FOOTNOTES:
[1] Cfr. the chapter on the Duck, the Goose, the Swan, and the Dove.
[2] Imâni trîṇi vishtapâ tânîndra vi rohaya çiras tatasyorvarâm âd idam ma upodare.
[3] Khe rathasya khe 'nasaḥ khe yugasya çatakrato apâlâm indra trish pûtvy akṛinoḥ sûryatvaćam.
Sulomâm anavadyâñgîṁ kuru mâṁ çakra sutvaćâm
Tasyâs tad vaćanam çrutvâ prîtas tena purandaraḥ
Rathaćhidreṇa tâm indraḥ çakaṭasya yugasya ća
Prakshipya niçćakarsha tris tataḥ sâ sutvaćâ 'bhavat
Tasyâṁ tvaći vyapetâyâm sarvasyâṁ çalyako 'bhavat
Uttarâ tv abhavad godhâ krikalâças tvag uttamâ.
Godhâ seems to signify he who has the form of a hair (go, among its other meanings, has that of hair). As an animal, the dictionaries also recognise in the godhâ a lizard. But perhaps we may also translate it by toad or frog; we could thus also understand the fable of the frog which aspires to equal the ox. I observe, moreover, to exemplify the ease with which we can pass from the ox to the frog, and from the frog to the lizard, how in the Russian story of Afanassieff, ii. 23, a beautiful princess is hidden in a frog; in Tuscan and Piedmontese stories and in Sicilian superstitions, in a toad. In the stories of the Pentamerone, the good fairy is a lacerta cornuta (a horned lizard). Ghoshâ, too, has for its equivalent in Sanskṛit, karkaṭaçṛiñgî, which means a horned shrimp. In other varieties the young prince is a he-goat or a dragon.
[5] For the persecuted maiden in connection with the hog or hogs, cfr. also the Pentamerone, iii. 10.
[6] Afanassieff, v. 38.
[7] De Re Rustica, ii. 4.