, and I am sure I understand your will." " You
are mistaken ! " she replies, " You have never known a woman's nature
(ingenium) or her mind." " Omnia cell obtestor numina," cries the angry
king, " if I have hitherto been ignorant of these matters, I will never taste
food till I discover them ! " And he sets out, with Kay his steward {Caius)
and Gawain {Walwainus) his nephew, to visit King Gorgol and learn the
secret.

This reminds one of the introductory incident in the Pelerinage
Charlemagne,^ but it would be overhasty to infer that it is borrowed

1 Cap. 23, p. 162. 2 See p. 220. s gee pp. 214 ff.

* The Pilerinage is here (as elsewhere) closely parallelled by the fragmentary
English ballad of King Arthur and King Cornwall (Child, no. 30, I, 274 ft.).
Child at first regarded the ballad as " an imitation or a traditional variation " of the
French chanson (I, 274), but was induced to change his mind and to refer the

Arthur and Gorlagon. 213

from that poem. In the first place, we are not to suppose that the
feature in question first came into existence when the Pehrinage
was composed. It is rather an incident which the author of the
poem knew independently of the story of the Pelerinage and which
he utilized (with superb effect) to motivate Charlemagne's journey.^
And, in the second place, there is considerable difference between
the incident in the Pelerinage and that in Arthur and Gorlagon.
The two incidents simply belong to the same general type of popular
legend.

VI. PECULIARITIES OF THE IRISH VERSION (I).

We have seen that the Irish mdrchen (I) is distinguished from all
other versions in three ways: (i)the husband passes through a suc-
cession of metamorphoses ''; (2) the frame-story is complicated by a
quest for the Sword of Light, and (3) the incident of the Defence of
the Child is expanded in a manner quite out of proportion to the
modest place which it occupied in y. The first of these peculiar-
ities needs no discussion ; it is an easy and natural elaboration of
the single transformation which stood in y. The other two special
features of I, however, require particular study.

VII. THE QUEST FOR THE SWORD OF LIGHT.

In y, as we have seen, The Werewolf's Tale of x was inserted in
a frame-story: a quester is required to learn the "cause of the one

two to a common source by the arguments of Paris, Hist. Litt., XXX, iio-ni
(see Ballads, III, 503). More recently. Dr. W. D. Briggs has argued strongly in
favor of Professor Child's first opinion (Journ. of Germanic Philology, III, 342 ff.).
For parallel stories see Paris, Romania, IX, 8 f£., and Hist. Litt., XXX, 94; Child,
I, 279, 282-283. In the unpublished French Rigomer and in Heinrich von dem
Turlin's Crdne (vv. 3313 ff.), there is a, somewhat similar scene attached to the
Arthurian cycle. Dr. K. G. T. Webster, who is investigating the history of
Guinevere, has subjected Arthur and Cornwall to a searching examination and
finds new grounds for referring it and the PHerinage to a common source ; but
I must not anticipate his results.

1 Paris (Rom., IX, 8) has pointed out that the PHerinage combines two stories,
originally distinct, — (i) the king who visits his rival, and (2) the pilgrimage
proper. " So in KJLHO'FCiCj, but not in S.

214 G. L. Kittredge.

story about women," or he puts himself under bonds to learn it.
In I this frame-story is complicated by an additional quest, — the
adventurer must secure the Sword of Light. This weapon turns out
to be in the possession of the same person who knows the story.
The quester secures the sword first, and uses it as a means of
compelling the Werewolf to tell the tale.

Fortunately, The Quest for the Sword of Light occurs,^ in a
form almost identical with that in I, but quite out of connection
with The Werewolf s Tale, in a Scottish Gaelic mdrchen. Two ver-
sions of this mdrchen have been printed, both in Gaelic and in
English : J. F. Campbell's Young King of Easaidh Ruadh (c) ^ and
Maclnnes's Herditig of Cruachan (m).'

The hero plays (shinty m ; a game not specified c) with a wizard-
champion {gruagach). He wins the first game and takes as his prize a
" little untidy, swarthy woman cleaning the byre " (" cropped rough-skinned
girl behind the door " c : in c, but not in m, she becomes beautiful when she
reaches his house). The second time he wins and takes a "dun shaggy
filly." The third day he goes to play (against his new wife's advice, who
has informed him that his opponent is her father c) and loses. The
wizard-champion requires him to get " the white sword of light that the
King of Sorcha has " (" the Glaive of light of the King of the Oak Win-
dows " c).*

1 Sword-quests occur everywhere, and the Sword of Light is a familiar weapon
in fairy-tales. We are here concerned, however, with a particular form of this
quest. Still, it may be worth while to compare Larminie, pp. 206 ff.

^ Popular Tales of the West Highlands, no. 1, I, I ff. In another version still,
summarized by J. F. Campbell, I, 18 ff., the Quest of the Swordis wanting, probably
from a lapse of memory. It is barely possible, however, that we have in this version
the tale as it existed before the Quest of the Sword was compounded with it. The
recovery of a stolen wife from a giant whose soul is out of his body, and the capture
of the soul by the aid of animals, form a well-known incident in folk-literature.
See, for example, Nutt's note to Maclnnes, pp. 455 ff., and Kohler's remarks in
Orient and Occident, II, lOI— 102.

' Folk and Hero Tales, no. 4, pp. 94 ff. Curtin's Son of the King of Erin and
the Giant of Loch Liin, Myths and Folk-Lore, pp. 32 ff., begins as if it belonged
to this set, but goes on later with a different type of story (Maclnnes's no. i,
pp. 2 ff. ; see Nutt's note p. 431).

* "Claidheamh soluis righ nan uinneagan daraich " (Campbell, p. 13); "Clai-
dheamh geal soluis a th' aig rlgh na Sorcha" (Maclnnes, p. 102).

Arthur and Gorlagon. 2 1 5

From this point the order of events differs in c and m, though the
incidents themselves are the same to all intents and purposes. I fol-
low c first, returning to m later.

His wife consoles him, and he sets out on the filly, who, the lady tells
him, will give him all necessary instruction. The filly carries him to the
castle of the King of the Oak Windows and tells him what to do. The king
is at dinner, and the sword is in his chamber. The hero steals the sword,
which gives a sort of sgread as it comes out of the sheath. There is a
great pursuit, but all fall behind except the King of the Oak Windows,
mounted on the brother of the filly, who is swifter even than she. As the
pursuer is passing, the hero, acting under his filly's instructions, strikes off
his head with the sword. He then mounts the swifter horse, the filly fol-
lows, and they reach home in safety.

His wife receives him gladly and tells him what to do when he meets
the gruagach on the morrow. The gruagach is the brother of the King
of the Oak Windows. He will ask the hero how he got the sword. The
latter must answer : " If it were not the knob that was on its end, I had
not got it.'' When the gruagach "gives himself a lift" to look at the
alleged knob, the hero will see a mole on the right side of his neck, and
he must then stab the gruagach in the mole. The hero does as he is told,
and ^t. gruagach falls dead.

When the hero returns home after this encounter, he finds that his wife
and the two horses have been carried off by a giant. He sets out in pursuit,
and falls in successively with a dog, a hawk, and an otter, who direct him on
his way.'^ At last he finds his wife and the horses in a chasm [which is the
giant's den]. The woman hides her husband and cajoles the giant when he
returns and smells human flesh. She induces the giant to tell her where his
soul resides [for it appears that he is one of those monsters, familiar in folk-
lore, who have no soul in their body].^ There is a flagstone under the
threshold ; under the stone is a wether ; there is a duck in the wether's
belly, and an egg in the belly of the duck ; in the egg is the giant's soul.
The hero and his wife remove the stone. They catch the animals and get
the egg, by the help of the dog, the hawk, and the otter. The lady crushes
the egg, and the giant, who is on his way home, falls dead. Then the
couple return to their own country, taking with them much of the giant's
gold and silver.

^ I have condensed the tale very much at this point.

2 Here, too, I have condensed. It takes three days to carry out the lady's plot.
The details follow a well-known type of mdrchen (see p. 214, note 2).

2i6 G. L. Kittredge.

Maclnnes's Herding of Cruachan (m), as I have already observed,
has the adventures in a different order :

When the hero returns after his third game with the wizard-champion, he
finds that " the big giant, King of Sorcha," has stolen his wife and the filly.
Consequently the quest for the Sword of Light and the search for the stolen
wife are included in a single journey. The hero is assisted by animals (as
in Campbell): four, however, instead of three, — a hawk, a duck, a fox, and
an otter, each of whom inhabits a little house. The concealment of the
giant's soul is more elaborate than in c, and all four of the helpful animals,
as well as one of the giant's horses (which seems to correspond to the swifter
of the two steeds in c), are needed to get it. When the giant is dead, the hero
and his wife return home, taking with them " all the gold and silver that the
giant had, his white sword of light, the big dappled horse, and the shaggy
dun filly."

On their reaching home, the hero's wife tells him how to outwit the
wizard-champion. He is to give him the sword. The champion will then
boast of the weapon, and the hero is to reply that it has a flaw. The
wizard-champion will say, " Show me the flaw." The hero is then to take
the sword and cut off the champion's head, with the remark " This is the
flaw that it has." The programme is duly carried out. Thus the outwitting
of the champion comes at the end of the tale in m and not (as in c) in the
middle.

This story, whether in Campbell's version or in Maclnnes's, mani-
festly consists of two independent tales, more or less skilfully welded
together: (i) The Quest for the Sword of Light, and (2) The Abduc-
tion of the Wife, and her rescue, with the death of the giant. It is
the first of these that furnished I with the frame in which The Were-
wolf s Tale is set.''

1 Whether the author of I (that is, the person who inserted in y The Quest of
the Sword of Light) knew The Quest in combination with the Abduction of the
Wife (substantially as in Campbell and Maclnnes) is not to be determined. Prob-
ably he did not ; at all events, he did not utilize the Abduction. One version of I
(O'Foharta's) shows practically the whole of the combined mdrchen (Quest of the
Sword plus Abduction of Wife). O'F, indeed, affords a version of this tale which is
in some respects better preserved than either Campbell's Young King or Mac-
lnnes's Herding of Cruachan, for it motivates the gratitude of the beasts. It also

shows a trace of an incident found elsewhere in Maclnnes (p. iii) only, the

dancing of the helpful animals (p. 488). It is clear, however, that O'F departs from

Arthur and Gorlagon. 2 1 7

The manner in which The Qicest for the Sword of Light has been
utihzed to complicate the frame-story of The Werewolf's Tale in I is
rather ingenious. The introductory incident of the Quest is adopted
in its entirety.

The hero ^ is thrice victorious in gaming with a mysterious stranger : he
wins a beautiful wife, a magic horse, a castle, etc.'' He loses the fourth
game, and the stranger requires him, as a penalty, never to eat two meals

I in thus including the Abduction of the Wife, for the inclusion disorders the
story. We may infer that O'F was made up by some reciter who knew I (The
Werewolf s Tale combined with the Quest of the Sword) and was also familiar
with the double mdrchen represented by 'Campbell's Young King and Mac-
Innes's Herding (Quest of Sword combined with Abduction of Wife), and who
chose (or chanced) to increase the complexity of I by including the whole of the
double mdrchen.

1 In L the hero is called Morraha (cf. p. 254, note l) ; in O'F he is Murrogh, son
of Brian Boru ; in Ci, he is " Art, the king's son " ; in C2, Arthur, a cotter's son ;
in HS he is son of the king of Ireland (but no name is given him) ; in KJ he also has
no name but is described as ?l sgolog ox "small farmer."

2 The versions of I differ slightly. In S there are two winning games, the prizes
being the woman who is riding behind the challenger, and the horse ; the third game
is lost. S agrees pretty closely here with Campbell's Young King and Maclnnes's
Herding of Cruachan, and may perhaps be more correct than the other versions of
I; three games in all, two won and one lost, seem to accord with reason and sym-
metry. It is not impossible that this gambling adventure was in some form a part
of y ; it presents a striking parallel to the chess-play between Mider and Eochaid
in the Tochmarc Etaine. See d'Arbois, Cours, II, 315 fit. In L, the hero wins
sheep on the first day, cattle on the second, a castle and the fairest of women on the
third ; the horse he procures by shaking a magic bridle which belongs to his wife.
K agrees substantially, but lacks the incident of the bridle ; the horse comes with
the woman. C2 is much the same, but the horse is replaced by a hound. In O'F
he wins riches, castle, and lady, all in one game, and loses the second game. In
Ci he wins " the finest woman on earth, with twelve attendant maidens and thir-
teen horses," in the first game and loses the second. In H he wins his wife by the
first game (the magician takes him to his castle and gives him his choice of many
beauties, but he takes a girl from the kitchen at her own suggestion ; she becomes
beautiful while they are riding home) ; cattle by the second (but he loses them by
a trick); by the third, cattle that remain; his choice of horses by the fourth (he
chooses a poor-looking mare) ; he loses the fifth game. In J he wins money by
the first game, the fairest of women by the second, and loses the third ; his wife
procures the horse by means of a magic thread (cf. L). Ci, it should be noted, is
the second adventure in a long composite.

2r8 G. L. Kittredge.

off one table and never to sleep two nights in the same house ^ till he
brings him the sword of light and " the knowledge of the cause of the one
story about women." ^

Version y, as we have already seen (p. 200), must have contained,
the requirement to bring "the cause of the one story"; to this is
added, in I, the demand for the Sword of Light, and thus the

1 So KLC20'P, in almost identical words. In O'F, however, the requirement is
laid upon the hero on another occasion (p. 216, note). In H the challenger uses a
different formula. In Ci the formula is missing : the challenger says simply, " You
are to bring me the sword of light and the story of the man who has it." For S,
see note 2. Observe that G shows a trace of the formula that is found in KLC20'F :
King Arthur swears a great oath " nunquam cibo f ruar donee ea me nosse con-
tingat." Some such formula must, therefore, have stood in y. We cannot tell
how the requirement came to be laid upon the hero in y (see p. 212); perhaps
G, with its undignified kissing in public, is a good representative of y.

'^ The words quoted are from O'F (Jios fath an aon sgeil ar na mndibh), but K
has almost the same thing (Jios fath an aon sceil, i.e. " the knowledge of the cause
of the one story " ; mistranslated by Kennedy " perfect narrative of the unique
story " ). The similarity of G, in which King Arthur sets out to discover the
" ingenium mensque feminae," is evidence enough that O'F is here close to y,
except for the sword of light, which is peculiar to I. L and S both show a corrup-
tion. L has " till you bring me the sword of light and the news of the death of
Anshgayliacht.'" This strange name (which Larminie, p. 252, interprets as an
sjgeeliaxt, "the Story-Telling") obviously contains the Irish word scH ("story")
preserved in O'F and K. In H the hero is to " bring the sword of light of the son
of the King of the Speckled Peak and the story, who killed the Antichrist (sgeula
cia mharbh ant-An-Chriosdaigh)." An-Chriosdaigh (like A nsAgayliacAt in h) is the
name of the monster who has stolen the children. H is farther gone in corruption
than L. S has " I lay as crosses and charms upon you that water leave not your
shoe till you find out how the Great Tuairisgeul was put to death (ciamar a cliaidh
an Tuairisgeul Mor a chur gu bas)." Tuairisgeul (which J. G. Campbell glosses
" description, report, calumny ") is a compound of sgeul (the Scottish Gaelic form
of Ir. sc^l, "story"). Thus LHS support O'FK. LHS form a group by them-
selves, since in them the title of the story is made into the name of a person and
that person turns out to be the monster that stole the chUdren. LS also agree in
the shaking of the bridle, though the circumstances difEer (see p. 217, note 2).
For Ci, see note I . C2 differs from all other versions in requiring the hero to find
" the birth that has never been born, and that never will be." This comes from
contamination with another story, — the tale of a champion who was, like Macduff,
" not of woman born." C2 lacks the Sword of Light, as does S (but see p. 220,
note 4). For the requirements in J, see p. 268.

Arthur and Gorlagon. 219

independent mdrchen of the Quest for that weapon is incorporated in
the frame-story of The Werewolf s Tale. I continues as follows : —

The hero fulfils his tasks by the aid of the horse which he has won with
his (fairy) wife. This horse carries him (across the sea i) to his father-in-
law,* who receives him well and tells him what to do. Three times he rides,
on three diflferent horses (furnished by his father-in-law), to the residence of
the terrible enchanter = who has the sword and knows the story, summoning:
him to give up the one and tell him the other. He rides off as swiftly as
possible after each summons, pursued by the enchanter. The first time, the
enchanter cuts his horse in two ; the second time, he cuts off his horse's
hind-legs ; the third, his blow is harmless.* The enchanter is now weary,

1 So in KHJ; through a loch S ; through the sea (a road opening to King Under-
the-Wave's realm) Ci ; over three miles of fire, three miles of hill covered with
steel thistles (or needles, Larminie, p. 253), and three miles of sea L. C2 lacks the
horse (see next note).

2 The father-in-law is manifestly a prince of the Other World. In L he is called
King of France (Greece KJ). In H he is King of Speckled Peak in the Eastern
World. In Ci he is King Under-the-Wave (a well-known Celtic character). In
C2 the hero goes to the " castle of the son of the King of Lochlin " and becomes
his retainer. He performs great services for his master (which have nothing to
do with our tale) and finally brings back the wife of the king's son from a giant
who had abducted her. In return he asks the solution of his problem. The king's
son then brings out the old King of Lochlin, who has long been in hiding, and
asks him for the answer. The king twice refuses to tell, but yields at last to the
persuasion of a hot griddle. His story is a version of our Werewolf's Tale.

" Rough Niall of the Speckled Rock L ; the son of the King of the Speckled
PeakH; Fiach O'DudaK ; the Young Champion J. He turns out to be the Were-
wolf. In KJ he is one of three brothers, the other two being the hero's father-in-
law and the person who sends the hero on the quest. In HO'F he is the brother of
the hero's (fairy) wife. In Ci he is Balor Beimenach and is a son-in-law of the
hero's father-in-law. King Under-the-Wave. In Cj (which has been much changed
by contamination) he is the King of Lochlin, the father of the personage to whom
the hero is sent ; but C2 has nothing of the Sword of Light. In S he is an " old
grey man " who lives on the farther side of a loch ; nothing is said of his relation-
ship to the other characters. In L, Anshgayliacht (see p. 218, note 2) is the brother
of the gamester (but this must be an error).

* So in K. In L the enchanter (i) cuts the horse in two, (2) cuts off half the
horse and half the saddle, (3) cuts away the saddle from under him and the clothes
from his back. The second stroke in L will not do ; there should be a steady
decrease in the damage done. But perhaps the third stroke in L is more nearly
right than in K. In Ci the first blow cuts the horse in two behind the saddle ; the

220 G. L. Kittredge.

having been on the watch for three days and three nights, and falls asleep.^
The hero returns, creeps into the bedroom, and steals the sword. He then
rouses the enchanter and demands the story. The enchanter at first refuses ;
but his wife persuades him to tell it to save his head.^ She is present while
the story is told.' When the story is finished, the hero returns to his own
home with the sword.

The conclusion of The Quest for the Sword of Light '\s now utilized
to bring I to a fitting end.

The hero takes the sword to the person who had sent him on his
perilous journey, and tells him the tale.^ He does not deliver up the

second, just at the saddle ; the third, with a piece of the saddle : that is, the blows
increase in effectiveness. O'F agrees with K and L as to the first stroke ; the
second time the horse's tail is cut off (cf. K) ; the third time the hero finds the
enchanter asleep and steals the sword. The owner follows him to the house of
the hero's father-in-law. H resembles O'F, but there is no damage done to the
hero's horse : the enchanter pursues him to the king's house on the first two nights,
hut on the third the sword is stolen. Ca of course lacks the incident (see p. 219,
note 2). In J dragons guard the castle and the occupant does nothing.

1 So in L (but confused). In K the hero puts the enchanter to sleep with a
magic harp, but K is very much elaborated at this point. In H the guards sleep
only three nights every seven years ; they are awakened on the first two nights by
the shriek which the sword gives (cf. J. F. Campbell's Young King, p. 215, above),
but on the third night the sword is in the hero's hand before it cries out. In J the
guardian dragons are asleep on the third night.

2 So in Li- In HKJ the enchanter submits without parley. In O'F he requires
the presence of his wife and imposes an extraordinary condition (for which cf.
another story in Larminie, p. 74).

2 The presence of the wife while the story is told is an important feature, for it
is common to I and G (see p. 212). It occurs in LJHO'F (LO'F are extremely racy
here), but not in K. It must once have stood in Ci, which should here be com-
pared with O'F. In C2 and S it is of course lacking, on account of other changes.

* What follows is given according to LCi, in which the hero acts in accordance
with the directions of the owner (the Werewolf). In H also the owner of the
sword tells the hero what to do. The challenger will take the sword and vrill ask
the hero if there is another so beautiful in the world ; the hero is to assent con-
ditionally : " It is beautiful, but fo> ." " What means your but for ? " will be

the reply ; and the hero is to explain by taking the sword and cutting off the
■challenger's head ; he is then to throw the sword into the air, as in L. In K the
hero says " How shall I give you the sword? " and when the challenger rephes
" As you like," the hero cuts off his head with it (cf. J. F. Campbell's Young King

Arthur and G or la<roii. 221

"•&>

swordji however, but quibbles as in Campbell's Young King 2in6. Maclnnes's
Herding of Cruachan. " I promised to bring the sword ; I did not promise
to give it to you.'' Then he throws the weapon into the air, and it returns
to its owner.

1 We may infer that, if he had done so, he would at once have been slain with it.

and Maclnnes's Herding of Cruachan) ; this may be nearer the original. O'F ends
with the conclusion of The Werewolf s Tale; the Werewolf says " So now you
have the story of the Shining Sword and the knowledge of the cause of the one
story about women," and there is nothing further. In J the challenger dies before
the hero's return (cf. S, below) ; the hero keeps the sword. C2S lack the sword.
The conclusion of S deserves attention. When the challenger " lays crosses
and charms " on the hero to discover "how the Great Tuairisgeul was put to death,"
the latter (as his wife has bidden him) replies : " I lay the same charms upon you
that you leave not this hillock till I return." On reaching home with the story,
the hero is instructed by his wife to go to the hill and recount it to the challenger.
" What is the good of it," he replies, " when the one bone of him does not stick to
another to-day ? " But the woman insists and the hero obeys. When the story
is finished, the challenger "rises alive and well from the hillock." This cannot
he quite right, for the hero should in some manner baffle or discomfit the chal-
lenger, as the other versions show. It is therefore fortunate that Mr. J. G. Camp-
bell has put on record an additional incident, apparently from another reciter
(Scottish Celtic Review, I, 141) : " It is an addition to the tale that the one who
imposed upon the Son of the King of Ireland the task of finding out how the
great Tuairisgeul was put to death, and over whose place of decay and disap-
pearance the King's son — by his wife's instructions — recounted . . . the man-
ner of the Giant's death, was himself a son of the Great Tuairisgeul, and that
as the story was being told he gradually rose out of the ground. Also, by the
wife's instructions, his head was cut off before he got entirely clear of the ground,
for then no one could withstand the young Giant's prowess." This may per-
haps be taken as evidence that the Sword of Light was once present in S (as
in LKJHO'FCi). With S should be compared the beginning and the end of Mac-
Cool, Ceadach Og, and the Fish-Hag (Curtin, Hero-Tales, pp. 463 ff.). Here Fin
loses a game of chess to the Fish- Hag. She says to him : " I place you under
sentence of weighty druidic spells not to eat two meals off the one table, nor to
sleep two nights in the one bed, nor to pass out by the door through which you
came in, till you bring me the head of the Red Ox, and an account of what took
the eye from the Doleful Knight of the Island, and how he lost speech and
laughter." Fin then places the hag under spells " to stand on the top of that gable,
... to have a sheaf of oats fixed on the gable beyond you, and to have no
earthly food while I 'm gone, except what the wind will blow through the eye of
it needle fixed in front of you." When Fin returns, he finds the hag alive. She

222 G. L. Kit tr edge.

This ends our discussion of the frame-story in I. We have found
that the greater complication of I in this matter is not due to the loss
of material in G, but to the inclusion in I of extraneous material
which was not in y.

VIII. THE DEFENCE OF THE CHILD.

One of the main peculiarities of the group GI is its inclusion of an
episode (not found in B or M) which we may call The Defence of the
Child. This episode must have stood, in some form, in y, but not in
X. It is a combination of two distinct tales, both of which exist, in
many versions, independently of The Werewolf's Tale: (i) the exem-
plary anecdote of The Faithful Dog and (2) the wild narrative of
The Hand and the Child.

The Faithful Dog is best known to English readers through the
Hon. W. R. Spencer's poem, Beth Gilert, or the Grave of the Grey-
hound (written in 1800), which localizes the adventure at the Welsh
village of Bedd Gelert. This localization, however, cannot much
antedate Spencer's poem. The tale occurs in The Seven Sages and

asks for the head, which he refuses to give her : " If I was bound to bring it, I
was not bound to give it." On hearing this answer "the hag dropped to the
earth, and became a few bones." Another version of this same story forms the
second adventure in Curtin's Fin MacCumhail, the Seven Brothers, and the King
of France (Curtin, Myths and Folk-Lore of Ireland, pp. 270 ff.). Fin's task is
to bring " the head of Curucha na Gras and the sword [note this !] that guards
his castle." He dooms the hag to fast under conditions similar to those just
described. A companion tells Fin how to act. He is not to give the head and
the sword to the hag, but only to show them to her. When she opens her
mouth with delight, he is to strike her on the breast with the head. This is
done and the hag falls dead. The first adventure in the tale has nothing to do
with the second, though the two are artificially connected at the end ; it is a
version of The Hand and the Child snA will be discussed presently (no. 5, p. 223,
below). With the sentence passed on the hag by Fin cf. Curtin, Hero-Tales,
p. 493. For the counter-spell imposed by the quester, see p. 255, note 3. Other
cases of quibbling as to the fulfilment of conditions may be seen in Larminie,
p. 205 ; Hyde-Dottin, An Sgialuidhe Gaedhealach, p. 41. It is a common device
in popular fiction. With the gradual rising of the dead man from the ground in
S cf. Miss Dempster, Folk-Lore of Sutherlandshire, Folk-Lore Journal, VI, 160-1.

Arthur and Gorlagon. 223

the Anglo-Latin and Middle English versions of the Gesta Romanorum,
is extant in various Oriental forms (in the Kalllah wa Dimnah, the
Hitopade^a, the Pancatantra, and elsewhere), and is commonly
regarded as of Eastern (perhaps Buddhistic) origin.' It is briefly
as follows :

A favorite animal (weasel, ichneumon, dog) protects its master's child
from the attack of a serpent or wolf and slays the assailant. The
master, returning to his house, is met by the faithful creature, which is
covered with blood, and, rashly assuming that it has destroyed the child, he
kills it on the spot. Entering the chamber, the master finds his child safe
and sound and discovers the dead body of the monster. Too late he
repents of his hasty act.^

The second story, which I have called The Hand and the Child,
is much more elaborate. We may first consider a group of six Celtic
versions (nos. 1-6) which ascribe the adventure to Finn and are
manifestly variants of a single highly elaborated tale. These are : —

(i) MacDougall, Folk and Hero Tales, no. i, pp. i ff. {How Finn
Kept his Children for the Big Young Hero of the Ship, and how Bran
was Found) ; (2) J. G. Campbell, The Fians, pp. 204 ff. (How Fionn
found Bran); (3) M.iiclnnes, Folk and Hero Tales, no. 2, pp. 32 ff.
{Feunn Mac Ciiail and the Bent Grey Lad) ' ; (4) Kennedy, Legend-
ary Fictions of the Lrish Celts, pp. 227 ff. {Beanriogain na Sciana
Breaca^) ; (5) Curtin, Myths and Folk-Lore of Lr eland, pp. 270 ff.

1 See Benfey, Pantschatantra, Einleitung, § 201 ; Baring-Gould, Curious Myths
of the Middle Ages, pp. 134 ff. ; Clouston, Popular Tales and Fictions, II, 166 ff. ;
id., A Group of Eastern Romances and Stories, pp. 206 ff., 509-510, 513 ff . ; id.,
Book of Sindibdd, pp. 56 ff., 236 ff. ; Knowles, Folk-Tales of Kashmir, pp. 429-
430; Jacobs, Celtic Fairy Tales, pp. 259 ff. ; D. E. Jenkins, Bedd Gelert, its Facts,
Fancies, and Folk-Lore, Portmadoc, 1899, pp. 56 ff. (cf. P. H. Emerson, Welsh
Fairy Tales, pp. 19 ff. ; Rhys, Celtic Folklore, II, 567 ; Frazer, Pausanias, V, 421-2).

2 I have used the simpler form of the story, omitting the elaborations found in
the Occidental Seven Sages. For further particulars see Additional Note, p. 269.

8 The tale consists of two parts, originally separate stories, which we may call
(i) The Bent Grey Lad, and (2) The King's Children. Only the second part
concerns us.

*"The Queen with the Speckled Dagger"; or, "The Queen of the Many-
Colored Bedchamber." From a MS.

224 G. L. Kittredge.

{Fin Mac Cumhail, the Seven Brothers and the King of France^ ' ;
(6) Curtin, Hero-Tales of Ireland, pp. 438 ff. (Fin Mac Cool, the
Three Giants, and the Small Men)?

MacDougall's version (no. i)' is here summarized :

A Big Young Hero sails to shore and salutes Finn. He has been losing
his children, he says, and it has been told him that there is not a man in
the world who can keep them for him but Finn. He lays crosses and spells
on Finn to be with him before eating, drinking, or sleeping. Thereupon
he departs in his ship, leaving Finn ignorant of his abode. Finn walks
along the shore and soon falls in with seven skilful companions : a Carpenter,
a Tracker, a Gripper, a Climber, a Thief, a Listener, a Marksman. He
takes them all into his service. The Carpenter makes a ship by striking
an alder-stock thrice with his axe. The Tracker guides Finn across the sea
to the house of the Big Young Hero. Finn lets his seven companions sleep
and watches with the Hero's wife, who is about to be delivered of her third child.
The first two have been taken away as soon as they were born by a great
hand that came down the chimney. Finn keeps himself awake by means
of a hot bar of iron. About midnight the child is born and the Hand
descends. The Gripper seizes the hand, and after a severe tussle pulls it
off at the shoulder. " But the big giant outside put in the other hand,
and took the child with him in the cap of the hand."

At daybreak Finn and his seven comrades give chase in the ship. That
night they come to a rock in the sea, on which stands a castle thatched with
eelskins. The door is in the top of the castle. The Climber scales the
roof and sees a sleeping giant within, having an infant asleep in the cap of
his hand. There are two boys playing shinty on the floor. By the fire
lies a great deer-hound bitch suckling two pups. The Climber then
carries the Thief up to the door. The Thief enters the castle, and hands

1 Curtin 's tale has a second part, — an adventure of Fin with a hag. It has
nothing to do with The Hand and the Child, but is attached to it by making the
hag the giant's sister. She apparently comes for vengeance on Fin, though this
is not brought out, and indeed is contradicted by something in the second part.
The continuation is interesting in connection with the episode of Beowulf and
Grendel's Mother and its motivation.

2 This consists of two quite independent stories, loosely attached. The first
alone is to our present purpose.

" MacDougall (p. 259) notes that the tale was known to two Highlanders of
his acquaintance besides the one from whose recitation he derived it.

Arthur and Gorlagon. 225

out the baby, the two boys, and the pups,^ and escapes without waking
the giant.

Finn puts to sea. Soon the Listener hears the giant awake, and send
the bitch in pursuit. They throw a pup to the bitch, who returns to the
rock with it. Soon after the giant himself appears, wading through the
sea. Finn puts his finger under his " knowledge-set of teeth " and finds
that the giant is " immortal, except in a mole that [is] in the hollow of his
palm." This the Marksman hits, and the giant falls dead.^

Now they sail back to the giant's castle, and the Thief steals both pups.
Returning to the home of the Big Young Hero, Finn restores the three
children to their parents, asking no reward except one of the pups. This
grew up to be Finn's dog Bran, so famous in Fenian saga. There is a feast
for a year and a day [after which we may infer that Finn returns to Erin].

No. 2 (J. G. Campbell's version) corrects No. 1 in certain details.
The sleepiness of the watchers is caused by magical music,' — a
familiar feature in Celtic story. The giant* leaves his arm behind
(which is not expressly stated in No. i).^ There-is but one visit to

1 He also steals " the silk covering that was over the giant and the satin cover-
ing that was under him," — a familiar trick of the Master Thief.

2 Cf. MacDougall, pp. i6o-i6i.

^ So also in 3. In 3 (as in l) it is Feunn alone who keeps awake (by holding
a hot poker under his chin : good folk-lore !), and he rouses Firm-Holder at the
moment of peril. In 6 nobody is sleepy. In 5 Finn goes to sleep deliberately
and the Skilful Companions watch ; so in 4, except that Finn's sleep is druidic.
In 2 all are kept awake by one of the Skilful Companions, whose specialty
is that he never sleeps : this reminds us of the Old French proverb : " Qui ne
dort pas, n'est pas d'ome" (see Lai de Tydorel, Rom., VIII, 67). For soporific
music see Child, Ballads, I, 55; II, 137, 139 f., 511 f.; IV, 18 ff. ; V, 220, 293;
add Hyde-Dottin, Sgialuidhe Gaedhealach, pp. 188-189.

* The robber is a giant in i, 2, 5 ; a hag in 4, 6; 3 is indeterminate. Clearly
he (or she) was originally a Water-monster of some kind : in 1 (cf. 2) the giant's
castle is on a rock in the sea, is to be entered only at the top, and is thatched
with eelskins. In 4 the hag inhabits a whirling castle, which is reached by boat
and has its entrance in the top. Compare the subaqueous abode of Grendel and
his mother in Biowulf. In 2 and 6 the giant (hag, 6) has but one eye (in the
forehead) and is killed by an arrow which pierces this eye. In i the giant is
" immortal except in a mole that was in the hollow of his palm." On whirling
castles see A.C.L. Brown, Iwain, pp. 80-81, above.

5 In 5 the robber leaves both his arm and the child. This is probably correct
(see p. 227). In 2 and 6 the hand is left but the child is taken ; in 4 both hand
and child disappear.

226 G. L. Kittredge.

the giant's castle. Three pups are taken ; two are thrown to the
pursuing bitch, the third is saved. Three must be right ; it makes
the number of the pups correspond to that of the children.^ This
point may turn out to be of some significance.'^ Nos. 3-6 make no
mention of the bitch and her pups. No. 3 is incomplete, lacking
the visit to the giant's castle in the sea.

We at once recognize this story as a composite. It has assim-
ilated nearly the whole of a widespread mdrchen known as The
Skilful Companions, which has been studied by Benfey and other
distinguished scholars,^ and which has nothing whatever to do with
The Hand and the Child. In The Skilful Companions —

Three or more brothers (or comrades) are suitors for the hand of a
beautiful girl. While her father is deliberating, the girl disappears. The
companions undertake to recover her. One of them, by contemplation (or
by keenness of sight), finds that she has been stolen by a demon (or dragon)
and taken to his abode on a rock in the sea. Another builds a ship by his
magic (or possesses a magic ship) which instantly transports them to the
rock. Another, who is a skilful climber, ascends the castle and finds that
the monster is asleep with his head in the maiden's lap.* Another, a mas-
ter thief, steals the girl without waking her captor. They embark, but
are pursued by the monster. One of the companions, an unerring shot,
kills the pursuer with an arrow. The girl is restored to her parents.

We are not here concerned with the origin or history of The Skil-
ful Companions, which, as every one knows, is a corner-stone of

^ In 3 and 5, three children have already been lost, making four in all ; but
this can hardly be right. In i , 2, 4, 6, the whole number is three. ^ Cf . pp. 238-9.

* See Benfey, Das Mdrchen von den " Menschen mit den wunderbaren Eigen-
schaften," Ausland, 1858, pp. 969 ff. {Kleinere Schriften, II, iii, 94 ff.) ; Wes-
selofsky, in Giovanni da Prate, II Paradise degli Alberti, 1867, I, ii, 238 ff. ;
d'Ancona, Siudj di Critica e Storia Letteraria, 1880, pp. 357-358 ; Kohler-Bolte,
Ztsch. des Ver. f. Volkskunde, VI, 77 ; Kbhler, Kleinere Schriften, I, 192 ff.,
298 ff., 389-390, 431, 544; II, 591; Cosquin, Contes pop. de Lorraine, I, 23 ff.;
Crane, Italian Popular Tales, p. 67 ; Nutt, in Maclnnes, Folk and Hero Tales,
pp. 445 ff. ; Laistner, Rdtsel der Sphinx, II, 357 ff. ; Steel, Tales of the
Punjab, pp. 42 ff. ; Jurkschat, Litauische Mdrchen, pp. 29 ff. ; etc.

* The number and functions of the skilful companions differ considerably in
the several versions. The climber, in particular, is by no means a constant
quantity.

Arthur and Gorlagon. 227

Benfey's theory of Oriental origins. The story is found in the East
and, in varying forms, in almost every country in Europe. Its iden-
tity with a considerable portion of The Hand and the Child in the
Highland versions which we are studying is evident. To reduce
The Hand and the Child, therefore, to something that approaches
its original condition we must first of all eliminate those incidents
which belong to The Skilful Companions. Such an elimination
leaves the following plot :

A certain king has already lost two children, who have been carried off
as soon as they were born. [Apparently no one knows what has become
of them, for all the watchers are overcome with sleep.] The queen is
expecting a third child.^ A hero of extraordinary strength visits the king
[perhaps by invitation], and undertakes to watch. The child is born.
The hero resists the soporific magic, to which all others yield, grasps the
gigantic hand that descends through the smoke-hole (or window) to seize
the child, and tears it off at the shoulder. The monster escapes, leaving
behind the child and the arm.

The Hand and the Child belongs, obviously enough, to the type
of which the adventure of Bdowulf with Grendel is the most famous
representative.^ The similarities are striking ; but, before one infers

1 Possibly we should omit the two children previously lost ; but it seems likely
that the ravages of the monster had lasted for some time before he was finally
checkmated. We have a good parallel in the Beowulf, in which Grendel has
carried off and devoured many of HrotSgar's men before Beowulf undertakes the
defence of the hall Heorot and pulls off the monster's arm. See also the stories
from Cashmere and California and compare the Japanese legend (p. 228, below).

* See Herrig's Archiv, CIII, 154, where Professor Cook notes the similarity
between Biowulf and Kennedy's version (our no. 4). Zimmer (Haupt's Ztsch.,
XXXII, 331-332) detects the influence of Beowulf's encounter with Grendel in
Cuchulinn's combat at Curoi's fort in the Fled Bricrend (cf. Andler's strange
book, Quid ad Fabulas Heroicas Germ. Hiherni contulerint, pp. 75-76), but I find
it impossible to agree with him. Fergus's fight with the sea-monster (Senchtis
Mor, Anc. Laws of Ireland, I, 74-75) or Cuchulinn's feat of swimming (Siabur-
charpat Coinculaind, or Phantom Chariot of Cuchulinn, Hull, Cuchullin Saga,
pp. 284-285 ; cf. Haupt's Ztsch., XXXII, 250, 254) would have afforded him an
equally striking parallel. Resemblances between Blowulf and the Icelandic
Grettissaga (Grettir cuts off a monster's arm, etc., etc.) were observed by Vig-
f usson (Sturlunga Saga, Prolegomena, I, xlix ; Icelandic Reader, p. 404 ; Corpus

228 G. L. Kittredge.

historical or literary connection between the Celtic tale and the
Anglo-Saxon epic, there are several phenomena to be reckoned
with. The child-stealing motive is no part of the Bkowulf, nor of
a Japanese legend ^ which resembles Bkowulf in the most striking

Poeticum Boreale, II, 501 ff.). That distinguished scholar held that the author
of the saga knew the Biowulf, and his opinion has met with some favor, but the
case is by no means dear (see Gering, Anglia, III, 74 ff.; Garnett, Amer.Jottrn.
of Philol., I, 492 ; Bugge, Paul u. Braune's Beitrdge, XII, 57 ff. ; ten Brink,
Beowulf p. 185; Symons, in Paul's Grundriss, I, 21 ; 2d ed.. Ill, 649; Laistner,
Ratsel der Sphinx, II, 27 ff; Boer, Ztsch.f. deutsche Phil., XXX, i ff. ; Jonsson,
Den Oldnorske og Oldisl. Litteraturs Historic, II, 751, note).

The story of The Hand and the Child reappears in a modem Icelandic mdrchen
(Arnason, Islenzkar pJ6&sogur og ACfintj/ri, II, 471 ff., translated by Poestion,
Isldndische Mdrchen, pp. 285 ff.). The Icelandic version is strikingly similar to
the tale as it occurs in L (including the pretended leeching of the monster) and
is doubtless derived from Irish (or Scottish Gaelic). The watcher resists the
soporific magic and cuts off the kidnapper's arm. Laistner, who compares Poes-
tion's translation with Biowulf {Rdtsel der Sphinx, II, 26 ff.), has not observed
that the part of the tale which coincides with The Skilful Companions must be
left out of account.

1 " At the beginning of the eleventh century, when Ichijd the Second was
Emperor, lived the hero Yorimitsu. Now it came to pass that in those days the
people of Kiy6to were sorely troubled by an evil spirit, which took up its abode
near the Rash& gate. One night, as Yorimitsu was making merry with his
retainers, he said, ' Who dares go and defy the demon of the Rashd gate, and
set up a token that he has been there ? ' ' That dare I,' answered Tsuna, who,
having donned his coat of mail, mounted his horse, and rode out through the
dark bleak night to the Rashd gate. Having written his name upon the gate, he
was about to turn homewards when his horse began to shiver with fear, and a.
huge hand coming forth from the gate seized the back of the knight's helmet.
Tsuna, nothing daunted, struggled to get free, but in vain, so drawing his sword
he cut off the demon's arm, and the spirit with a howl fled into the night. But
Tsuna carried home the arm in triumph, and locked it up in a box. One night
the demon, having taken the shape of Tsuna's aunt, came to him and said, ' I pray
thee show me the arm of the fiend.' Tsuna answered, ' I have shown it to no
man, and yet to thee I will show it.' So he brought forth the box and opened it,
when suddenly a black cloud shrouded the figure of the supposed aunt, and the
demon, having regained its arm, disappeared." Mitford, Tales of Old Japan, ed.
of 1890, p. 105. Professor York Powell gives the same story, in outline (from the
vulgate version in " the Japanese children's picture-books of this century, and the
colour-prints by Hokusai" and others) and compares it with Biowulf: see his
note in An English Miscellany presented to Dr. Furnivall, 1901, pp. 395-396.

Arthur and Gorlagon. 229

"way, nor of an episode in the Perceval which should also be com-
pared.'' Per contra, there is a story from Cashmere which resem-
bles The Hand and the Child in the matter of the child-stealing, but
in which the ogress, though overpowered, does not lose her arm.''
Finally, the loss of the hand and the stealing of the child occur,

1 The Demon Hand is found in the second continuation of Chretien's
Perceval (by Gaucher de Dourdan). Perceval enters a solitary chapel at night.
There is no one in the chapel, but a slain knight is lying on the altar. One candle
is burning before him. Suddenly a great light (clartf) fills the chapel, and as
suddenly disappears. A crash {escrois) follows, as if the chapel were falling to
pieces (vv. 34,434-469, ed. Potvin, IV, 133-134). Then

Une noire mains jusqu'al couste

S'aparut derrifere I'autel;

La candoile ki ardoit cler

Estaint ensi c'on n'i vit goute (vv. 34,470-473).

Perceval leaves the chapel in haste. A lame explanation of these phenomena is
given (in the conclusion written by Mennecier) by the Roi Pesceor. The chapel
was built by Brangemore of Cornwall, mother of King Pinogr^s. She became a nun
and was beheaded therein by her cruel son. She was buried under the altar, and
since then not a day has passed without a knight's being killed there by the Black
Hand ; more than four thousand have lost their lives (vv. 35,397 ff., IV, 166 ff.).
Later Perceval visits the chapel again and has a terrific struggle with the Black
Hand, which comes in through a window. He overcomes the devil to whom it
belongs, not with the sword, which is powerless against him (cf. Grendel), but by
means of the sign of the cross (vv. 39,790 ff.,.IV, 304 ff.). Apparently we have
here the story of the Demon Hand worked over in a Christian sense. In view of
the wide currency of the incident, it would be venturesome to ascribe this partic-
ular example of it to a Celtic source; but, since the incident does occur in Celtic,
it would be equally credulous to deny the possibility of such a derivation. Of
course nobody will hold that Gaucher drew from Celtic directly. The fight with
the hand, we should observe, is Mennecier's contribution. Did he know the
whole story, left incomplete by Gaucher, or was he simply inventing a dinouement?

2 In The Tale of a Princess, Knowles, Folk-Tales of Kashmir, p. 59: A princess,
disguised as a man, entered the service of a merchant. " This merchant had three
wives, but no son. The reason of this was, that the night after any of his wives
gave birth to a son a ddgin [ogress] appeared and devoured it." A son was born
to the merchant. The merchant asked his new servant to watch by the bedroom
door and ward off the ogress. The ddgin tried to burst open the door, but the
servant prevented her, whereupon she made a dash at him. The servant seized
her by the hair and threw her down, but spared her life on her promising to
trouble that house no more.

230 G. L. Kittredge.

in combination, in a North American Indian tale from California "^
and in the Welsh mabinogi of Pwyll, to which we shall presently
return.^ We must put behind us the temptation to genealogize.
One fact is clear : the defence of a hall or a hut against the demon
that haunts it is a simple theme, to which the theory of " independ-
ent origins " must apply if it ever applies to anything. That the
defence should result in the demon's losing his arm seems a not
unnatural development : at all events, this feature is found in Ireland,
in Wales, in England, in Japan, and in California.' The other main
element in our story — the kidnapping of the children — is too com-
monplace to make any trouble. All manner of uncanny beings are
charged with carrying off infants, and everybody knows that the
moment of birth, like the moment of death, is a mysterious time and
full of strange peril from the darker powers. The genesis of The Hand
and the Child, then, is not hard to conjecture. It is an easy combi-
nation of two motifs, (i) the Defence of the Hall and (2) the Child-
stealing Monster, to which (in the Highland tales summarized
above, pp. 223 ff.) other familiar bits of folk-lore (the Skilful
Companions, for instance, and the One-eyed Giant *) have associated

1 Curtin, Hero-Tales of Ireland, p. 558, gives part of an Indian tale from Cali-
fornia in which a supernatural hag is in the habit of stealing children. She reaches
down through the smoke-hole to take one ; five or six men seize her arm and try
to pull her down, but in vain. " One man chopped her arm right off with a flint knife,
and threw it out ; she fell to the ground where her arm was, she picked it up, and
ran home." 2 ggg pp^ 240 ff.

, 8 We may compare also the cutting off of the ghoul's leg in Swynnerton, Indian
Nights' Entertainment, pp. 358-359. The house-haunting goblin m/ataka, ii, 155
(Cowell, II, 12), is subdued in a more recondite manner. So is the hand that rises
from the sea and steals men in the Peregrinaggio di tre Giovani, Figliuoli del Re
di Serendifpo, ed. Gassner, Erlanger Beitrdge, X, 23-24, 28 ff.; cf. the parallels
cited by Huth, Zt. f. vergl. Litteraturgesch., N.F., Ill, 313-314. Cf. also the
Demon Hand in Miss Burne, Shropshire Folk-Lore, p. 113. In a Greek mdrchen
(Hahn, Griech. u. alban. Mdrchen, II, 50) a Hand robs the king's apple-tree ; the
prince shoots into a cloud and draws blood (cf. Cosquin, Contes pop. de Lorraine,
I, 12).

* It is an easy process to derive from the Odyssey all monocular giants who
meet the fate of Polyphemus ; but such hand-to-mouth methods are more danger-
ous than they seem. See Laistner's interesting chapter on Polyphemus (Rdtsel
der Sphinx, II, i ff.).

Arthur and Gorlagon. 231

themselves. The whole, in a highly elaborated form, has become a
part of the Finn cycle, and is used to explain how Finn procured his
famous dog Bran.

The story of The Hand and the Child is doubtless quite independent
of The Faithful Dog. Indeed, the tales differ from each other in
almost every respect ; they show but one element in common : the
successful defence of an infant. In The Faithful Dog, however, the
assailant is not a hobgoblin, but a natural creature (wolf or serpent) ;
the defender is not a hero, but an animal (ichneumon, weasel, dog),
which fights with the beast and kills it in accordance with common
sense and everyday experience ; the danger is unforeseen (not watched
for, as in The Demon Hand). Finally, the central point of The
Faithful Dog — the fatal mistake, the overhasty judgment which
prompts the master to strike down his friend and benefactor — is
necessarily wanting in The Hand and the Child. The Faithful Dog
is an exemplum, enforcing the danger of precipitate judgments ; its
motto might well be King Lear's " Woe that too late repents ! " The
Hand and the Child has no moral and is hardly susceptible of one,
even at the hands of the melancholy Jaques.

Yet nothing was easier than for these two stories to come together.
Their common element — the defence of the baby in the cradle
against some hideous danger — was almost certain to unite them
sooner or later.^ Accordingly they do, in fact, combine to produce
an incident somewhat different from either, yet preserving plain
traces of both. In this incident an animal defends thebaby from the
giant that seeks to steal it, biting off the hand which he stretches into the
room ; the animal is accused of killing the baby, but is exonerated.^

1 A Mongolian version of The Faithful Dog (Benjamin Bergmann, Nomadische
Sireifereien, I, 102, cited by Benfey, Pant. 1,481) approaches the type of The Hand
and the Child in a curious way. A woman has had several children but has lost
them all. She is again with child when a polecat (litis) comes to her and promises
that she shall lose no more children if she will take him into her service. The
mother thinks the talking polecat must have magical powers, and assents. The
animal defends the baby from a snake and is killed by the mother.

^ Perhaps there was aversion of The Hand and the Child va which the defence
of the child against the Demon Hand was transferred to a dog (a fairy dog, it may
be, or a bespelled mortal) before The Hand and the Child came into contact with

232 G. L. Kittredge.

In some such form as this, the incident has entered The Werewolf's
Tale. It is not found, as we have already seen, in Marie's Bisdavret
or in the Lai de Melion, but its presence in I and G proves it for y

The Faithful Dog (the " Gelert story"). Such a version, if it ever existed, would
easily have become contaminated with The Faithful Dog, and the resultant tale
would with equal facility have entered version y of The Werewolf's Tale. These
are details that cannot be determined and that do not affect the essentials of our
reconstruction. We may note, however, that in an incomparably wild Highland
tale a (fairy) dog does actually defend his master, in a cave at night, against a
monster that reaches for him through a hole in the roof, and that the monster's
arm is bitten off at the wrist. This is the tale of Mac PMC's Black Dog, taken
down by J. G. Campbell from recitation in 1863 and published (with an English
translation) in the Scottish Celtic Review, pp. 262 ff. A revised translation is
printed in the same writer's posthumous work, Superstitions of the Highlands and
the Islands of Scotland (Glasgow, 1900), pp. 109 ff. (with four other versions, all
from oral tradition). I give a bare outline, which does scant justice to the
impressiveness of this extraordinary story.

Mac Phie of Colonsay owns a great black dog, presented to him under strange
circumstances, which, according to the prophecy of the giver (obviously a fairy
man), "will never do service for him but the one day." The dog always skulks
when his master calls him to the hunt, and Mac Phie has often been urged to kill
him. "Let him alone," is Mac Phie's reply; "the black dog's day will come."
One morning, when Mac Phie and other gentlemen are setting out for Jura to
hunt, the dog is the first creature in the boat. " The black dog's day is drawing
near us," says Mac Phie. On the second night of their excursion, when they are
all together in a great cave in Jura, Mac Phie's companions are destroyed by
certain ghoulish women [lamiae, or lustful demons, we may be sure : cf. a Suther-
land tale communicated by Miss Dempster, Folk-Lore Journal, VI, 162-163^, but
the black dog, who lies at his master's feet, springs up when one of the women
would approach Mac Phie, and drives them from the cave. Soon a man's hand
comes down through a hole in the roof and clutches at Mac Phie. What followed
must be given in Mr. Campbell's own words : " The black dog gave one spring,
and caught the hand between the shoulder and the elbow, and lay on it. The
play began between the hand and the black dog. Before the black dog let go
his hold, he chewed the hand till it fell on the floor. The thing that was on the
top of the cave went away. . . . Out rushed the black dog after the thing that
was outside. This was not [the] time at which Mac Phie felt himself most at ease,
when the black dog left him. When the day was dawning, what but that the
black dog had returned. He lay down beside Mac Phie. In a few minutes he
was dead." Mac Phie took the hand home " that men might see what horror he
had met with that night he had been in the cave. No man in Isla[y] or Colonsay
had ever seen such a hand, or had ever imagined that such could have existed."

A rthur and Gorlagon. 233

(their common original),i which we have seen reason to believe was
Irish. '^ The precise form of the episode in y is not easy to determine,
but we may come pretty near it by a process of comparison. Let us
begin with the condition of the episode in I.

In LHO'FS we find practically the whole of The Hand and the
Child (as described on the basis of nos. 1-6, pp. 223 ff., above),
modified by two features from The Faithful Dog: (i) the substitution
of the tame werewolf for the hero, and (2) the suspicion against the
animal. We may take L as the basis of our comparison with
Gorlagon (G), since, though it is somewhat disordered, it preserves
a number of highly significant details.

In L the king who befriends the Werewolf had lost eleven = children, all of
whom " were stolen the same night they were born." He sets the wolf to
watch the twelfth. One night ^ a hand comes down the chimney and seizes
the child. The wolf bites off the hand,^ lays it in the cradle with the baby,
and falls asleep. In the morning both hand and child are gone. The wolf
is covered with blood, and everybody " says the wolf has eaten the baby.
But the king refuses to believe this.'' " Loose him," says the king, " and he
will get the pursuit himself."

1 See the diagram on p. 175. 2 See p. igS.

2 Plainly an exaggeration of the reciter; two is the correct number, as in HS
{and The Hand and the Child in general, see p. 226, note i) ; in O'F it is three.
Ci says nothing of the king's previous losses. C2 lacks the whole adventure.

* This should properly be the birth night (as in O'F). Nobody knows what has
become of the other children (implied in L, expressly stated in H). In H the nurses
are put to sleep by a magic song when the third child is stolen (cf. p. 225, above).
In S the wolf is present on all three occasions, but apparently he is awake on the
third only; the midwives sleep. In KJ there is no Hand; the lady smears her
own sleeping child and the wolf with blood and then accuses the wolf.

^ In HO'F he pulls it off (cf. p. 227). In Ci a serpent comes down the chimney ■
and is killed by the wolf. Thus this particular version reverts in part (whether by
accident, or by specific modem influence) to the Oriental form of the Gelert story.

^ The specific accusation should come from the Werewolf's wife (so KJHO'FCi).
In S the midwives are the accusers (cf. Pwyll, p. 240, below) on the first two occa-
sions ; but this version has substituted a cruel stepmother for the unfaithful wife.
On the third occasion in S the wolf pursues the monster without delay and there is
no opportunity for slander. Ca has been too much changed to be of much use here.

' In H the king credits the accusation, but is undeceived by the discovery of the
hand. In Ci the disenchantment comes immediately after the false charge.

234 G. L. Kittredge.

[The werewolf's false wife ^ has concealed the child and the hand in a
(secret) room.^] The wolf follows the scent of the blood to the door of this
room, goes back to the king, takes hold of him, and then, returning to the
door, begins to tear at it. The king follows,' and calls for the key. A serv-
ant says it is in the room of the stranger woman [i.e., the Werewolf's wife].
She cannot be found, and the king breaks down the door. The wolf runs
in and goes to the trunk. The king breaks the lock of the trunk : there lie
the child and the hand, side by side, and the child is asleep.

Here we must pause a moment to compare the Gorlagon (G).
In G the incident has been considerably changed by the general
modification which the tale has received at this point : *

Instead of defending the child against a giant or hag, the wolf assails the
king's steward, who is dishonoring the royal bed, and mangles him frightfully.
The queen removes her child to an underground room, and accounts for all
the circumstances by alleging that the wolf has devoured it and that the
steward has been wounded in opposing the wolf.

G, we observe, omits the Demon Hand and inserts an amour
between the queen and her steward : the wolf does not defend the
baby against an assailant ; he attacks the queen's lover, out of

1 L does not explain how she came to be at the court, but we have already seen
that she is really the king's daughter (a point which L has not preserved, but which
is assured for I, being found in KJO'FCi) and has returned to her father after betray-
ing her husband. Indeed, this relationship (as well as the return) is present also
in M, and is thus established f or x (the common source of My) : see p. 1 78. In H
the whole scene is laid at the castle of the Werewolf's father, and the stolen chil-
dren are the Werewolf's brothers.

2 This is implied in L, and comparison with G establishes the incident for y.
O'F, though somewhat confused here, supports L in the main. In HS the giant
carries off the child but leaves the hand behind (cf. p. 225). HCi preserve an
important link in the story : the lady wakes first in the morning and finds the hand
(the serpent and the child Ci) ; thus she is enabled to arrange the details of her
plot before the household is stirring. In H she buries the hand in the woods ; in
Ci she hides the child in her chamber. Taken together, then, HCi support L, as
O'F does, and the course of events in I can be made out perfectly.

8 In H the Werewolf leads the king to the place where the lady has buried
the hand. In Ci he conducts him to the chamber where the child is hidden.
O'FS lack the incident.

* See p. 185, above.

Arthur and Gorlagon. 235

loyalty to his master. These features are peculiar to G, and it is
clear that in them G departs from y.^
To continue our analysis of G :

The king refuses to believe in the animal's guilt. The wolf touches the
king's foot with his paw, seizes the edge of his mantle in his mouth, and
nods his head in sign that he wishes the king to follow him. He leads the
king to the underground chamber where the child is concealed, and strikes
the door with his paw. The queen has hidden the key, but the wolf, impa-
tient at the delay, breaks the door down, and, rushing into the room, brings
out the child and presents it to the king. He then leads the king to the
chamber where the steward lies, and the guilty man confesses the truth.

The similarity in detail between L and G is most striking, and is
highly significant as to y. We must now return to L :

After the rescue of the child, the wolf is its constant companion.
One day, the child, then three years old, runs away from home and cannot
be found. [It transpires, later, that the Werewolf's wife has him at her
house.] When summer comes, the wolf swims back to his own country
and hides in his own garden. He sees his wife out walking, and the child
with her. Next day, the wolf enters the house and finds the child alone.
The boy recognizes his old favorite and begins to kiss him. The magic
rod is " in front of the chimney." The wolf jumps at it and knocks it
down. The child picks it up. Then the wolf scratches the child, and the
boy, in anger, strikes him a light blow with the rod and thus restores him
to his human shape.

The Werewolf (now a man again) takes the child back to the king in
a ship. On the way, he comes to an island, where there is but one habi-
tation. Entering, he finds a frightful hag. Her son lies groaning in an
inner room. " His hand," says the hag, " was bitten off, twelve years
before, in another land." The hero pretends to be a physician, shuts
himself up with the hag's son, and burns out his eye (he has but one, in
the middle of his forehead)'' with a hot iron, pretending that he wishes to
cauterize the corrupt flesh. The deluded hag gives the hero the reward
she has promised, — eight lads and three girls, who, she informs him, are

1 This jappears at once from comparison. Positive evidence that the inference is
correct will be given later, when we discuss the punishment of the Werewolf's wife
in G (see pp. 245 ff). ^ See p. 230 and note 4.

236 G. L. Kit tr edge.

the sons and daughters of the king and have all been stolen by her son.
The hero takes ship, returns to the king's court, and gives him back the
children.^

There is nothing of all this in G. It is peculiar to I, and will be
instantly recognized as the concluding adventure in The Hand and
the Child (see nos. 1-6, pp. 223 ff.), modified so as to fit it to the exi-
gencies of The Werewolf's Tale and, in particular, so as to bring about
the disenchantment of the hero. That this adventure was not in
y (the common source of G and I) is at once clear. In G the resto-
ration of the Werewolf is effected in a very different way, and G is,
in this part of the story, in substantial agreement with M and B.
Hence we may be sure that the rescue of the king's other children
(and probably also the incident of their loss) was not in y, and a
fortiori not in x. It was not added to the story until G and I had
parted company.

It is now easy to reconstruct the episode of The Rescue of the
Child in substantially the form which it must have had in y (the
common original of G and I) :

The scene is laid at the court of a king, the wolf's father-in-law,
whither the false wife has fled after the transformation of her husband.
She wishes to get rid of the wolf, whom she recognizes and of whom she
is very naturally afraid. The wolf defends the king's child and bites off
the monster's arm ; the monster flees, leaving his hand behind him, and is
heard of no more. The false wife takes advantage of the situation to
remove the hand and the child to a secret chamber, and accuses the wolf
of devouring the infant. The king refuses to believe the charge, and the
wolf leads him to the secret room. Several of the details of the scene
may be inferred from the wonderful agreement between G and L : the
wolf's seizing the king's robe in his teeth and guiding him to the room ;

1 The different versions of I show considerable variety in details in this part
of the story, but LHO'F agree in the main. LH have the pretended medical or
surgical treatment of the monster. LO'F show Polyphemus incidents (putting
out the eye LO'F ; dressing in goatskins O'F). By a special elaboration, H makes
the Werewolf get the Sword of Light in the giant's island. S is much condensed
here. KJCi of course lack the rescue of the elder children, since they say nothing
of the king's having lost his sons. In LH the rescue follows the Werewolf's
disenchantment ; in O'FS the disenchantment follows the rescue.

Arthur and Gorlagon. 237

the locked door ; the concealment of the key by the lady ; the breaking
down of the door (by the king in L, by the wolf in G). In the room is
found a chest (or cradle), in which the child lies sleeping ; the hand is
with him. The king is convinced that the wolf is a man under spells,
compels his daughter to confess, and reverses the charm.

This reconstruction, every detail of which is extant either in G or
in I, is a manifest compound, formed, as I have already suggested,
by uniting The Hand and the Child and The Faithful Dog. AH the
divergences which G shows from the incident as thus reconstructed
are accounted for.

Four versions of I (LHO'FS) contain, also the second adventure
of The Hand and the Child, — the rescue of the king's other chil-
dren from the giant's castle. Its presence is easily explained.
Some story-teller, familiar with The Hand and the Child in its
most developed form (substantially as in nos. i and 2, pp. 224—5),
felt that version I of The Werewolf's Tale was incomplete because
it did not contain this second adventure, and appended it accord-
ingly. Nothing could be more natural. It was simply a case of
going on. Version I already contained the Defence of the Child
against the demon hand ; the narrator continued with the second
adventure, the rescue of the king's other children, which seemed
to him a necessary sequel. This addition to I may have been
made in very recent times, — even as late as the eighteenth cen-
tury. There is no certain evidence on that point. The first inser-
tion of The Defence of the Child in The Werewolf ' s Tale is quite
another matter. This must have taken place pretty early, since the
incident stood in y.

There is another Irish story which throws light on version y of
The Werewolf's Tale. It is extant as an episode in The Festivities
at the House of Conan, a late text edited by O'Kearney from an
eighteenth-century manuscript,^ and runs as follows in O'Kearney's
translation :

1 Feis Tighe Chonain Chinn-Shleibhe ; or The Festivities at the House of Conan
■of Ceann-Sleibhe, edited by N. O'Kearney from a MS. of Foran of Portlaw (1780),
in the Transactions of the Ossianic Society for 1854 (Dublin, 1855), pp. 160-67.

238 G. L. Kittredge.

Fionn's rhother's sister, Tuirreann, became the wife of loUann Eachtacli.
She became pregnant. loUann's leannan sighe, from jealousy, transformed
her into a greyhound and brought her to the house of King Feargus Fionn-
liath, presenting her as a present from Fionn. " The wife of Feargus . . .
gave birth to an infant the same night that the hound whelped two puppies,
a male and a female. It so happened during the previous seven years,
that whenever Fergus's wife was confined, a Fomorach used to come that
same night, and carry away the infant. However, Eithleann [unknown
person] met Fionn at the end of a year, and having arranged a hospitable
meeting at the house of Feargus Fionnliath, they delivered Fergus from the
plague of the Fomorach."

Fionn learned that his aunt was no longer living with loUann and insisted
on her being restored to him. loUann required her of his leannan sighe.
She went to Feargus's House and got the bitch and restored her to human
shape. She then brought her to Fionn and told of the two puppies, giving
him his choice to have them as dogs or human beings. He chose the
former and these are Bran and Sceolaing.i

This is vague and prosaic, but it is plainly a somewhat condensed
account of a version of The Hand and the Child.^ The demon hand
has evaporated in the process of condensation. Instead of details,
we have a bald general statement r " Having arranged a hospitable
meeting at the house of Feargus Fionnliath, they delivered Feargus
from the plague of the Fomorach." The bitch and her pups, of
which we have already heard in several versions of The Hand and
the Child, play an important, if not quite intelligible, part in the
present text. One fact comes out clearly : there is a mysterious con-
genital relation between the children and the pups. This we have
already suspected, on the basis of the other versions and of general
folk-lore. Comparing the Feis Tighe Chonain with versions i and 2 of
The Hand and the Child (jpp. 224 ff.), we may infer that, in the correct

1- The same story (without the robbery of the children) may be found in Kennedy,
Legendary Fictions, pp. 1 74 ff.

2 Like all the versions noted above (nos. 1-6, pp. 223 ff.) that in the Feis Tiglie
Chonain has been attached to the Finn cycle, and, like nos. i and 2, it undertakes
to explain " how Finn found Bran," his famous dog. Of course there is no occa-
sion to suppose that the tale was connected with Bran in the beginning. There
are other accounts of Finn's discovery of Bran (see MacDougall, Folk and Hero
Tales, pp. 263-264).

Arthur and Gorlagon. 239

form of the fully developed story,^ the bitch-hound was not at the
giant's castle in the sea, but rather in the chamber where Finn
watched ; that the birth of the child and the whelping of the bitch
always took place at the same moment ; and that the giant stole both
the baby and the whelp. This had already happened twice before,
so that when the rescuers visited the giant's castle, they found three
children and three dogs.

^ The Feis Tighe Chonain shows a special resemblance to The Were-
wolf's Tale which we have not found in other versions of The Hand
and the Child: the bitch is a transformed mortal, like the Werewolf.
There is even a certain likeness in the cause of transformation. In
G and I the lady changes her husband to a wolf because she is in
love with another ; in the Feis, the mistress of loUann changes her
lover's wife into a bitch in order to keep him for herself. Note also
that lollann's mistress is a leannan sighe^ — a fairy mistress ; and that
we have seen reason to regard the lady in The Werewolf's Tale as
originally z.fie.'' These resemblances need not be pressed. They
suffice, however, to show how easy it was for a tale like The Hand
and the Child to become inserted in The Werewolf's Tale in Irish
story-telling.

A remarkable variant of the episode in the Feis Tighe Chonain is
thus tantalizingly recorded by O'Kearney in a note : *

" It is . . . recorded in tradition that she [read if] was the enchanted
hound [i.e., Finn's aunt] that rescued the infant from the grasp of the giant
by gnawing off his arm, and that she preserved it until morning. When
Feargus and his people found the chamber, in which she kennelled, full of
blood, they were on the point of killing her, under the supposition that she
had murdered the child ; but they fortunately discovered their mistake in
time . . . The sanje authority relates that the hound led Feargus and his
people to the giant's cave, where they succeeded in killing him, and also
recovered the seven children that had been previously kidnapped by him."

1 That is, the story made by combining The Hand and the Child with The
Skilful Companions, — a combination seen in nos. i and 2 (see pp. 224-6).

2 Cf. J. F. Campbell, Pop. Tales of the West Highlands, II, 70.
' See pp. 176-7, 189 ff.

< P. 164, note 2. I have corrected an obvious misprint.

240 G. L. Kittredge.

This approaches The Werewolf's Tale still more closely, in that it
is not a hero in human shape that defends the baby, but an enchanted
animal. It affords positive testimony that such a version of The
Hand and the Child as that inferred at p. 231 has actually existed,
out of combination with The Werewolf's Tale.

Good evidence of the antiquity of The Hand and the Child on Celtic
soil is furnished by the mabinogi of Pwyll Prince of Dyvet, one of
our most precious relics of genuine Welsh tradition. Pwyll preserves
the story in a remarkable shape : ^

Rhiannon's child has just been born, and six women are watching.
All six fall asleep about midnight, as well as the mother. At dawn the
women awake, but the baby has disappeared. Rhiannon is still asleep.
There is a bitch hound with her young in the chamber. They kill some
of the puppies, smear with blood the face and hands of Rhiannon, and
put some of the bones before her. When she wakes and calls for the
child, they declare that she has devoured it. The nobles urge Pwyll to
divorce his wife. He refuses : " If she has committed a sin, let her do
penance." Rhiannon decides to accept penance rather than to dispute the
question with the lying nurses. Her penance is, to remain seven years at
the court, to take her seat each day beside the horse-block at the entrance,
to tell her story to all comers, and to carry them on her back, if they will
allow it, from the horse-block to the court." So she passes a part of the
first year.

There is a lord at Gwent named Teyrnon, who has a very beautiful
mare. Every year she drops a foal in the night of the calends of May,*
but no one knows what becomes of it. This time Teyrnon resolves to
watch. The foal is born, and Teyrnon is admiring its beauty when he
hears a great noise. Immediately a claw comes through the window of
the house and seizes the foal by the mane. Teyrnon draws his sword
and cuts off the monster's arm at the elbow, so that the forearm and the
foal remain inside' the window. There is a great noise outside. Teyrnon
rushes out and runs in the direction of the noise, but it is so dark that
he sees nobody. Returning, he finds just outside the door a little child.
Taking it up, Teyrnon goes into the house, shuts the door, and learns that

1 Mabinogion, translated by Lady Guest, III, 60 fE.; by Loth, I, 52 fit.
^ Cf. Rhys, Hibbert Lectures, p. 641 ; id., Arthurian Legend, p. 284.
s Cf. Rhys, Celtic Folklore, I, 226.

Arthur and Gorlagon. 241

his wife has slept through everything. Teyrnon and his wife adopt the
child, and the foal is reserved for him against the time when he shall be
able to ride. After a time, Teyrnon hears of what has happened to
Rhiannon. He takes the child to the court and all is well.

In the episode just summarized, The Hand and the Child has been
modified by contamination with a story of a different type, into
which it has been worked, — namely, The Calumniated Wife?- In this
type " the wife is accused (usually by her mother-in-law or by a rival)
of bearing an animal or a monster ^ (or of having devoured her off-
spring) ; the child is spirited away (or slain) by the calumniator j
the wife is repudiated or subjected to terrible peiknce ; at last the
child is restored and the wife vindicated. In the mabinogi the motif
of the Hand is utilized to remove the child.* A good old example

1 Cf. Nutt, Scottish Celtic Review, p. 140.

2 The Calumniated Wife has been studied by many scholars. See, for exam-
ple, Dunlop-Liebrecht, Prosadichtungen, pp. 265-266 ; Hahn, Griechische u.
Albanesische Mdrchen, II, 292 ff . ; D'Ancona, La Rappresentazione di Santa Uliva,
Pisa, 1863 ; the same, Sacre Rappresentazioni, III, 235 ff. ; Wesselofsky, Novella
delta Figlia del Re di Dacia, Pisa, 1866 ; Todd, Publications of the Modern Lan-
guage Assoc, of America, IV, no. 3, pp. ii ff. ; Temple, note in Mrs. Steel, Tales of the
Punjab, pp. 364-365; Puymaigre, Folk-Lore, pp. 253 ff., 325-326; Crane, Italian
Popular Tales, pp. 1 7 ff . ; Cosquin, Contes pop. de Lorraine, I, Ixiii, 1 90 ; Suchier,
CEuvres poetiques de Philippe de Remi, I, xxiii ff. ; Nutt, Celtic Magazine, XII^
549-550; Milusine, III, 212, 253 ff., 527-528; Clouston, Variants and Analogues
of the Tales, in vol. Ill of Sir R. F. Burton's Supplemental [Arabian^ Nights, pp.
617 ff. ; id., Book of Sindibdd, pp. 372 ff.; Kohler-Bolte, Zir<r/4. des Vereins fiir
Volkskunde, VI, 60-61; Groome, Gypsy Folk-Tales, pp. 71-72, 256-257; Skeat's
Oxford Chaucer, III, 409 ff. ; Macaulay's Gower, II, 482 ff. ; Kohler, Milusine,
I, 213-214; the same, in Schiefner, Awarische Texte, pp. xxi ff. ; Paris, Romania,
XIX, 316, ff. ; Grober, Grundriss, II, i, 576; Suchier, Romania, XXX, 519 ff.

3 In a more primitive form of the type, the wife actually bears children in
animal form (being herself a swan-maiden or the like) and they are subse-
quently transformed into human shape, but this does not concern us here.

* The motif oi the Hand Down the Chimney is similarly utilized in an Irish tale.
The White Hound of the Mountain (O'Foharta, Ztsch. f Celt. Phil, I, 146 ff.).
This tale belongs to that special form of the Cupid and Psyche type in which. the
wife's children are stolen as soon as they are born (cf., for example, Kennedy,
Legendary Fictions of the Irish Celts, pp. 58 ff.) and which seems to have its origin
in a combination of the Cupid and Psyche type proper with a variety of The Calum-
niated Wife. The Griselda novel is perhaps a rationalized development of some

242 G. L. Kittredge.

of the type occurs in the Dolopathos of Johannes de Alta Silva
(written about 1190)/ in which the wife is accused of bearing
animals. Two examples in mdrchen taken down from recitation
in our own day are a Gypsy . tale in Groome's collection " and an
Irish tale in Larminie's," in both of which the heroine is suspected
of having killed her children, and in the latter of having eaten them.
The type of The Calumniated Wife has been very productive, and
the published versions differ infinitely in detail.

The changes wrought in The Hand and the Child by its assimila-
tion to The Calumniated Wife are clear for the most part. The
loss of the two former children has been suppressed ; therefore the
attack of the Hand is unforeseen, and there is no hero on the watch ;
hence nobody knows what has become of the infant. These altera-
tions are necessary if Rhiannon is to be accused of devouring her
child. Even as the mabinogi stands, however, there are traces of
the incidents that have been superseded. The sleep of the nurses
points back to the magic slumber which the abductor sends upon
the watchers in The Hand and the Child. Teyrnon keeping guard
over his foal represents the hero who resists the soporific effect of
the abductor's magic and pulls (or hews) off the Hand. In Pwyll,
however, this adventure of Teyrnon's takes place some months after
the birth of the child and in a different part of the country. The
reason for the postponement and the change of place is obvious.
In The Hand and the Child the baby is either left behind by the
monster or is recovered next day. This arrangement does not fit
the motif of The Calumniated Wife, which requires the continued
absence of the child in order that the calumny may gain credit and
Rhiannon may undergo her penance. Hence Teyrnon is repre-
sented as ignorant of what has taken place at Pwyll's court, as
finding the child at his own door (where the Hand has left it),

such tale, as I hope to show before long in another paper. The peculiarity
of The White Hound of the Mountain consists in the means adopted to carry the
children away from their mother.

1 Ed. Oesterley, pp. 74 ff. ; cf. the Old French adaptation by Herbert, vv.
9299 ff., ed. Brunet and Montaiglon, pp. 321 ff.

2 Gypsy Folk-Tales, p. 256.

' West Irish Folk-Tales, pp. 185-186.

Arthur and Gorlagon. 243

and as giving it to his wife to bring up as her own. Thus, while
Still retaining the role of the hero in The Hand and the Child, he
has assumed also the part of the person (hermit, miller, baker, or the
like) who, in The Calumniated Wife, accidentally finds the exposed
children and adopts them. Later, still in this latter character, he
restores the child to its parents and clears up the plot. This is
not till Rhiannon has undergone her penance for some time. The
penance itself is a characteristic feature of The Calumniated Wife.
It is much softened in the Welsh and its duration is shortened, but it
is easily recognized as parallel to that described, for example, in the
Dolopathos} Of course it has no place in The Hand and the Child.

The combination of two characters in Teyrnon, just noted, is not
very skilfully accomplished in the mabinogi. If the monster suc-
ceeds in stealing the child, he should of course go directly to his
den (or castle), and it is absurd that he should take the baby with
him when he sallies forth, months later, to steal Teyrnon's new-
born foal. Yet so it is in Pwyll : Teyrnon finds the child at his
door when he returns from pursuing the monster after hewing off
his hand. The signs of patching are manifest here.

There are two possibilities with respect to the episode of Teyrnon
and his foal : it may have been added when the tale was made over
to fit The Calumniated Wife or it may simply have been modified
somewhat, by postponement and change of locality. If the former
hypothesis is correct, it is simply an adaptation of the usual inci-
dent of watching for the Hand that is to take the newborn child.

1 Johannes de Alta Silva, ed. Oesterley, p. 75 ; Herbert, ed. Brunet and Mon-
taiglon, vv. 9508 ff., pp. 328-329. There is substantially the same penance in
Schiefner, Awarische Texte, pp. 94-95 ; Gonzenbach, Sicilianische Miirchen, I,
21 ; Hahn, Griechische u. albanesische Mdrchen, II, 288 (cf. II, 40 ff.) ; Groome,
Gypsy Folk-Tales, pp. 69-70; Socin, Ztsch. der Deutschen Morgenl. Gesellsch,,
XXXVI, 261 ; A. and A. Schott, Walachische Mdrchen, pp. 90 ff. ; Comparetti,
Movelline pop. italiane, I, 1 19; Kremnitz, Rumdnische Mdrchen, p. 35; Imbriani,
Ncmellaja Fiorentina, p. 86. The penance is milder (but still recognizable as
the same in origin) in various versions ; for example, Comparetti, p. 24 ; cf.
Grenville Murray, National Songs and Legends of Roumania, 1859, p. 107
(imprisonment) ; Mme. Mijatovies [Mijatovich], Serbian Folk-Lore, ed. Denton,
pp. 240-241.

244 G. L. Kittredge.

— an incident which had to be omitted in its proper place in order
to provide for the calumniation of Rhiannon. If the latter hypoth-
esis is preferable, then the foal was, in an earlier form of the tale,
born at the same time as the baby and belonged to the well-known
class of " congenital animal companions." ' In this case, the Hand
attempted to steal them both in the same night. This does not
seem so probable as the first supposition, for we should observe
that the mabinogi is already provided with " congenital animals,"

— namely, the pups which are in Rhiannon 's chamber. These
correspond to the pups in the Irish and Highland stories of The
Hand and the Child, which, as we have already conjectured, should
properly be taken away by the Hand which seizes the children.^
The attempt to steal Teyrnon's foal tends to confirm this conjecture.
The presence of the whelps in the bedchamber was an element com-
mon to both The Hand and the Child z,nA The Calumniated Wife,z.-a.A.
hence it facilitated the combination which we find the mabinogi has
made.'

Thus the episode of the Persecution of Rhiannon in the mabinogi
of Fwyll* appears to afford an easily reconstructed version of The
Hand and the Child. The White Book of Rhydderch, which contains
the Mabinogion, is of the end of the thirteenth century.' We may

^ On such animals, see the references in Hartland, Legend of Perseus, III,
191 ff. Rhys, Hibbert Lectures, pp. 501-503, compares one version of the
Birth of Cuchulinn (Cotnpert Conculaind : see Windisch, Irische Texte, I, 134 ff. ;
Zimmer, Kuhn's Zeitschrift, XXVIII, 419 ff.; Nutt, Voyage of Bran, II, 39 ff.).

* See p. 239.

5 Nutt, Scottish Celtic Review, I, 140, suggests that " the Welsh Gellert story-
may possibly be related to " the story of Rhiannon and to S or " at all events
have been influenced by a .similar version of the calumniated wife." The ease
with which the calumniation of the wife and the master's suspicion of his dog
(in Gelert) might influence each other is shown by a curious incident in an Italian
version of The Calumniated Wife, — the miracle play of Santa Uliva (ed. d'An-
cona, 1863, pp. 24-25; the same, Sacre Rappresentazioni, III, 263).

' One of the genuine mabinogion, containing no Arthurian material. No one
has ever suggested that Pwyll was influenced by French in any particular.

5 J. Gwenogvryn Evans, Report on MSS. in the Welsh Language, I, ii, 305.
The Red Book of Hergest, which also contains the Mabinogion, is of the latter half
of the fourteenth century.

Arthur and Gorlagon. 245

safely infer that The Hand and the Child, in a form substantially-
identical with that which it bears in the Celtic stories which we have
been studying, was known to the Welsh before 1300, and probably a
good deal earlier.^ Its presence in the Irish y, which must consider-
ably antedate G,'' suggests that it came to Wales from Ireland, as
some of the material in the Mabinogion certainly did,' and this sug-
gestion is supported by what is known of the influence of Irish
literature upon Welsh at an early date.

IX. THE CONCLUSION IN ARTHUR AND GORLAGON.

We must now examine the closing incident in The Werewolf's Tale
in G.

King Arthur has learned all that he can expect to know of the " ingenium
mensquefeminae," yet, when Gorlagon again asks him to "dismount and eat,"
he refuses once more. " I will in no wise dismount,'' he declares, " until
you tell me who that sad-faced woman is who sits opposite you [at the table],
having a bloody human head on a plate before her. As often as you have
laughed, she has wept, and she has kissed the bloody head whenever you,
in telling the story that you have related, have kissed your wife." " If I
alone knew the facts," answers Gorlagon, " I should decline to tell them ;
but since they are known to all who sit here with me, I need feel no shame
in informing you. I am the man who was transformed into a wolf. This
woman is my faithless wife, and the head is' that of her lover, which I have
had embalmed. Her punishment is to have this always before her eyes and
to kiss it whenever I kiss the wife whom I have married in her place.
Dismount now, if dismount you will." Arthur then joins the feast, and on
the next day he sets out for home, — ii journey of nine days.

This punishment of the wife is peculiar to G. In y, as we have
seen, she is forgiven, and received again by her husband, and so
probably in x.* In G she continues to live at her husband's court,

1 The resemblance between Pwyll and S was noted by Nutt in 1881 : " The
close agreement between Pywll and the Highland tale makes it not improbable
that a genuine folk-tale, constructed on precisely the same lines as the latter,
existed formerly in Wales" (Scottish Celtic Review, p. 140).

2 See p. 199.

8 See Loth, Revue Celtique, XI, 345 ff. (cf. X, 354 ff.). * See p. 187.

246 G. L. Kittredge.

but not as his wife, and is the object of the savage vengeance just
described. That G is departing from y at this point is not a mere
inference. We can designate the very tale which supplied G with
this incident, and we shall find that the same tale is also the source
from which G derived another incident, earlier in the plot. Let us
turn for a moment to the curious form in which G presents the episode
that we have called The Defence of the Child, — • a point in which, as
we have already inferred on other grounds, it varied from its original,
y} In G —

The king who has befriended the wolf is obliged to visit another country.
He charges his wife to take good care of the wolf, but she neglects him,
"for women often hate what their husbands love." A week after the
king's departure, the queen receives her lover, the steward, in the royal
chamber, where the wolf is tied. Breaking his chain, the wolf assails the
steward and leaves him half-dead. The queen declares that the wolf has
eaten her baby, and that the steward received his wounds in coming to the
rescue. She conceals the child in an underground chamber. On the king's
return, the wolf leads him to this chamber (for details, see p. 235), and
thence to the room where the steward lies suffering from his injuries. The
king forces the guilty man to confess, and both he and the queen are put
to death.

These two incidents, the Attack on the Steward and the Wife's
Penance, are peculiar to G, and they both come from a single story,
which we may call The Dog and the Lady and which is quite distinct
from The Werewolf's Tale. We may first examine a version found
in The Forty Viziers?

A merchant spends the night at a rich man's house in Persia. At sup-
per time he observes, with astonishment, a beautiful woman who sits in a
corner"and eats with a dog. He asks his host the reason and insists upon
knowing, though he is told that the matter is never spoken of. " That was
my well-beloved wife," repKed the rich man. " She loved a negro slave of
mine and they plotted to put me out of the way. One day she led me to a
lonely place, under some pretext, and she and the slave attacked me. My

1 See pp. 234-235.

2 Behrnauer, Die Vierzig Viziere, pp. 325-326 (tale of the 39th Vizier) ; Gibb,
Forty Vezirs, pp. 331 ff. (tale of the 34th Vizier).

Arthur and Gorlagon. 247

dog had followed me from the house. He assailed the slave and pulled him
off me. 1 killed the negro, but I spared the woman's life, and this is her
punishment."

The same story occurs in the Gesta Romanorum in a spmewhat
different shape :

A certain prince, while out hunting, falls in with a merchant and invites
him to spend the night at his castle. At supper the merchant sits by the
prince's wife. All the company are served in silver plates, but before the
lady and the merchant are placed " cibaria optima in capita unius defuncti."
That night he is well lodged, but sees two dead men hanging by the arms
in a corner of his chamber. Next morning the prince summons him and
asks how he is pleased with him. " Everything pleases me," replies the
merchant, " except that I was served in a dead man's skull and saw two
corpses hanging in my chamber. For God's love, let me go ! " The prince
answers : " Carissime, vidisti uxorem meam nimis pulchram et caput
defuncti ante earn. Racio est talis : iste enim cujus erat caput fuit quidam
dux nobilis, qui uxorem meam sollicitavit et cum ea concubuit et pariter
adinvicem commisceri perspexi, gladium arripui et caput ejus amputavi,
unde in signum verecundie singulis diebus illud caput ante eam pono, ut ad
memoriam reducat peccatum quod commisit." He then goes on to explain
the corpses, which do not concern us here.i

With The Dog and the Lady as it appears in The Forty Viziers and
in the Gesta Romanorum we should compare a version in the Tamil

1 This story is in the vulgate text of the Latin Gesta (eds. of 1480 and 1499,
fol.xxv; Keller, I, 81 ft.; Oesterley, pp. 35S-356,froin theiri!?2/w/«««/j, c. 1472;
Swan's translation, 1824, I, 183 if. j the same, revised by Hooper, 1877, pp. 93 ff. ;
Grasse, I, 87 ff.). It is cap. 54 in Le Violier des Histoires Romaines, ed.
Brunet, pp. 125 ff. It is missing in a great many MSS. Of those enumerated
by Oesterley it occurs as no. 42 in xv (isth century; see Einl., p. 64), as no. 7
in xxxii (15th century; see p. 112), as no. 47 in lxii(i628; see p. 167); as
no. 49 in Ixxi (14th century; see p. 178). It does not occur in the Innsbruck
MS. of 1342, printed by W. Dick, 1890 (Varnhagen's Erlanger Beitrage zur engl.
Phil., VII), nor in the four Munich MSS. (Oesterley's liii, Ivii, Iviii, Ixvi) which
Dick regards as derived from the Innsbruck MS. (see his EinL, p. xx). It is not
found in the Middle English version edited by Madden (1838) and Herrtage
(E. E. T. S., 1879), nor in the German translation edited by Keller from a fifteenth-
century manuscript (jBibl. der gesamtnten deutschen Nat. -Lit., XXIII).

248 G. L. Kittredge.

Story of Alakesa^ which is remarkably close to G in the adventure
with the steward.

A merchant who possesses a fine dog is called away from home by busi-
ness. He charges his wife to feed the dog well, and for a few days she
heeds his instructions. But the wife has a lover, " a wicked youth of the
Setti caste," who visits her constantly in the merchant's absence. One
night, as the lover is leaving the house, the dog springs at his throat and
kills him. The woman buries the body in the garden. Henceforth she
hates the dog. She no longer feeds him, and he is nearly starved. When
the merchant returns, the dog runs to meet him, rolls at his feet, and, seiz-
ing his garments, drags him to the spot where the youth's body is hidden
and begins to scratch the ground. The merchant discovers the corpse ; the
wife confesses and is turned out of doors. The dog is fed with milk, rice,
and sugar.^

In the Story of Alakesa and The Forty Viziers, it will be seen, we
have the faithful dog and the faithless wife, and in the latter the wife's
punishment is to eat with the dog. In the Gesta there is no dog,
and the wife's punishment is to eat from the skull of her lover. The
version of The Dog and the Lady used by the author of G must have
agreed (substantially) with that in the Gesta in the punishment of the
wife, and with that in The Story of Alakesa (less closely with that in
The Forty Viziers') in the account of her amour. The latter incident
appears in G in a different part of the story, — at the place where y
had the Rescue of the Child from the Demon Hand. Here, it will be
remembered, the Hand has disappeared from the tale in G. The
wolf, instead of defending his master's child (as in I), defends his
master's honor by attacking the steward, the queen's lover, who is

1 Alakesa Kathd (ascribed to the sixteenth century) as translated by Pandit
Natesa Sastri in Clouston, A Group of Eastern Romances, 1889, under the title
of The King and his Four Ministers. Cf. Benfey, Pantsch., I, 484-5.

'^ Clouston, pp. 207 £E. The tale is here combined with a peculiar version of
The Faithful Dog (the Gelert story), with which, however, it has nothing to do
originally. Three other cases of this peculiar version of the Gelert story are cited
by Clouston, pp. 507, 513 ff. ^ (i) Knowles, Folk-Tales of Kashmir, pp. 36 ff., cf.
425 f£. ; (2) AsiaHc Journal, New Ser., XV, pt. ii, Oct., 1834, p. 78 ; (3) G. H.
Roberts, Indian Notes and Queries, 1887, p. 150. In none of these is it combined
with The Dog and the Lady. Cf. also Panjab Notes and Queries, III, 94-95.

Arthur and Gorlagon. 249

dishonoring the royal bed. Thus we have practically the whole of
the tale of The Dog and the Lady (as exemplified by. The Story of
Alakesa., The Forty Viziers, and the Gesta^ embodied in G, and the
inference which we have already drawn as to the variation of G from
y in the incident of the Defence of the Child (see p. 235) is raised to
the rank of a proved fact.

The connection of G with The Dog and the Lady not only establishes
our previous inference that the Attack on the Steward and the Wife's
Penance (both peculiar to G among the different redactions of The
Werewolf's Tale) were no part of y : it also accounts for the complete
rationalization of G in an important particular. In y, as we have
seen, the lady was a fke; her lover was a fairy man, who had been
her husband in the Other World and who pursued her into the abode
of mortals and won her back ; her mortal husband recovered her, and
her apparent infidelity to him was condoned. In G, the insertion of
The Dog and the Lady has necessarily changed all this, reducing the
lady to the condition of a mere woman, and consequently eliminating
the condonation of her offence.* Thus practically all the features in
which G differs from y are immediately explained by the influence of
The Dog and the Lady upon G, and the accuracy of our reconstruction
of y is demonstrated.

We can even see a reason for the insertion of The Dog and the
Lady into G : The Dog and the Lady had a frame-story which some-
what resembled that of The Werewolf's Tale in version y. In both
y and The Dog and the Lady a traveller is entertained by a powerful
man (or visits him) and induces (or compels) him to tell his tale —
a tale, it transpires, of a faithless wife who tried to compass her
husband's death. The host is reluctant to disclose the secret, but
is prevailed upon by his insistent guest. In both, the wife has been
spared and is present when the tale is told.^ The difference is that

1 The ingenious cynicism with which G enforces the lesson of feminine infidelity
merits a word. G' introduces us to two faithless wives instead of one, — attaching
the amour with the steward to the wife of the king who befriended the Werewolf.

2 The frame in question is found in both The Forty Viziers and the Gesta
Romanorum. Its disappearance from the version in the Alakesa Kathd (a
sixteenth-century text) is accounted for by the fact that in that collection The Dog
and the Lady has been inserted into a form of The Faithful Dog (the Gelert story) :

250 G. L. Kittredge.

in y the guest is a quester who is under bonds to learn this partic-
ular narrative, whereas in The Dog and the Lady he is a chance
visitor whose curiosity is excited by what he sees at his host's. It
is possible that one of the features that G does not share with I (and
which we therefore cannot safely claim for y) was introduced into G-
from The Dog and the Lady, — namely, the telling of the story at a feast.
This, however, cannot be decided and is of slight consequence.^

see p. 248, note 2. This combination also accounts for the loss of the Wife's Pen-
ance in the Alakesa Kathd ; there is no place for it in the combined tale, as a
glance at that text will show. In a modern Tunisian version of The Dog and the
Lady (Stumme, Tunisische Mdrchen, II, no ff.) the frame has been considerably-
elaborated under the influence of the Arabian Nights (see Lidzbarski, Ztsch. der
Deutschen Morgenl. Gesellsch., XLVIII, 669) : see also p. 253 (bottom).

In a complicated Oriental tale given by von Haxthausen, Transkaukasia, 1,
326 ff., we find a good version of The Dog and the Lady (see Benfey, Pantsch.,
Einl., I, 445 ff.), set in a frame which gives it a rather striking resemblance to
G in certain particulars. The betrayed husband tells his experiences to a quester
who must learn them or die ; he tells them, moreover, with extreme reluctance,
and informs the quester that he who hears the narrative must be put to death.
There is, however, no werewolf in the story. The false wife turns out to be the
same perilous princess who had sent the quester on his mission. She belongs
to that extensive class of ladies who are in love with a giant or other monster
(cf. the Grusinian legend of Solomon, reported by Wesselofsky, Archiv. f. slav.
Phil., VI, 574) and who set their suitors apparently impossible tasks (or riddles)
in order to avoid marrying anybody. Such tales are common everywhere and
require a special study to untangle their perplexed relationships. In some ver-
sions, the lady is not to blame for her amour, since she is under enchantment.
When this is the case, we have an approximation (often very close) to the Tobit-
Amadas type, and the motif of the Thankful Dead Man occasionally appears.
The head of the monstrous lover is sometimes brought to the princess. Perhaps
this last incident may have had its influence on the lady's penance in The Dog
and the Lady. For Irish mdrchen which would have to be included in any study
hereafter made of the kind of tale represented by von Haxthausen's narrative
see Kennedy, Legendary Fictions, pp. 74 ff., 38-39 ; Larminie, West Irish Folk-
Tales, p. 46, pp. 155 ff. ; Curtin, Myths, pp. 186 ff.; id., Hero-Tales, pp. 122 ff.,
312 ff.; Hyde, Beside the Fire, pp. 19 ff. (cf. p. 153) — all of which have come
in some manner from the Orient. For the Tobit-Amadas legend see especially
Hippe, Herrig's Archiv, LXXXI, 141 ff., to whose extensive material large addi-
tions might now be made.

^ It is a commonplace of mediaeval romance that adventures happen or
questers arrive precisely at the moment when a feast is about to begin or is

Arthur and Gorlagon. 251

We have compared the version of The Dog and the Lady that is
embedded in G with the Forty Viziers, the Alakesa Katha, and the
Gesta Romanorum. We should remember, however, that our MS.
of G was written at the end of the fourteenth century, and is there-
fore much older than the Alakesa Katha (ascribed to the sixteenth
century) and considerably older than the only extant version of the
Forty Viziers, — the Turkish, which dates from 1421-1451. The
manuscript of G is also older than any known Gesta manuscript that
contains The Dog and the Lady. Our Latin story G is no doubt
a good deal older than the manuscript that has preserved it ' ; but
even if we take the date of the manuscript as the date of G itself,
we find that we have in G the oldest record yet discovered of (i)
The Dog and the Lady with the dog in it and of (2) the same with
the death's head. Further, our text (in G) is the only, known ver-
sion that contains both the dog and the head (or skull). There is
little doubt that The Dog and the Lady came from the Orient." If,

in progress. This is found not only in numerous Arthurian stories preserved in
French, but is familiar in Celtic tradition also. There is a well-known case in the
Welsh Kulhwch and Olwen, and we have an instance antedating any French
romance of the Round Table in the closing adventure of Bricriu's Feast (fled
Bricrend, chap. i6, § 91, Windisch, Irische Texte, I, 301; Henderson, p. 117;
K. Meyer, Revue Celtique, XIV, 450). Here the Strong Man (the original of the
Green Knight in the superb Middle English romance) presents himself at Emain
when the host of Conchobar are seated in the Red Branch, Conchobar's Court,
after the sports of the day. It is not expressly said that they were feasting, but
the circumstances make it clear that they were. The relation of the Fled Bricrend
to Gawain and the Green Knight will be discussed in a volume which I hope to
publish in a few months.

1 This is true of the other contents of the manuscript {Apollonius of Tyre,
ffistoria de Preliis, etc.). See p. 149.

2 The repulsive Oriental story How a Woman Rewards Love (Pancatanira,
iv, 5, Benfey, I, 303 fit.) seems to be quite distinct from The Dog and the Lady,
though Benfey (Pantschatantra, EinL, § 186) regarded them as variants of the
same tale. For the former, add to Benfey's references Kathdsaritsdgara, ch. 65
(Tawney, II, loi ff.), and the close parallel in the Thibetan .ffaA-^ar (Schiefner,
Tibetan Tales, transl. by Ralston, no. 21, pp. 291 ff.) ; both resemble Dafakumd-
racarita (i.e. The Adventures of Ten Princes'), ed. Wilson, p. 150 (as translated
by Benfey, I, 436 ff., and Jacob, Hindoo Tales, pp. 261 ff.) even more closely than
they do Pahcatantra, iv, 5. It is noteworthy that in the Kathdsaritsdgara the

252 G. L. Kittredge.

as Benfey not improbably conjectures,* the Penance with the Skull
was substituted for Eating with the Dog after the tale reached
Europe, then G, — which keeps the Dog's Attack on the Lover

1 Pantschatantra, Einl., § 1 86, I, 450. In his comment on the Gesta, ch. 56.,
Warton (History of English Poetry, ed. Hazlitt, I, 254) compares the wife's
penance in the Gesta with the famous story of Alboin and Rosemunda (Paulus
Diaconus, Hist. Lombardorum, ii, 28, ed. Eethmann and Waitz, in Scriptores
Rerum Lombard., 1878, p. 88) ; Grasse, in his edition of the Gesta, II, 263, refers
to the history as the source of the tale in the Gesta; and Benfey calls the pun-
ishment in question an occidental addition to the story, derived from the Lom-
bard saga and "aus analogen Anschauungen." With the punishment of eating
from a lover's skull may be compared that of eating the lover's heart (or drink-
ing from a goblet containing it), well known both in the East and the West
(Decameron, iv, i; id., iv, 9; Guillem de Cabestanh ; Lai d'Ignaure ; Chdtelain
de Couci; Herzmdre ; Rdjd Rasdlu, etc.). See the references in Child, Ballads,
V, 29 ff., 303, and add the American Indian tale in Transactions of the Canadia?!
Institute, V, 1 1 (in which a. husband gives his wife soup made of the blood of
her serpent-paramours) and the extraordinarily savage story in Teit, Traditions
of the Thompson River Indians, pp. 83-84.

unfaithful wife is punished by the amputation of her nose and ears, — something
that occurs in none of the other versions (cf. p. 174).

In the Dafakumdracarita version of How a Woman Rewards Love, the wife
is punished by degradation to the rank of a " Dog-cooker " (pjdpdcikd). Benfey
conjectures that, when the story passed out of India but while it was still in the
East, this incident was misunderstood and gave rise to the wife's penance of
Eating with the Dog (as in the Forty Viziers'). Since this was a strange punish-
ment, he continues, a motive had to be found for it, " und so fiihrte dann die
charakteristische Treue der Hunde die weitere Ausspinnung herbei, dass dieses
Hiindchen den Herrn gerettet habe " (Pantsch., Einl., I, 445). Thus he derives
The Dog and the Lady from the other story {How a Woman Rewards Love).
But the probabilities are all in favor of two distinct stories. We should observe
that we find the penalty of Eating with the Dogs elsewhere, under circumstances
that preclude the possibility of any such misinterpretation of Sanskrit. See
Robert le Diable in various versions ; cf. fitienne de Bourbon, ed. Lecoy de la
Marche, p. 146; Sir Gowther, sts. 25 ff., vv. 276 fE., ed. Breul, pp. 146 ff. (also
in [Utterson,] Select Pieces of Early Popular Poetry, 1817, I, 173 ff.) ; the Middle
English Roberd of Cisyle, vv. 163 ff., ed. Nuck, p. 42 ; Dit de Trois Chanoines
(quoted by Du M^ril, jStudes sur quelques Points d'ArchMogie, etc., p. 313);
Francesco Bello (called II Cieco da Ferrara), Mambriano, xxv, Rua, Antiche Novelle
in Versi, p. 60 (eating with the cats : cf. Rua, Novelle del Mambriano, p. 103, note

Arthur and Gorlagon. 253

{lost in the Gestd), but which (like the Gestd) has rejected the
incident of Eating with the Dog in favor of the Penance with the
Skull, — must represent the oldest occidental form of The Dog and
the Lady. G, in other words, preserves substantially that form of
the tale in question that underlies (by several strata, perhaps) the
fifty-sixth chapter of the vulgate Gesta Romanorum}

The insertion of The Dog and the Lady into The Werewolf's Tale
may probably be ascribed to the Latin translator of the Welsh G,
"who was doubtless a cleric and as such was familiar with the anec-
dotical literature of his time. Since The Defence of the Child was
already in y, and since that incident concerned a faithful wolf act-
ing as a watch-dog, it was natural that the Latin redactor should

1 The lady's penance in G does not consist in eating from her lover's skull, but
in sitting at table with his embalmed head before her on a platter. This may
be a modification introduced by the author of G to soften the barbarity of the
punishment. In Pauli, Schimpf und Ernst, no. 223 (ed. Oesterley, p. 149), — •i-
tale derived from chap. 56 of the vulgate Gesta, — the head in the dish has also
been substituted for the skull-dish.

2, where a similar case is cited from Sabbadino delli Arienti, Porretane, nov. 18, ed.
Veron., 1540). There is also the historical penance of the Templar Adam de Vallen-
court, who " fecit penitenciam solempnem per annum et diem, comedendo in terra
omnes sextasferias illius anni " (document of 1 3 1 o, in Michelet, Proces des Templiers,
I, 204). It is likewise important to compare the modem Tunisian version of The
Dog and the Lady (Stumme, Tunisische Marchen, II, no ff. ; cf. p. 249, note 2,
above) with KathdsaritsSgara, chap. 61 (Tawney, II, 53-54). In the Sanskrit
the husband is tied to a tree by the lover ; he prays to a goddess, who appears
" and grants him a boon, so that he escapes, and cuts off the head of the [lover,
who is asleep,] with his [the lover's] own sword." In Stumme, where the situ-
ation is very similar, a faithful dog bites the bonds asunder. Surely Stumme's
version (late as his text is in comparison with the twelfth-century Kathdsarit-
sdgara) seems more primitive and mdrchenhaft here (cf. the fable of The Mouse
and the Lion). The version in the Kathdsaritsdgara is not a little remarkable.
It is essentially The Dog and the Lady, but it shows contamination (at the end)
with How a. Woman Rewards Love, — a story which is actually contained in the
same collection in another place (ch. 65, Tawney, II, loi ff.) and which Soma-
deva certainly regarded as a distinct tale. Another cynical story from the East
illustrating the comparative fidelity of dogs and wives is in the Dolopathos, pp.
52 ff., and the Gesta, ch. 124 (ed. Oesterley, pp. 473 ff., cf. p. 732). Still another,
which may also be of Oriental origin, occurs in the Chevalier h VEspSe, vv. 959 ff.
<Meon, Notmeau Recueil, I, 157 ff.; ed. Armstrong, pp. 29 ff., cf. p. 63).

254 G. L. Kittredge.

be reminded of another faithful dog, known to him in the cynical
exemplum of The Dog and the Lady. This seems better than to
ascribe the insertion to the Welsh translator of the Irish y.

X. THE WEREWOLF'S TALE IN MALORY.

Sir Thomas Malory, or rather one of his French authorities, knew
a version of our Werewolf s Tale which, like the Lai de Mellon, had
become attached to the Arthurian cycle. In a long list of knights
who " searched " Urre's wounds, Malory mentions " Sir Marrok the
good khyghte that was bitrayed with [i.e., by] his wyf, for she made
hym seuen yere a werwolf." ^ It would be idle conjecture to specu-
late as to the precise relation between .the lost story of Marrok and
the versions that are preserved. Malory certainly drew this inci-
dent of the wounded Urre from a French source. He expressly
refers to "the French book" several times,^ and it was manifestly
a Lancelot romance.^ The source of the Urre episode has not

1 Morte Darthur, bk. xix, ch. ii, ed. Sommer, p. 793. Sir Marrok is also men-
tioned in bk. V, ch. 8 (p. 172), as a knight of the Round Table. Miss Weston
(Four Lays, p. loi) suggests that Morraha (in version L of The Werewolf's Tale)
and Marrok are the same name ; but this is incredible. " Alfredus (Affredus)
filius Marroci de Vilarblez" is grantor in a twelfth-century charter of Redon
(De Courson, no. 336, p. 287). Marrok is the false steward's name in Sir
Tryamoure (ed. Halliwell, Percy Soc, p. 2, axi&passim ; [Utterson,] Select Pieces,
I, 6, etc.; Percy MS., ed. Hales and Furnivall, II, 81, etc.). I owe the follow-
ing citations to Dr. Alma Blount's collections for an Arthurian onomasticon.
Mauruc (Maurut) de la Roche is one of Arthur's knights in the vulgate French
prose Merlin, ed. Sommer (from Add. MS. 10,292 in the British Museum),
pp. no, 119, 123, 157. Dodineel overcomes one Maroc

Vander Ynsen roken, diemen seget
Da tusschen Irlant ende Scollant leget

in the Dutch Lancelot, vv. 1216-1218 (ed. Jonckbloet, I, 9), and sends him to
the queen (cf. Miss Weston, Lancelot, p. 216). Maruc (Marec) is a knight of
Arthur's in the Middle English Arthcnir and Merlin, ed. Kblbing, vv. 3595,

3953. 5431-

2 Ch. 10, p. 788, 1. 16 ; p. 789, 1. 6 J ch. 11, p. 791, 1. 29.
^ Cf. also p. 796.

Arthur and Gorlagon. 255

been discovered.* Though the list of knights probably contains
some additions of Malory's own, we have no reason to doubt that
the remark about Sir Marrok (with or without that name) was in
" the French book."

XI. AN ICELANDIC PARALLEL.

A curious story, which may or may not be related to The Were-
wolf s Tale, is found in the Icelandic Alaflekkssaga, chaps. 6 and -]?■

Ali is visited on his wedding night by a wizard, who dooms him to
become a wolf in the woods, to kill men and cattle, to lay waste his
wife's country, and then to ravage that of his own father. He is not to
escape death unless some one asks pardon for him when he is taken.
Ali lays upon the wizard a counter-spell,' leaps out of bed, takes to the
woods, and turns into a wolf. His depredations are so extensive that the
king his father leads a hunt against him, but he breaks through the circle
of hunters. That night he visits the garth of his foster-parents, Gunni

1 See Sommer, III, 248 ; Miss Weston, Legend of Sir Lancelot, pp. 187, 237.
Dr. Schofield notes : " In Richard Coer de Lion, v. 6665 (Weber, II, 261) the
romance of Ury is mentioned in a list of romances of all sorts, in the same line
with Octwvyan and just after Beves and Guy, — good evidence of the existence of
a separate romance which was taken into some version of the Lancelot."

^ An extract from the saga, including these chapters, is printed by Jiriczek
(from a seventeenth-century manuscript) in Ztsch. f. deutsche Philol., XXVI
(1894), 17 ff. According to Jiriczek, there are numerous manuscripts of the saga,
— among them, parchment fragments of the sixteenth and seventeenth centuries.

' This counter-spell, which forces the magician to remain in a very uncomfort-
able situation so long as Ali is a wolf, reminds one of a feature in S (in the frame-
story) and other tales (see p. 221, note). There is a. curious parallel in the
Middle Dutch Walewein, a romance which, though it is essentially a mere expan-
sion of a motif well-known in mdrchen (the quest which proceeds from task to
task: see Ker, Folk-Lore, V, 121 ff.), is yet, in its present form, almost a com-
pendium of mediaeval romantic fiction. A king's son, after a scene resembling
the " Potiphar's wife incident " in the Seven Sages, is changed into a fox by his
stepmother (vv. 5696 ff., ed. Jonckbloet, I, 189-190). He is to retain this shape
until he shall be in the company of King Wonder, King Wonder's son, princess
Assentijn, and Walewein, all at the same time, — and this, the queen thinks,
will never happen. Thereupon the prince's aunt transforms the queen into a
toad, and in that guise she remains under the doorsill till the fox is released
from the charm (vv. 5736 ff., 10,942 ff.).

256 G. L. Kittredge.

and Hildr, but does no damage. The carline says to her husband : " No
eyes have I seen more like than those in this wolf and those that were in
Ali's head." She feeds the wolf, who departs refreshed, and that night
kills three of the king his father's men. Again there is a hunt, and this
time Ali is captured by the king's own hand.^ While the captor is delib-
erating what death the wolf should die, Hildr comes and asks grith for
him. It is granted and she takes the wolf home with her. That night
she watches over the wolf, but falls asleep at midnight. 'When she wakes, "
Ali is lying in the bed, and a wolfskin is on the floor by her side. She
rouses her husband and he burns the wolfskin. In the morning, they go
to the king's hall and Hildr tells the story. The wizard is hanged.

The differences between this saga and our Werewolf s Tale are
marked, but so are the resemblances, some of them in details.
There is little call for dogmatizing, but I am inclined to regard
the Icelandic story as an offshoot of the Irish x. The relations
between Irish and Scandinavian are wellknown, and though the
Alaflekkssaga is pretty late, there is no reason why this particular
episode should not be of considerable antiquity.^

XII. A JUD^O-GERMAN VERSION.

An extraordinary Judaeo-German tale, summarized by Kohler,' is
clearly an oriental story related to that of Sidi Numan,* but greatly
modified by incidents from some version of The Werewolf's Tale.
The Yiddish Maasahbuch, our sole authority for this Hebraized
legend, was compiled in the sixteenth or seventeenth century. Per-
haps the author knew a text resembling our G. An incident like that
of the Werewolf's pulling down a stag for the king (which occurs
in G and I and has left traces in M) is found in the Judseo-German

1 Apparently he could have broken through the ring of hunters ag^n if he had
been willing to attack his father.

''■ Jiriczek, p. 17, designates it (judiciously) as "eine alte Werwolfssage."

3 In Warnke's Marie, 2d ed., pp. civ ff., from Christopher Helwig's Jiidische
Historien, Pt. I, pp. i ff. Helwig's book consists of two parts, which appeared
at Giessen in 1611 and 1612 according to Kbhier. Both parts are dated 1612 in
the copy in the Harvard College Library.

* See p. 170, note 3, above.

Arthur and Gorlagon. 257

version. The talisman that transforms the hero is a magic ring
which effects whatever the owner wishes. Such talismans are so
common, however, that we have no right to insist on this (prob-
ably fortuitous and not very close) resemblance to M. The use of
a ring may be due to the Jewish writer's acquaintance with Oriental
literature, — particularly with legends about Solomon.

XIII. WEREWOLVES IN IRELAND.

Reference has already been made to the existence of werewolf
stories in Ireland.* The importance of the matter in the present
argument demands a somewhat more extended treatment of the
evidence.

Giraldus Cambrensis ^ tells of a priest who was spending the night
in a wood on the borders of Meath {Media) :

A wolf came up to his camp fire and gave a strange account of himself
in human language. He said that he belonged to a certain race of Ossory.
Every seven years, two members of this race, a man and a woman, were
compelled, in accordance with a curse of St. Natalis, to become wolves
and leave their country. After seven years they returned to their human
form, and two others took their place. The wolf's mate was sick unto
death and needed the last rites of the Church. The priest being still in
doubt, the wolf, " pede quasi pro manu fungens, pellem totara a capite lupae
retrahens, usque ad umbilicum replicavit: et statim expressa forma vetulae
cujusdam apparuit." After the host had been administered, the wolfskin
" priori se formae coaptavit." The wolf spent the rest of the night by the
priest's fire, directed him on his way next morning, and prophesied the
success of the English invasion.

This adventure is dated by Giraldus about three years before
the arrival of Prince John.' He adds a brief dissertation on the
changing of men into animals, making several quotations from

1 See p. 169, note i.

2 Top. Hib., ii, 19, Works, Rolls Series, V, loi ft.

3 In the Expugnatio (ii, 23, Works, V, 356) he mentions the same story (with
a reference to the Topographic^) in a way that makes it possible to date the occur-
rence in 1 182 or 1 183.

258 G. L. Kittredge.

St. Augustine, the most interesting of which is the well-known
passage on Arcadian werewolves.' The werewolves of Ossory are
a regular feature in other lists of the Wonders of Ireland.^ Accounts
vary. According to some of them,' the men become wolves when-
ever they wish; according to others,* they are forced to undergo
this transformation at a certain time. Giraldus alone speaks of a
single pair as the victims, and the highly colored narrative of the
interview with a priest is his exclusive property.

The Cbir Anmann (or Fitness of Names') contains the following
passage : *

Laignech Faelad, that is, he was the man that used to shift vAo faelad,
i.e. wolf-shapes. He and his offspring after him used to go, whenever
they pleased, into the shapes of the wolves, and, after the custom of
wolves, kill the herds. Wherefore he was called Laignech Faelad, for
he was the first of them to go into a wolf-shape.

The yiord faelad, here explained as meaning wolf-shape,^ is used for
the ravages of robbers in the Togail Bruidne D& Derga (or Destruc-
tion of Da Derga' s Hostel), where Stokes translates the passage :
" When they were were-wolfing in the province of Connaught." '

In the Acallam na Senbrach there is a story of three she-wolves
that issue every year from the Cave of Cruachan and devour sheep.
They are women who find it " easier to plunder as wolves than as

1 Civ. Dei, xviii, 17, from Varro. See Immerwahr, Die Ktdte u. Mythen Arka-
diens, I, 11, 13 f. Cf. p. 169, note i, above.

2 See the Mirabilia published by Todd in the Appendix to his edition of the
Irish Nennius, pp. 204-205 (with Herbert's note), the Mirabilia in the Norse
Speculum Regale (K. Meyer, Folk-Lore, V, 310 f.), and the Latin poem De Rebus
Hiberniae Admirandis, edited by Thomas Wright, Reliquiae Antiquae, II, 105.
Ossory is not mentioned in the Speculum and the poem.

^ The Irish text and tlie Latin poem.

* The Speculum Regale and Giraldus.

5 § 215, ed. and transl. by Stokes, Irische Texte, III, 376-377. Stokes refers
to the Irish Nennius, p. 204, and to Giraldus Cambrensis, Top. Hib., ii, ig. He
adds that there was a special name for a female werewolf (conel) ; see Stokes,
Rev. Celt., II, 202-203 (a reference which I owe to Professor Robinson).

« " Fri faeladh. i. i conr[e]achtaibh."

' " Intan badar oc faelad i crich Connacht " (chap. 20, Revue Celtique, XXII,
29-30). '

Arthur and Gorlagon. 259

human beings." They are induced to become women in order to
listen to music the better, and are then slain by one spear-cast.^
These may be regarded as identical with the " three cats (caittini)
from the Cave of Cruachan, i.e. three beasts of magic " that attack
the heroes in the Fled Bricrend.^

1 Lines 7676 ff., ed. Stokes, Irische Texte, IV, i, 214 f., 264 f.

2 Chap, ix, § 57, ed. Windisch, Irische Texte, I, 282 ; ed. Henderson, pp. 72, 73.
§ 57 is lacking in the later MSS., but is found in the Lebor na h-Uidre. Though
the episode of the Three Cats was a part of one version of the Fled Bricrend
long before the year 11 00, it obviously enshrines a bit of local legend about the
Cave of Cruachan that existed independently of the story of Bricriu's Feast and
of any form of the contest for the hero's portion (of. Henderson, pp. xxxiil,
xxxvii-xxxviii, with Zimmer, Kuhn's Ztschr., XXVIII, 633 ff.). The passage in
the Acallam must, then, be regarded as independent evidence for the existence
of this local legend, since the insertion of the tale into the epic saga would of
course have no effect on its continuous tradition as a local legend. The com-
piler of the Acallam represents the three she-werewolves as " three daughters of
Airitech, of the rear of the Oppressive Company " (tri hingena Airitig do deired
na tromddimi, 11. 7682—7683). This, however, is a mere attempt to attach them
to the famous story of the Tromdam or Oppressive Company (of Bards), and
was perhaps suggested by the susceptibility that they show to concord of sweet
sounds (or may, indeed, have itself suggested that susceptibility). On the Trom-
dam see especially Zimmer, Kuhn's Ztschr., XXVIII, 429 ff. It was edited,
mainly from the Book of Lismore, by Connellan for the Ossianic Society ( Trans-
actions, V, under the title Imtheacht na Tromdhaimhe, or Proceedings of the Great
Bardic Institution). For demon cats in Irish folk-lore Henderson, p. xxxiii, cites
Lady Wilde's story of The Demon Cat, Ancient Legends, etc., of Ireland, II,
16 ff. [reprinted by W. B. Yeats, Irish Fairy and Folk Tales, pp. 229 ff.], with
Yeats's brief note, p. 325. Many other references to such cats might be added
from Irish and Highland story : see Kennedy, Legendary Fictions of the Irish
Celts, p. 234; id.. Fireside Stories, p. 149 f. ; Larminie, West Irish Folk-Tales,
pp. 72, loi, 102, 153 ; Curtin, Myths and Folk-Lore of Ireland, pp. 216, 321 ; id.,
Hero-Tales of Ireland, pp. 54 ff., 102 flf., 498; Proceedings of the Great Bardic
Institution, ed. Connellan, Ossianic Society Transactions, V, 8 1 ff. ; O'Kearney,
Ossianic Soc. Trans., II, 34 ff.; Celtic Magazine, XIII, 542 ff. ; [W. G. Stewart,]
Pop. Superstitions and Festive Amusements of the Highlanders of Scotland,
pp. 189 ff. ; Wood-Martin, Trances of the Elder Faiths of Ireland, II, 122 ff. Com-
pare " Cairbre Cathead " {Coirpri Cind cait). Coir Anmann, chap. 241 (Stokes,
Irische Texte, III, 384-385, with the editor's note, p. 422). Arthur's fight with
the Cat should not be forgotten (Paris, Hist. Litt., XXX, 219-220; Baist, Ztsch.

f. rom. Phil., XVIII, 275; Folk-Lore, I, 251 f.; Freymond, Artus' Kampf mit
dem Katzenungetum, in the Grober-Festgabe, 1899, pp. 311 ff. ; Rhys, in the Dent

26o G. L. Kittredge.

Lady Wilde ^ prints a tale of certain grateful werewolves. A farmer
named Connor, in search of two missing cows, was benighted on a desolate
heath. He knocked at the door of a rude shieling. It was opened by
an uncanny old man, who invited him to enter, and introduced him to an
equally uncanny old woman, his wife. They sat down to supper. Soon
a black wolf was admitted, who went into an inner room, whence soon
appeared a handsome youth, who took his place at the table. A second
time this happened. Connor was bidden to tell his errand. The elder son
reminded Connor how he had once befriended a young wolf, and said that
he was that wolf. He promised to help Connor, and they all feasted mer-
rily. Next morning Connor awoke in his own field, and espied three beau-
tiful cows. He tried to drive them away, but a young wolf drove them
back. Connor grew rich and prospered, but he could never again find
the wolves' shieling.

On the whole, we need not hesitate to pronounce werewolves
quite as much at home in Ireland as in Wales or Brittany.''

XIV. CONCLUSION.

In conclusion it may be well to sum up our long and somewhat
complicated investigation and to specify its main results. .

We have had to deal with two distinct Irish stories : The Fairy
Wife and The Werewolf s Tale proper.^ The Fairy Wife was similar

Malory, 1893, pp. xxviii-xxix ; id., Celtic Folklore, II, 504-505, 507; Newell, Mod.
Lang. Notes, XVII, 277). See also Laistner, Rdtsel der Sphinx, I, 90; II, i ff.,
35-36; Mannhardt, Wald- u. Feldkulte, I, 136; II, 172-175.

1 Ancient Legends of Ireland, Boston, 1887, I, 31 ff. ; cf. Celtic Magazine, XIII,
486 ff., 496.

2 See also Wood-Martin, Traces of the Elder Faiths of Ireland, II, 118 ff.

8 It is open to anybody to contend that The Werewolf s Tale proper is of
Oriental origin. It may be argued that it is merely the Eastern story of the
man whose unfaithful wife, being an enchantress, changes him into an animal
(the type already referred to as represented in the A'athdsaritsdgara and by
Sidi Numan: see p. 170, note 3), modified to suit the werewolf superstitions cur-
rent in the West. I am not concerned to refute such theories as this. It should
be noted, however, that they in no way affect the facts and arguments set forth
in the present paper. The original home of a story is a difficult matter to settle,
and no such task is essayed in these investigations. For our purposes. The
Werewolf s Tale, wherever it originally came from, is Irish if it became a part
of Irish legend at a date early enough to have served as the source of Marie's
Lai de Bisclavret.

Arthur and Gorlagon. 261

to the Tochmarc Etaine, both in outline and in several details.
It may even have been a version of that famous saga. A fee
becomes the wife of a mortal, who has vowed that he will. never
marry a woman who has loved another. The fie has had a hus-
band in the realm of faerie. He seeks her and wins her away from
her mortal husband. The latter follows her into the Other World
and recovers her. Her return to faerie with her immortal partner
is not regarded as an offence, and she is not liable to punishment
for unfaithfulness.

The Irish Werewolf's Tale proper was a story of another sort.
It was a kind of exemplum, illustrating the fickleness of women.
A man is a natural werewolf, forced to spend a part of his time in
wolfish shape. His wife, who has a lover, learns his secret and
compels him to remain in his beast-form by removing from his
control the means of disenchantment. The wolf commits great
depredations. A hunt is organized, and he makes his submission
to the king, who disenchants him. The wife and her lover are pun-
ished. Presumably the Werewolf is freed from his curse forever.

The second of these tales passed from Ireland to Brittany, where
it became localized. The Breton story is faithfully preserved in
Marie's Lai de Bisclavret, written in England about 1180. It shows
no intermixture of The Fairy Wife.

In Ireland, the two stories {The Fairy Wife and The Werewolf's
Tale) were combined into a single saga. The combination was
made by inserting the latter into the former and by some adapta-
tion of details. The wife is still a fke, and the end of the tale
records her recovery. The werewolf anecdote is utilized as a
means of procuring her escape from her mortal husband when she
returns to the Other World with her fairy mate. The husband pur-
sues in the form of a wolf. The king who disenchants him is his
supernatural father-in-law. The whole machinery of the hunt is
from The Werewolf ' s Tale proper, and so are the details of the dis-
enchantment. The wife is restored to her mortal husband, who
takes her home with him and has no thought of punishing her.

This combined tale, the Irish x, passed into Brittany and became
the subject of a Breton lay. It was rendered into French, and the
first French version was somewhat modified by a Picard poet, the

262 G. L. Kittredge.

author of the extant Lai de Mellon. The Lai de Melton, in its pres-
ent form, rationalizes the story a good deal. The lady is no longer
a fke, and her mortal husband refuses to take her back. The fair-y
lover, too, has been reduced to a very shadowy figure, of no great
importance in the plot. Yet, rationalized as it is, the French lai
keeps manifest signs of its original character. The circumstances
under which Melion wins his wife, Melion's vow, their meeting in
the wood, the conversation, are so close to the Irish Tochmarc
Elaine that one text might almost be regarded as a translation of the
other. The return of the lady to her father's realm across the sea,
accompanied by the squire, is also significant. In the werewolf
part of the story, M is pretty close to its source x, except that the
role of the rescuing king is divided between two personages, —
the Werewolf's father-in-law and King Arthur. This attachment to
the Arthurian cycle is a clear departure from x on the part of M.
It may have been efifected by the French poet or may have stood
in his Breton source : decision is impossible. In M the Werewolf
is no longer forced by his nature to spend a part of his time in
wolfish shape ; the transformation is brought about by means of a
[congenital] talisman, — a ring which he wears and with which
another must strike him in order to effect the change. This shows
the influence of a different type of story (that in which a man is
married to an enchantress : cf. Sidi Human), but the influence has
not gone far in the Lai de Melion. Finally, in making the Were-
wolf's father a king of Ireland, and in locating the scene of the
creature's ravages and disenchantment in that country, the lai pre-
serves a manifest sign of its ultimate origin. The present text of
the Lai de Melion is preserved in a thirteenth-cer^ury manuscript,
but the lay may be considerably older, even in French. If a Nor-
man version preceded the Picard text that we have, that version
was probably nearly or quite as old as Marie's time.

The Irish x had a further development (to y) in its native land.
The changes, which may have taken place at different times, were
the following: — (i) The story is set in a frame. A quester puts
himself under bonds (or is required by an outside power) to dis-
cover " the cause of the one story about women." He sets out to
find the person who is supposed to know this mysterious tale. He

Arthur and Gorlagon. 263

falls in with him thrice, under different forms, but in similar cir-
cumstances. On the first and the second occasion he is cajoled,
but on the third he insists on hearing "the one story" before he
will join the feast that is in progress. The host tells The Were-
wolf's Tale, substantially version x. He is, in fact, the Werewolf
himself, and is very loth to reveal his unpleasant experience. The
compulsion exerted is that of refusing to eat until the guest's request
is granted. The false wife is present while the story is told, and
much is made of her presence. In y the fairy nature of the wife
and her lover was still clear enough, though perhaps not so clear
as in X. The frame-story was simple, belonging to a well-known
type of quest-adventures, with which Perceval's neglect to ask the
Grail question may be compared. (2) The congenital character of
the WerewslTs, nature may have been as clearly preserved as in x,
but it is not unlikely that the progress in the direction of external
magic had been perceptible. (3) A particular modification consists
in the insertion of The Defence of the Child into y. This curious
incident is a compound of The Hand and the Child (an incident
still preserved, independently of The Werewolf's Tale, in Irish and
in Scottish Gaelic) and The Faithful Dog (an Oriental story, — The
Brahmin and the Weasel, etc., best known as Gelert). The child
is a son of the king who befriends the Werewolf. The wolf bites
off a hand that comes to seize the child. The false wife conceals
the child and the hand and accuses the wolf of devouring the infant.
The wolf, however, conducts the king to the place of concealment,
and, as a result, his human nature becomes obvious to the king.
The introduction of this adventure, which emphasizes the infidelity
of the wife, would facilitate the rationalization of her character.
But, despite all, she remains a recognizable fie in y, though her
glory is obscured.

The Irish y has remained in circulation in Ireland to this day,
always taking to itself new elements. In the form which we have
sketched, however, it made its way into Wales, as a part of that
body of influence which Ireland is known to have exerted on the
literature of the principality. In Wales it was well received, for
it was in entire accord with various native material (such as we
still find in the mabinogion of Pwyll and Math, — fairy wife won,

264 G. L. Kittredge.

lost, and won again; conversation between mortal zxiA. fee ; hand
that seizes the child ; werewolf transformation), and became natu-
ralized as a tale extremely similar to the extant mabinogion. The
Werewolf was fittted out with Welsh names for his three manifesta-
tions, ■ — Gorgol, Gorbeil(?), and *Gorgalon, — each of which seems
to mean werewolf, and the first (at least) of which may be cognate
with that Germanic word. The meeting in the woods and the win-
ning back of the fairy wife were too similar to incidents in the
mabinogi of Pwyll not to have been preserved.

This Welsh mabinogi, as we may venture to call it, is lost in the
original, but is preserved in a Latin redaction (G), — now first
published. The Latin can hardly be dated later than the thir-
teenth century, though it is preserved only in a manuscript of the
late fourteenth. This Latin version (G) has lost all trace of the
wife's fairy nature and has become an extremely drastic anecdote
in which the fickleness and deceit of woman are painted in the dark-
est colors. The loss of the fairy character of the lady is caused by
the weaving into the tale of an Oriental anecdote. The Dog and the
Lady, found in various versions in the East and the West. This has
modified the Defence of the Child and has also given a new dknouement
of the tale : the wife is no longer received back into her husband's
favor ; she is supported at his court, but is forced to sit at table with
her lover's head on a plate before her. Of course the insertion of
this anecdote destroyed entirely the fairy character of the lady.

In the Latin story, the quester who learns The Werewolf's Tale
is King Arthur, and the cause of his quest is a scene between him
and the queen at a Pentecostal Feast. Whether this scene was in
the Irish y (of course without the names), or first appeared in the
Welsh, or was first added by the Latin redactor, is hard to say. It is
essentially a "popular" scene, reminding one of the introduction
to Charlemagne' s Pilgrimage, but certainly not derived therefrom.
For the congenital talisman of y, G (whether in Welsh or in Latin)
substituted a " life-tree."

The Irish y, as has already been often remarked, has never become
extinct in its native island. It is still current there in several coun-
ties in a highly developed redaction which we have called I. We
have seven Irish versions of I (KJLHO'FCiCa) besides an eighth (S),

Arthur and Gorlagon. 265

"which comes from the island of Tiree in the West Highlands of
Scotland. These eight texts exhibit such variation as might be
expected, but are all derived from a common source (I). I still pre-
serves traces of the fairy character of the lady and represents her
as taken back and forgiven by her lord. It keeps the fairy lover
in an easily recognizable form. In these particulars, it has departed
less widely from y than the Latin G. The characteristic features
of I consist in those other tales or incidents which it has taken in
since it parted company with G. All these we have studied. They
are (i) The Quest for the Sword of Light, which has been used to
elaborate the frame-story of y, The Quest for the Knowledge of the
One Story about Women ; (2) the multiplication of the hero's meta-
morphoses ; (3) The Rescue of the King's Children (belonging to the
type of The Skilful Companions'), appended to The Defence of the
Child and serving to change the manner of disenchantment. In I
the natural werewolf character of the hero has disappeared, except
for faint traces, and the influence of the Sidi Human type (requiring
external magic for the transformation) has become stronger. Despite
all the confusion of I, however, and the new elements which it has
absorbed, that version preserves old features in abundance, and actually
exhibits correspondences with G in surprising detail.

If it were not for G, which we know to be as old as the fourteenth
century and which we may feel confident is much older, even in its
Latin form, we might not dare to use I as evidence in elucidating the
history of documents so venerable as the Breton lais and the Welsh
mabinogion. If we did, we should surely be taken to task in cer-
tain quarters in which the mere fact that a mdrchen was first written
down in the nineteenth century stamps it as a late document in all
respects. Our experience in the present case should give us courage.
The preservation of G is a mere accident : it does not change the facts
with regard to I ; it merely enables us to prove that they are facts.

The results of our investigation certainly throw some light on
mediaeval literature in one of its most perplexing departments, — the
Matter of Britain. The discussion, then, does not concern itself
merely with prehistoric ethnological movements or with the rude
beginnings of certain more or less entertaining poems. Something

266 G. L. Kittredge.

produced a great change in the literature of France in the twelfth
century, — that is to say, in the literature of the western world,
for at no assignable time could French literature have been
changed with more momentous consequences to the course of Euro-
pean literary history. That something professes to be the emptying
into French literature of a large body of Celtic material, — not a
little leaven, but a huge mass, operating with extraordinary rapidity
and with an effect still traceable not only in subtle ways but
even in such obvious phenomena as the externals of plot and
dramatis personse. Was this material Celtic, and if so, how did it
come and whence ? The answer to these questions cannot be ren-
dered with confidence until a large number of individual documents
have been particularly studied. The details may seem to be trivial,
and the effort expended rrjay appear disproportionate to the impor-
tance of the individual document that is under consideration. But
this is a narrow and uninstructed view. It ought not to be neces-
sary always to repeat, in connection with such studies, that they are
merely contributions to a large induction which aims to determine
the position of Celtic popular literature in the letters, and conse-
quently in the life and culture, of the civilized world. To this
large induction it is the purpose of the present paper to contribute
materials in some degree. The specific results of our study are to
emphasize once more the importance of Irish material (and even
of " modern Irish " folk-lore) in settling these questions. They fall
in with what is coming to be more and more recognized as the cor-
rect view, — the opinion that a considerable amount of the Celtic
material that made its way into France actually came from Ireland,
and further, that the function of Wales as an intermediary must not
be overlooked simply because early Welsh traditions are sparingly
preserved. Finally, the hospitality of the Celtic mind to foreign
influences also comes out with complete clearness. Ireland was
open to foreign influences from the East. The mere fact that
a story is Oriental in its ultimate origin is no reason for refusing to
regard it as Celtic if it once made its home among the Celts and
came from them, charged with their peculiar genius, to fructify the
literature of France and of the world.

G. L. Kittredge.

Arthur and Gorlagon. 267

ADDITIONAL NOTES.

(P. 166.)

Since the Irish version J is not very accessible and has never been trans-
lated, some further account of it may here be given. It is entitled
"Adventure concerning the Farmer and the Red Gruagach " (^Eachtra air
an. SgoUig agus air an nGruagach RuadK). Mr. O'Brien, who communi-
cated J to The Gaelic Journal., does not say whether he took the story from
a manuscript or from oral tradition, but we may safely assume that he got
it from recitation. J is more closely related to K than to any other version.
There are even many striking correspondences in phraseology, though J is
in Irish and we have K in a (free?) English translation only. KJ are
peculiar in representing the hero of the frame-story as a sgoldg, or small
farmer, and in giving an account of his father's saving habits and his own
profuseness. The incident of his discovering a hidden bag of money when
in great straits is found only in KJ. There are also special resemblances
between K and J in the gambling scenes, in the coming of the fairy wife
and the attendant conversation, in the hero's reception by his father-in-law
(note particularly the ring dropped into the cup, as in King Horn), and in
the king's "account of himself and his two brothers. In J, as in K, the
hero's father-in-law is a brother of the challenger and of the owner of the
Sword of Light.^

The Werewolf's Tale proper in J is substantially identical with the
narrative in K except with regard to the Ship of Gold, to which we shall
return in a moment. In both K and J the Werewolf meets his future wife
while on a visit to her father, the King of Greece, marries her at her father's
court, and takes her home with him. In both, the magic rod belongs to
the king : in K the wife steals it ; in J the king gives it to her. K tells of
the lady's lover (of. p. 188, above), but he is not mentioned in J. In J the
hunt immediately follows the transformation : the wife sets the dogs upon
the wolf ; they are about to tear him to pieces when the King of Greece
comes up and saves him (it does not appear how the king happened to be
in the Werewolf's country ; K says he was on a visit to his daughter). In

1 The names differ. In K the challenger is Lassa Buaickt, the owner of the
sword is Fiach O'Duda, and the hero's father-in-law is unnamed. In J the chal-
lenger is the Red Gruagach, the owner of the sword is the Young Champion
{Gaisgidheach dg), and the father-in-law is unnamed. Athach (not Fiach) O'Dubhda
(Zliida) occurs in J in a different capacity (see p. 268, below).

268 G. L. Kittredge.

both K and J the calumniation of the Werewolf appears in a peculiar form :
there is nothing said of the Demon Hand. In J the wife finds her child
and the wolf asleep in a chamber, smears them both with blood, and
accuses the wolf of attacking the child. In K the wolf is not asleep ; the
wife " brings a druidic sleep on " the child, sprinkles him and the wolf with
blood, and charges the creature with killing the baby. What follows is
different in the two versions. In K the king restores the child to con-
sciousness by means of the rod and a muttered charm, finds that it is not
wounded, calls the wolf, and says : " I command you by my druidic power
to take on your natural shape, if you be not a true madralatnh " (i.e. wolf).
The wolf immediately becomes a man ; the lover is burned to death ; and
the wife, spared at her husband's request, is taken to Greece by her father.
In J the king apparently believes the accusation of attacking the child ;
but he gives orders that the wolf shall not be killed but shall be sent away
(cf. O'F). This is done, and the wolf runs to the seashore, in search of
fish or other food. Here he meets with an adventure which occurs in no
other version (though it slightly resembles an incident in S). He sees a
fine ship not far from the shore and swims out to it, hoping to get some-
thing to eat. " On coming near to the ship, I perceived a fisherman's rod
held by some man on board, and he a-fishing intently. I turned to the
stern of the ship, where the rod was, but no sooner was I under it [i.e., the
rod] than my form and my natural shape itself came on me again. I cried
out in a loud voice to rescue me from the water. A line was thrown to me ;
I grasped it and was drawn in on board of the ship." There are but three
persons on board, the Giant {AthacK) O'Duda and his two sons. Thinking
their visitor a robber, they attack him, but he kills Athach O'Duda and takes
his two sons to their own country. In rummaging about the ship he finds
the Sword of Light. He then returns to his wife and informs the King of
Greece what she has done. She falls at her husband's feet and beseeches
him to forgive her. He grants her request, receives her again as his wife,
and she gives him no further trouble ; she is present while the story is told.
[Here J is manifestly superior to K: see pp. 189-190, 212, 220, above.]
Many have tried to get the Sword of Light from him, especially his brother,
the Red Gruagach (the challenger), but nobody has succeeded before. He
appears to be quite willing that the sgolSg should take it with him.

The adventure with the ship brings us back to the task which the chal-
lenger imposes upon the sgoldg in J: it is "to get knowledge for me who
stole the ship of gold, who killed the Giant O'Dubhda, and to bring me
within a year and a day the Sword of Light which is in the possession of
the Young Champion in the World of the East" {fios d'fhaghail dam cia

Arthur and Gorlagon. 269

ghoid an long dir, cia mharbh an t-Athach ODubhda, agus an cloidheamh
soliiis ta ag an nGaisgidheach Og anns an Domhan t-Soir do bheith agat
romham air an Idthaireachso la agus bliadhain 6 n-diu'). If we compare
p. 218, note 2, above, we shall see that J presents a curious resemblance at
this point to LHS. The requirement to learn who stole the Ship of Gold,
however, is the peculiar property of J and may be confidently regarded as a
late addition (not in I). The name Athach O'Dubhda (Dtida) resembles
that of the owner of the sword in K {Fiach O'Dudd).

K, as we have seen, has no trace of the second adventure of The Hand and
the Child, — the rescue of the other children (found in LO'FHS : see pp.
233—237). J, however, seems to preserve a confused reminiscence of this
sequel in the remark of the Werewolf, that, after killing Athach O'Duda,
he took Athach's two sons home to their own country. This transportation
must have been by means of the ship, and we may compare LHS.

When the jfo/4g" returns to Ireland with the sword, he finds that the Red
Gruagach is dead (cf. S). The trick by which the hero kills the challenger
and the return of the sword to its owner are lacking in J (though present in K).

(P. 222.)

Most versions of The Faithful Dog may be conveniently grouped
under four heads.

A. The Brahmin and the Ichneumon, found, with unimportant variations,
in the Pancatantra (v, 2, Benfey, II, 326-327), the Kathasaritsagara (ch.
64, Tawney, II, go-91), the Hitopadeqa (iv, 13, Miiller, p. 178 ; Lancereau,
1882, pp. 267-269), the Alakesa Katha (Clouston, Group of Eastern
Romances, pp. 21 1-2 14), and in the different redactions of the so-called
Fables of Bidpai (for example, the Syriac Kalilag wa Damnag, Bickell
and Benfey, pp. 53-55 ; the later Syriac, Keith-Falconer, pp. 170-171 ; the
Arabic, KnatchbuU, pp. 268 ff. ; the Hebrew, Derenbourg, pp. 144-149 ;
John of Capua, Director ium, k 4, Derenbourg, pp. 216-220, Hervieux, Fabu-
Jistes, [V,] 259-261 ; the Persian Anvar-i-Suhaili, Eastwick, pp. 404-413).
Version A has also been discovered by Beal in a Chinese work of about
412 A.D. (from an Indian source) : see his translation. Academy, Nov. 4,
1882, XXII, 331 (reprinted by Clouston, Pop. Tales and Fictions, pp.
184-185 ; cf. Benfey, Pantsch., II, 547-548),

B. The version in the Oriental Seven Sages, — the Syriac Sindban
(Baethgen, pp. 25-26), the Greek Syntipas (Boissonade, pp. 60-62 ; Eber-
hard, Fabulae Romanenses, 1, 46-48), the Hebrew Mischle Sindbad (Cassel,
p. 274), the Old Spanish Libra de los Engannos (ch. 13, Comparetti,
Ricerche intomo al Libro di Sindibdd, pp. 45-46 ; Coote's translation.

270 G. L. Kittredge.

Researches, etc., pp. 94, 140-141), the Persian Sindibad Nama (Clouston,
Book of Sindibad, pp. 56-57).

C. The version in the Dolopathos of Johannes de Alta Silva (ed.
Oesterley, pp. 42-44) and in the Old French translation of Herbert (ed.
Brunet and Montaiglon, vv. 4838-5154, pp. 168-178).

D. The version in the Occidental Seven Sages, — Sept Sages, vv. 1 163-
1378, ed. Keller, pp. 46-54 ; Leroux de Lincy, Roman des Sept Sages
(appended to Loiseleur Deslongchamps, Essaisur les Fables Indiennes),
pp. 17-21 ; G. Paris, Deux Redactions, pp. 6-9, 76-78; Sept Sages, pp.
8-9, ed. Plomp (as appendix to his dissertation De Middehiederlandsche
Bewerkingvan het Gedicht van den VII Vroeden van binnen Rome, Utrecht,
1899); Seven Sages, vv. 726-885, ed. Wright, Percy Soc, pp. 26-31 ;
Seven Sages, w. 715-850, Weber, Metrical Romances, III, 29-34 ; Historia
Septem Sapientum, ed. Buchner, pp. 16-18; Scala Celi, ed. Ulm, 1480,
fo. 88 a-b (ed. Lubeck, 1476, fo. 127 a-b, as reprinted by Goedeke, Orient
und Occident, III, 405-406); Latin Versio Italica, Mussafia, Vienna Acad-
emy, Sitzungsberichte, Phil.-hist. CI., LVII, 100 ; Sette Savi, ed. Roediger,
1883, pp. 5-7 (= Storia d^una Crudele Matrigna, ed. Romagnoli, Scelta di
Curiositd. Letterarie, XIV, 14-15) ; Sette Savi, ed. Cappelli, Scelta, LXIA',
8-10 ; Storia di Stefan 0, canto ii, sts. 1-20, ed. Rajna, Scelta, CLXXVI,
35-41 ; Amabile di Continentia, ed. Cesari, pp. 26-28 ; Sette Savj, ed.
D'Ancona, Pisa, 1864, pp. 14-18 ; Varnhagen, Eine ital. Prosaversion,
pp. 5-6; Catalonian metrical version, vv. 592-741, ed. Mussafia, Vienna
Academy, Phil.-hist. CI., Abhandl., XXV ; Welsh Seith Doethion Rufein,
chaps. 8-g, Williams and Jones, Selections from the Hengwrt MSS., II,
303—304, 649. The relations of the Occidental versions of The Seven Sages
to the Oriental versions and to each other have been recently discussed,
with a convenient digest of previous investigations, by A. Cesari {Amabile
di Continentia, Bologna, 1896), Killis Campbell {A Study of the Romance of
The Seven Sages, Baltimore, 1898, reprinted from the Publ. of the Mod.
Lang. Assoc, XIV), and A. J. Botermans {Die Hystorie van die Seven
Wijse Mannen van Romen, Haarlem, 1898). D has passed from the
Latin Historia Septem Sapientum (itself a translation from the French,
see Paris, Deux Redactions, pp. xxviii ff.) into the Anglo-Latin Gesta
Romanorum (Harl. MS. 2270, cap. 32 ; Douce MS. loi, cap. 50 : see
Oesterley, pp. 189, 194) and thence into the Middle English Gesta (ch. 26,
Madden, pp. 85-87, Herrtage, pp. 98-99).

A and B are closely related. They give the tale in a simple form, which
I have followed in the brief analysis in the text. C stands midway between
AB and D. D is much more elaborate than AB. The child is left with the

Arthur and Gorlagon. 271

nurses, who, in their eagerness to witness a tournament (or bear-baiting),
prove false to their trust, and the conflict between the dog and the serpent
takes place in their absence. On returning, the nurses infer from appear-
ances that the hound has devoured the child, and take flight. They meet
the mother and tell her what they suppose has happened. The father then
comes up and hears the story from his distracted wife. Hastening into the
house, he sees the evidence of the struggle and is received with joyful
demonstrations by the dog, who is covered with blood. In his anger, he
kills the faithful creature with his sword. Only in D does the wife accuse
the dog to her husband, and this circumstance might tempt us to recognize
in D (or in some lost predecessor) the version of The Faithful Dog that
has combined with The Hand and the Child to produce The Defence of
the Child in y (of. " Tua nefanda ilia bellua . . . tuum . . . natum con-
sumpsit," G, cap. 16, with " Mon jouene enfant . . . Que vostre leurier
m'a occis,'' Keller, vv. 1327-8). But a moment's consideration shows that
the accusation of the dog by the wife need not have stood in that version
of The Faithful Dog which combined with The Hand and the Child.
The calumniating r61e of the woman in y is a necessary development of the
situation in that version of The Werewolf's Tale, in which the Werewolf's
wife is eager to have her transformed husband (the king's pet) put to death.
Indeed, the only purpose of the insertion of The Defence of the Child in y
is to give her the opportunity for such a calumniation. The language used
by the woman in y and D is, in each case, the natural and almost inevitable
expression of her thoughts, and no argument can be based on the resem-
blance in phraseology. Accordingly, I have used in the reconstruction of
y the simpler form of The Faithful Dog (AB), which affords every detail
that is needed for the solution of the problem. The Faithful Dog (or
Weasel), we should remember, is a complete and well-rounded tale, which
existed before any version of The Seven Sages was composed and doubtless
before any of the Oriental collections that contain it were put together. It
was and is perfectly capable of circulating by itself, and its presence in the
Irish y by no means implies a knowledge of The Seven Sages (still less of
the special Occidental version of that work) on the part of the author of y.
The circulation of The Faithful Dog (or other animal) as an orally trans-
mitted tale is a matter of fact. Pausanias (x, 33, 5) reports the story as
told by the inhabitants of Amphicleia in Phocis in the second century of
■our era. The defender is a serpent (Spaicwv iff^upos), and the father finds
him twined round the dyytiov in which the child lies. He throws his javelin
at the serpent and kills both it and the boy. Being then informed by cer-
tain shepherds that he has destroyed his son's protector, he burns the two

272 G. L. Kitiredge.

bodies on the same pyre. The site of the pyre was still shown in the time
of Pausanias, and the inhabitants said that the city was named Ophiteia
aTTO ToS SpaKoi/Tos eKEtVov. [This passage was first noted by Liebrecht in
1861 {Jahrb.f. rom. u. engl. Litteratur, III, 156), but, though mentioned,
with due credit, by D'Ancona {/I Libra dei Sette Savj, Pisa, 1864, p. 106),
had so dropped out of sight that Mr. Hartland, in 1892, supposed himself
to be citing it for the first time {Folk-Lore, III, 127) ; Mr. Frazer {Pau-
sanias, V, 422) also credits the reference to him.] Etienne de Bourbon
(who died about 1261) found a dog worshipped under the name of St.
Guinefort at Villeneuve-en-Dombes, in the diocese of Lyons, and heard in
explanation a story practically identical with that found in the Occidental
Seven Sages {De diversis Materiis, ed. Lecoy de la Marche, Anecdotes
Historiques, etc., pp. 325-328 ; Qudtif and Echard, Scriptores Ordinis Praedi-
catorum, I, 193 ; cited by Legrand d'Aussy, Fabliaux, 3d ed., 1829, I,
359). Mr." Hartland, citing Pausanias, Etienne, and the Welsh Gelert
story, remarks very cogently, " There were versions known in Europe —
at least there was one version — independent of the literary current through
which the apologue is generally traced" {Folk-Lore, III, 129).

The protecting animal is regularly an ichneumon (mongoose, weasel) in
"A ; but it is an otter in the Hitopadeqa, and a dog in the Hebrew Kalilah
and Dimnah and in John of Capua. In BCD it is a dog, except in the
Persian (cat). In all four versions the enemy is a snake. It is a wolf,
however, in Pausanias, in the Welsh tradition (old or young) versified by
Spencer, and in an unprinted Italian version of the Seven Sages summarized
by Cesari, Amabile di Continentia, p. Ixiii.

When and how the story of The Faithful Dog entered Wales it is impos-
sible to determine. Mr. Jacobs {Celtic Fairy Tales, pp. 260-261) thinks
that the Anglo-Latin Gesta Romanorutn was the intermediary. But this
conjecture is untenable. There is an extant Welsh prose version of The
Seven Sages (doubtless from the French) which is preserved in a manu-
script of the fourteenth century ^ and which therefore makes an appeal to

1 The famous Red Book of Hergest In the Library of Jesus College, Oxford,
cols. 527 ff. (see Coxe, Catalogus, p. 37). The same version is found in Jesus
College MS. 3 (formerly xx) of the beginning of the fifteenth century (see Coxe,
p. 7 ; Lhuyd, Archaologia Britannica, 1707, p. 261 ; note of G. Ilartwell Jones,
in Williams and Jones, Selections from the Hengwrt MSS., II, 754). The text in
the late eighteenth-century Peniarth MS. i8o (formerly Hengwrt MS. 350) is
copied from Jesus MS. 3 (J. Gwenogvryn Evans, Report on Manuscripts in the
Welsh Language, I, ii, 730), and this copy is printed by Williams and Jones, Selec-
tions from the Hengwrt MSS; II, 301 ff. ^translation, II, 647 ft.). The Faithful

Arthur and Gorlagon. 273

the Anglo-Latin Gesta unnecessary. Further, the Welsh fable cited by Mr.
Jacobs (from lolo MSS., Welsh MS. Society, p. j6i ; cf. Jenkins, BeM
Gelert, pp. SIS^) resembles the Oriental stories (AB) in several particu-
lars not found in the Gesta or in the Occidental Seven Sages. Thus, the
wife leaves her husband alone with the child, as in the Syriac Sindban, the
Greek Syntipas, the Old Spanish Libra de los Engannos, the Kalilah wa
Dimnah, the "Southern Pancatantra" (Dubois), the Kaihasaritsagara,
and the Hitopadeqa. In the last four collections, her errand is to perform
purificatory ablutions after childbirth, and this feature seems to reappear in
the Welsh fable (" His wife had gone to attend her devotions"). Finally,
in the Welsh, the man's motive in leaving the child in his turn is to get
the toll due him from certain hunters, — a feature which reminds one of the
Brahmin's motive (to receive presents or alms) in Dubois's Pahcatantra, the
Kaihasaritsagara, and the Hitopadeqa (cf. also the Chinese story translated
by Beal). On the other hand, the Welsh fable shows certain resemblances
to the Occidental Seven Sages in points which do not occur in the Oriental
forms of the apologue (the overturned cradle, etc.). In other words, it cannot
be derived from any single extant version of The Faithful Dog, Oriental or
Occidental. In its present form, it is one of a random collection of apo-
logues labelled, in the printed volume, The Fables of Cattwg the Wise,
which is said to be "a production probably of the sixteenth century" (see
Jacobs, p. 261), but the fable itself seems to rest on a localized tradition
(" There lived formerly at Abergarwan a man and his wife," etc.), and the
actual date of the collection in which it is preserved may be of no particular
siarnificance.

Dog is capp. 8-9 of this edition (II, 303-304, 649) ; it agrees in all essentials with
the French prose version known as A, but is much condensed and omits the
nurses. The Welsh Seven Sages is derived from some French version closely
related to A, if not from A itself. The first six tales come in the same order as in
A {arbor, canis, aper, medicus, gaza, puteus) \ the ninth, eleventh, and fifteenth also
agree with that version ( Virgilius, sapientes, vaticiniuni) ; the tenth (vidua) corre-
sponds to the twelfth, the twelfth (inclusd) to the fourteenth ; the thirteenth and
fourteenth (senescalcus, tentamina) correspond to the seventh and eighth in A. As
the seventh tale the Welsh has a story unknown to all other versions of The Seven
Sages (a man refuses to have a certain branch lopped from his tree ; thieves climb
the tree by means of the branch and steal the fruit). As the eighth tale the
Welsh has a confused and defective form of Roma (thirteenth in A) followed by
the fable of the foolish shepherd who binds his dogs and delivers them up to the
wolf (not found in any other version of the Seven Sages). Avis is omitted
altogether. The work as a whole exhibits a pretty skilful condensation of the
French prose.

274 (^- ^- Kittredge.

After the preceding pages were in type, vol. II, part i, of Mr. J. Gwenog-
vryn Evans's Report on Manuscripts in the Welsh Language, 1902, came
to hand. Mr. Evans catalogues two other copies of the Welsh Seven Sages,
both in manuscripts of the sixteenth century : (i) Cardiff MS. s (for-
merly Phillipps MS. 10823), Report, p. loi ; (2) Cardiff MS. 6 (formerly
Phillipps MS. 17 171), Report, p. 106. For the Red Book of Hergest, see
pp. 3-4 ; for Jesus College MS. 3, see pp. 33-34 of the same Report. I
owe these references to Professor Robinson.

(P. 166.)

Professor Robinson, to whom I am much indebted for information and
counsel, has found a ninth version of I, entitled An Bacach Mor (i.e., The
Great Giant) in Mr. Josephs Lloyd's Sgealaidhe Fearnmhuighe, Dubhn,
1 901, pp. 25 fE., a collection of tales taken down from recitation in Farney
in the upper part of Ulster, near the boundary of Co. Meath, and pub-
lished (without a translation) by the Gaelic League. The hero of the
frame-story is a king's son, who plays three games of cards with a " slender
red buachaill." In the first game he wins a castle ; in the second, the
fairest of women ; he Ipses the third game,, and is required to bring " the
sword of light which the Great Giant, King of Sorcha, has, and the knowl-
edge of Mianach (or Mian) an Andglaigh (an claidheamh soluis f aige an
mBacach M6r, righ na Sorcha, agus fios Mhianach an Andglaigh). The
last-named personage turns out to be the monster that has stolen the
children (as in LHS ; cf. p. 218, above, note 2). The quester is befriended
by his father-in-law, whose brother the Bacach is. The Bacach cuts three
horses in half on three successive days, but on the fourth the quester finds
him in bed, seizes the sword, and threatens to behead him, whereupon the
Bacach, who reveals himself as the brother of the quester's father-in-law,
offers to tell his story (The Werewolf's Tale). The motive of the Bacach's
wife in metamorphosing him is her love for a wild man whom he has
brought home and treated kindly. The instrument is a "rod of druidism."
There is a series of transformations. Much is made of the fact that the
enchanted beast " has the sense of a man " (cf . G). The band of wolves
occurs. The king who protects the werewolf is not said to be related to
the false wife, nor is there any account of the latter's punishment. A baby
is born in the king's house. A great hand had taken every child that had
been born to the king before. The king leaves the wolf to guard the child.
The wolf tears off the arm at the shoulder and leaves it beside the cradle.
The false wife does not intervene, and the wolf is not calumniated. The
king sends two men (with the wolf, apparently) on the track of the blood.

Arthur and Gorlagon. 275

and they find a house in the wood, in which are the king's three children,
and the kidnapper, who is dead. The eldest of the three gets upon the
wolf's back, and the wolf, seeing the rod in his hand, bites him in the leg.
The boy, in anger, strikes the wolf with the rod, and he is restored to
human shape. Returning home, the transformed werewolf throws the wild
man out of doors ; so far as appears, nothing is done with the woman. In
concluding his narrative the Bacach says, "That is the kind of life I had
with my wife." He directs the quester to take the sword home with him,
and here the whole story ends abruptly. The frame-story, therefore, is
incomplete, since it lacks the final interview with the challenger.

(Pp. 238-239.)

It turns out that O'Kearney's text of the Feis Tighe Chonain omits an
important sentence, in which we are informed that the Giant came " on
that night," and thrust his hand " through the top of the house," and took
the child,, and then reached in again and took the puppies. This substan-
tiates what is said of the relation between the whelps and the child on
p. 239, above. I subjoin the-passage, as communicated to me by Professor
Robinson from a nineteenth-century Irish MS. in the Harvard College
Library (press-mark •' ARf. 4. 46. 9 ") containing the Feis Tighe Chonain
and other pieces. " Et do thdinigh an oidhche sin gur chuir a lamh fhada
fheidhimtheach trd mhullach an tighe go rug an leanbh leis, agus do shfn
an lamh cheadhna go rug an da choilledn leis don chor san." This sen-
tence follows that which tells of the giant's habit of carrying off the chil-
dren of Feargus and precedes the vague sentence about Eithleann (both
of them in O'Keamey).

G. L. K.