Grim Tales Die Braut Crack
In the English Grim fairy tales, as a group, were quite well known in the Middle Ages, and were esteemed popular literature, so that the parable told by Friar Bacon about a goose and a duck is sometimes thought to have been written by one of the earliest of these. Their popularity, as literature, may be measured by the large number of copies that were made, and sold, by the Low Countries printers.
Other parallels to the fifth story occur in West European versions of The Three Waifs (Brons, 3: 168), or The Wheat-Grinder, The Goat’s Tail, The Three Little Kings, The Three Wishes, The O-Yor; The Three Pigeons, The Nine Sisters, The Twelve Sisters, The Three Mice, The Three Pears; The Three Sorceresses; The Three Heads (see Rich, Grimm’s Folk and Fairy Tales, No. 240); The Three Leaves, The Three Servants, The Three Barbers, The Three Physicians, The Three Aunts; the Three Kings, The Three Steps, the Three Cats, The Three Dogs, The Three Princes, The Three Young Princes, The Three Little Lasses, The Three Daughters of the Giant, and so on. Also, The Three Sparrows, The Three Pines, The Three Boys, The Three Birds, The Three Nuns, The Three Glasses, The Three Spies, The Three Old Men, The Three Sisters; the Five Cats, the Five Fishes, the Five Bishops, the Nine Sisters, the Twelve Birds, the Two Little Footmen, the Old Fisherman’s Daughter, the Old Goblin, the Old Man with the Goat-Skin, the Old Man with the [ 53 ]Horse-Skin, the Three Black Pigeons, the Three Lazy Loafers, the Three Black Spiders, and the Three Blind Mice. Among the many variants which Clouston (3:270) mentions are The Three Cunning Animals, which is the old Norse one; the Three Brothers, from Mexico (without similarity of incident); the Three Fairies; The Two Brothers, The Three Brothers, Seven Little Feathers, The Two Little Feathers; The Three Brothers, Seven Swans, The Three Brothers, The Three Brothers from Big Frog Land (by I. H. W., unpublished); The Three Brothers, Snow-White, Little Tom-Cat, and the Three Scullions (a German one, where the witch’s three sons are called three scullions); The Three Brothers and the Lady Bug (from Bosnia and Herzegovina); The Three Brothers and the Poor Man; (a Bohemian one where the poor man and his wife are roasted in the bed) The Three Brothers and the Little Rooster; The Three Brothers and the Cock (belongs to the same group as the Samburuski and Kcoczne rycne). In some cases there is a more or less complete survival of the mother-tale as told by the Grimms (e.g. The Three Little Pigs, The Three Blind Mice, The Three Peas, The Three Little Ravens). In others the component parts are all lost. For the history of most of these variants see Clouston 3, 2 ; also Dasent, Ballads and Songs of the Nithsdale. For additional parallel tales see my paper in the J. R. S. A. S. Vol. 29 (1953).
The old man killing the red man is also a survival from the oldest Mrchen tradition, having been known in South-east Asia and the Pacific Islands since the time of Somadeva (Analects, I, 16). It also occurs in some form in the Rustam cycle of Arabian stories (Baring-Gould, 330 ff.) Though the pursuit in that case is far more rapid, as Rustam escapes by telling a lie. The red man is killed in the same way in Donuans Russian stories, No. I, Princess Neronetsa, and in No. I, the stories of the five brothers Volinets. Again, there is this grim tale, variant A, in Pusztas vszaty of the Kathputja, which is discussed by Mrs. T. B. Macculloch, Malay Folk Tales (1882). This also occurs in the Burmese version. The dragon, which eats the three brothers, has of course many analogues in Mrchen Grim tales die braut crackere et digraziiare. (Kurlansky), in the dragon of Rouzias story (Campbell, 26), and in Nos. 43, 63, 102, and 34. There are also many similar stories in India, the best known being those recorded by W. F. Kirby (3), in which the dragon or the ogres or the demons are made to eat the pawash. A more recent example of a similar Indian story was told to me by the late Teerling of Madras, in which the story of the hungry lion is told with great humour. In connection with this group of stories, see Clouston, 1 : p. 279. The cycle of Grim tales die braut crack are very interesting, not only for the stories themselves, but also as showing the ways in which they have come to us.
The “Grim tales” of this group need few notes, for the features of the cycle are well known. The essential element is the use of two animals, one a dog and the other a lion, as a means of checking the honesty of a mans answers. The type is quite old, dating from the time when packs of wild beasts roamed the earth. The two animals were first seen together when the hero of the Scottish version was “put to the test” by the mariner for a tremendous reward. When the dogs head was put into the lion’s mouth, it bit it off, having tested the man. It was then agreed that the dogs should accompany the lion and find out how cunning he was. The dog was followed by a fox, who brought him to a mare’s nest. The lion took the dogs head into his mouth, and went away with the mare; the dog came up with the fox, who had gone after the mare. After this the fox told him that if the dog was hung at noon, next day, they should find out what was in the lion’s cage. The dog went home and told his master that he had been hung, and then ate all the meat in the lion’s cage. He added that the lion would not give him anything, and that the fox had said that if the lion had not done it, he himself would have been hung. So the master hanged himself at noon. The fox went to the lion and promised to bring him the dog. The next day he went to the lion, who gave him the dog into his mouth, whereupon the fox was hanged. Here the dog’s answers were perfectly satisfactory. These “Grim tales” also contain some wonderful adynisses and farces, such as the story of the ass and the lion; of the lion and the fox; of the dog and the pig; and of the lion and the monkey. The features common to the Grim tales as a class, are the use of two animals to test the honesty of the hero, and the manner of their deaths. The methods are mentioned in the list, and may be easily imagined. In the Russian epic of Tsar Semion, in which the hero is a giant, a lion, whose name is taken from the cycle in question, serves as the character check. If he swallows the hero, the latter must not be of gigantic size; if he does not, then the hero shall no longer be a giant. In the story the lion gets one of the hero’s arms, only to prove that he is no giant; then the lion is let loose, and throws him out over the Caucasus. For this reason the lion and the fox are specially popular in Russia. Another Russian variant is translated from a modern folk-tale, and is found in Oesterley, p. 448, under the title: The Wolf and the Lion.
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