suppose the Gaelic story to have reached the Highlands as a translation of the English tale, at some time not earlier than the thirteenth century. It is to be presumed that the Celtic populations of Great Britain obtained most of their stories belonging to the modern European stock of märchen through the English. It must be remarked that the character of the Gaelic narrative, especially of the preface, is peculiarly wild, and, if it stood alone, would be accounted especially Celtic. This circumstance, however, is by no means inconsistent with the view above taken; it is only with regard to the language, and to the details, that a national quality can be claimed for märchen. This apparent nationality merely indicates that ideas borrowed from abroad have received a dress such as to suit the taste of the race which has adopted them. The rule often accepted as a canon of interpretation, in regard to mediæval literature as well as modern folk-lore, that the rudest form of a story is probably the oldest, is entirely misleading and indefensible.
It is possible that an indication of the presence of our tale in Wales, in the thirteenth or fourteenth century, is to be found in the well-known Welsh story of "Kilhwch and Olwen" (MS. of about 1380). This story is one of a class in which the hero, by per-
wedding of the king's son, the girl takes a gold and silver pigeon, which perform a drama, representing herself and her lover. Awakening of the latter.
Compare a Russian tale, "Afanasief," V. 23, translated by W. R. S. Ralston Russian Folk-tales, London, 1873, p. 120. "Vasilissa the Wise." A king spares and nourishes an eaglet, and finally sets him free. The eagle takes the king on his back to the houses of his sisters, on three successive nights, gives him a ship to sail home, and two coffers. The king opens one, finds it full of cattle, repents, but cannot put them back. A man from the water consents to do so if the king will promise whatever he has at home that he does not know of. Comes home, finds that he has a son, and opens the coffers of treasure. The water-man, after a period, calls on the king, reminds him of his promise, and the son is sent forth. II. Bird-maiden.—The prince comes to the hut of an ogress, who directs him to the sea-shore, charging him to steal the shift of one of twelve bird-maidens (spoonbills), to come to terms with her, and then go to the seaking. This maid is Vasilissa the Wise. He returns her shift, and she rejoins her companions. III. Bride-winning.—Tasks (to build crystal bridge, plant a garden in a night, choose bride from twelve daughters. The girl gives him knowledge of a signal by which this is accomplished). Flight and pursuit; transformation (forms assumed by the girl: a well, a church, a river of honey, in which the water-king drinks himself to death), IV. Bride-forgetting.—Prohibition to kiss, fountain-scene, doves—these baked in a pie (as in Basile, No. 17).
