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Rh this, No. 19, in Pröhle's Kindermärchen. The groundwork of the story resembles The Devil with the three Golden Hairs (No. 29), where the secret is learnt by listening, as from Rumpelstilzchen (No. 55) and the fisherman in the Hervarar Sage, p. 182. The whip is a wishing-rod which strikes gold, the whole has something Norse in its substance; the Devil is represented as a clumsy over-reached Jote; the riddle is remarkably Norse, and the concealment of the human stranger by the giant's wife or daughter is an old incident (see Hymisquida, Str. 8, Note 20).

From Paderborn; but this beautiful story seems to be imperfect. The incident at the end, of the white horse becoming a prince, ought to have some connection with the rest of the story. Ferdinand the Unfaithful may be compared with the faithless Sibich of the old German saga, who causes ruin by his false counsels; and on the other hand, Ferdinand the Faithful resembles the son of Ermenrich whom Sibich, with evil intentions, sends to fetch his father's betrothed bride. The bride, too, prefers him to the old King. The Jewish story in the note to The Queen Bee (No. 62) should be read in connection with the conclusion of the story. The red line on the throat of the man who is restored to life is quite in keeping with sagas of this kind, see Der arme Heinrich, p. 192. For the incident of seeking a godfather, see Godfather Death (No. 44). The flute which saves him is like Arion's lute; the faithful horse is like Bayard; Falada is like Schemik (old German Sheming, Schimmel; Icelandic, Skemmingur) of the Bohemian saga, and Grani of the Norse. We must not fail to observe the Queen's writings (Schriften), which are either embroidered garments, as Script and bökur in Icelandic are books, drawings, embroideries; or runic wands; at all events the pen which is found is certainly one of these. Verses, and generally too the speeches of noble persons, are in High German, and when he understands both languages, as is frequently the case in the neighbourhood of Paderborn, the narrator of the story almost always maintains this distinction, and then the higher form of speech serves to distinguish the language of the nobles and of poetry. Corvetto in the Pentamerone, 3. 7; La Belle aux cheveux d'or, No. 2, in D'Aulnoy; and Fortunio, in the Tabart Collection, 2. 148, are allied.

From Zwehrn, and another variation of the story comes from Cassel. A girl is once on a time quite alone in a great forest, and a