As for Perrault, he probably drew from a popular tradition his Aune de Boudin. Collin de Plancy (Œuvres Choisies de Ch. Perrault, Paris, 1826, 240) gives a curious rustic version. Three brothers dance with the Fairies, who offer them a wish apiece. The eldest, as heir of the paternal property, wants no more, but, as wish he must, asks that their calf may cure the colic of every invalid who seizes it by the tail. (How manifestly Indian in origin is this introduction of the sacred beast whose tail is grasped by the pious Hindoo in his latest hours!) The youngest brother wishes the horns of cow and calf on his brother's head, the second wishes a bull's head on his brother's shoulders, and the Fairies make these wild wishes of none avail.
Manifestly the fundamental idea is capable of infinite transformations, literary or popular: a good example is the play of Le Bucheron, by Guichard and Philidor, acted in 1763.
The story has no connection with the three successful wishes by aid of which the devil is defeated in a number of popular tales belonging to a different cycle. All these are inspired, however, by the great god Wunsch, who presides over Wishing Gates.
'Would I could wish my wishes all to rest, And know to wish the wish that should be best,
says Clough, better inspired than Perrault's Bucheron.
[34] Selected Essays, i. 504.
[35] Benfey, ii. 341.
[36] See Poésies de Marie de France, Poète Anglo-Normande du xiiie Siècle, vol. ii. p. 140. Paris, 1820.
[37] Benfey, Pantschatantra, ii. 341.
[38] Comparetti, Book of Sindibad, p. 3. Benfey, Pantschatantra, i. 38.