The Grateful Dead: The History of a Folk Story

by Gordon Hall Gerould

The two variants are chiefly peculiar in that they introduce a new element into the compound,—The Thankful Beast. This substitution of some beast for the ghost has been encountered twice before[36] in connection with Jewish and Servian IV., and must receive special treatment later on.[37] For the present it is sufficient to remark the variation from all other forms of Jean de Calais except X.[38] In both II. and VII. Jean makes two journeys,[39] as in III., IV., and V., as against I. and VI. The attitude of the parent differs widely in the two. The maiden whom the hero marries is a Portuguese princess, which is the prevailing form of the tale. The portrait is also found in each, and both state the time of Jean’s exile as seven years. II. differs from all the other versions in placing the later adventures of the story at Calais rather than at the court of the heroine’s father. In II., as in VI., the ghost announces himself at the first meeting, which is undoubtedly a modification of the original story. Thus the two forms are sufficiently independent of one another, in spite of their common use of an animal as the hero’s friend.

Jean de Calais VIII., though like VI. from a Breton source, differs from all the other variants, chiefly in transposing the burial and the ransom. Jean Carré, sent out by his godmother as a sea-captain, ransoms an English princess with her maid, and marries the former. After two years, when a son has been born to them, Jean goes on another voyage, and adorns the stern of his vessel with portraits of his wife, the child, and the maid, which he is begged to show while anchored at London. He does so, and is received by the king as a son-in-law. One day he sees a poor debtor’s body dragged along the street, pays the debts, and has it buried. He then sets out with a fleet to seek his wife, and is cast overboard by a Jew, who is the pilot; but he is saved by a supernatural man, who carries him to a green rock in the sea. The princess refuses to go to England when the fleet arrives, and is wooed by the Jew so persistently that after two years she promises him marriage. At this juncture Jean, who has been asleep during the whole interval, is awakened by his rescuer and carried over the sea, where the man explains that he is the ghost of the debtor. Jean is first recognized by his little son, the Jew is burned by the gendarmes, and all ends well.

The transposition mentioned above is clearly a change due to the individual narrator or some local predecessor, since everywhere else the burial takes place before the ransom. The mention of a Jew as traitor is also peculiar and unreasonable, since no motive for his action appears until later, and then incongruously. The variant is likewise defective in not having any bargain between the ghost and the hero. In other respects it is normal save in minor details. As in V., the heroine is made an English princess, which occurs nowhere else. On the whole the version is picturesque, but defective.

Jean de Calais IX. is unique in certain features, though in most respects normal. It is from Asturia in Spain. Juan de Calais goes out into the world to seek his fortune with a single peseta as his store. This he gives to bury a corpse, and proceeds. In a certain kingdom he attracts the notice of a princess, who marries him after considerable opposition. When the wedding is over, he takes his wife to seek his father’s blessing, but is cast off the ship by a former suitor of the lady, her cousin. He is carried to an island by invisible hands, where he lives until a phantom bargains to take him to court for half of what he gets by his marriage. He arrives on the day of the princess’s wedding. He is recognized by the king, who puts to his guests a parable of an old key found just when a new one has been made, while the suitor flees. On the following night, when Juan is dejected at the thought of giving up half his son, the phantom appears and releases him from his agreement, explaining its identity.

Juan wins the gratitude of the dead man, and obtains his bride in this version on a single journey, as in I. and VI., but its chief peculiarity is the manner in which he gets his wife, with the sequel that the couple set out to seek his father instead of hers. The ransom is replaced by a romantic but more natural wooing, while the ghost appears somewhat unusually in propria persona. One of the oddest traits in the whole version is the parable of the key, by which the king introduces the hero to the assembled guests. This will be encountered again in Breton VII.

In Jean de Calais X., finally, a Walloon variant, appear certain interesting changes in the fabric. The King of Calais sent his son Jean to America to trade, but the prince was shipwrecked on the coast of Portugal, and there ransomed and rescued a corpse, which was being dragged through the streets because the man had died in debt. The king scolded his son for wasting so much money, but the next year sent him to Portugal to trade. There he encountered brigands, who had captured the king’s daughter with her maid, and ransomed them. On returning to Calais with his bride, he was ill received, and resolved to go back to Portugal. A young lord of Calais accompanied them and threw Jean into the sea, while he took the princess onward and obtained from her a promise of marriage in a year. Happily Jean found a plank by which he reached an island, where a crow fed him every day. At the end of a year he promised the crow half his blood for rescue, and was taken to Portugal by a flock of crows. There he was recognized, and the traitor hanged. One day the crow appeared and demanded the fulfilment of the promise. Jean was about to slay his son, when the bird explained its identity with the ghost of the dead man.

This is the only version which makes Jean a prince; and it is curious that the change should occur in a tale from a region not very remote from Calais. Most of the events of the tale take place in Portugal, however, which is an extension of the ordinary appearance of that country as the home of the heroine. The most striking peculiarity of the version is the home of the traitor, who is a lord of Calais instead of Portugal. All mention of signs is lacking, which is doubtless due to the changes just mentioned. In the matter of the appearance of the ghost as an animal the variant allies itself with II. and VII., though it has no special likeness to them in other respects.

Basque II. is like Gaelic[40] in general outline. Juan Dekos is sent out with a ship to complete his education. He pays all that he gets for his cargo to ransom and bury the corpse of a debtor. His father is not pleased, but sends him out again. This time he uses all his money to ransom eight slaves, seven of whom he sends to their homes, but carries one home with him. His father is still more angry, and casts him off; but Juan has a portrait of Marie Louise painted for the figure-head of his ship, and sets off with her for her own land. The lame mate pitches him overboard, and carries the lady to her father’s dwelling-place, where he is to marry her after a year and a day. Juan is saved by an angel and placed on a rock. On Marie’s wedding-day the angel returns, and offers to take the hero to his bride for half of the child that will be born. The angel was the soul of the dead man. So Juan arrives in time, is recognized by a handkerchief, and tells his story, which causes the burning of the mate. After a year the angel comes for his half of the babe, but when Juan starts to divide it stays his hand.

Webster, the collector of this tale, noticed[41] its similarity to Gaelic, especially in the name of the hero, and surmised that the Basques must have borrowed it from the Celts in some way. The theory is tenable, though a comparison of the two variants shows that the Basques must either have borrowed it in a form considerably different from the Highland tale as we have it, or have altered the details largely. The first part of the story is entirely different; the hero goes on two voyages in Basque II., one only in Gaelic; the lady goes with the hero immediately in the former, he returns for her in the latter; the treachery and the signs are different; the ghost appears as an angel instead of a human being in Basque; and the promised division concerns the wife and three sons in Gaelic, a single babe in Basque. Thus, apart from the title, there is little to substantiate Webster’s theory. The differences are certainly more important than those between any two versions of Jean de Calais. In some particulars, like the voyages and the portrait on the ship, Basque is more nearly normal, while in others, like the account of the treachery and the appearance of the ghost, Gaelic conforms to the ordinary form. Certainly Basque II. is to be regarded as a fairly close relative of Lithuanian II. and Jean de Calais.

In Breton VII. a normal form appears, though with some embroidery of details. A merchant’s son, Iouenn Kerménou, goes out with his father’s ship to trade. He pays the greater part of the proceeds of the cargo to ransom and bury the corpse of a debtor, which dogs are devouring. On his way home he gives the rest of his money to ransom a princess, who is being carried to a ravaging serpent, which has to be fed with a royal princess every seven years. He is cast off by his father when he reaches home, but is supported by an aunt and enabled to marry his lady. After a son has been born to them, he is sent out by an uncle on another ship, which by his wife’s counsel has the figure of himself and herself with their child carved on the prow. He comes to her father’s realm, and after some misunderstanding is sent back with two ministers of state for the princess. While returning with her, he is pushed overboard by the first minister, who is an old suitor for the lady’s hand, but swims ashore on a desert island. The wife goes to court, and after three years consents to marry the minister. All this time Iouenn lives alone on his rock, but at the end is greeted by the ghost of the man whose body he buried, which appears in a very horrible form. On condition of giving in a year and a day half of what he and his wife possess, he is taken to court by this being, where he is recognized by means of a gold chain, which the princess had given him. At the wedding feast, which takes place that day, the wife recounts a parable of how she has found the old key of a coffer just as a new one was ready, brings in Iouenn, and has the minister burned. At the end of a year and a day comes the ghost, and demands half of the child (the older one has died) that has been born to them. As the hero reluctantly proceeds to divide the child, the ghost stops him, praises his fidelity, and disappears.