The Grateful Dead: The History of a Folk Story

by Gordon Hall Gerould

It will be seen that this variant does not differ in essentials from those previously summarized, though its details exactly coincide with none of them. The order of events is normal, very like that of Lithuanian II., for example, yet it has marks of peculiarity. Chief among these are the events connected with the ransom of the lady and the parable by which she introduces her long lost husband to court. The first is a trait borrowed from the Perseus and Andromeda motive,[42] the second is the same as the riddle in Jean de Calais IX.[43] How this latter feature should happen to appear in these two widely separated variants and nowhere else I am not wise enough to explain.

Simrock I. introduces still another complication in the way of compounds. A merchant’s son on a journey secures proper burial for a black Turkish slave, thereby using all his money. His father is angry with him on his return. On his second voyage he ransoms a maiden and is cast off by his father when he reaches home. The young couple live for a time on the proceeds from the sale of the wife’s handiwork, but after a little set off to the court of her father, who is a king. On the way they meet one of the king’s ships, and go aboard. The hero is cast into the sea by the captain, but is saved by a black fellow and brought back to the ship. Again he is cast overboard. When the princess arrives at home, she agrees to marry whoever can paint three rooms to her liking. The hero, meanwhile, is again saved by the black man, and in return for the promise of his first child on its twelfth birthday he is given the power of obtaining his wishes. After a year and a day he is taken to court by his friend, where by wishing he paints the three rooms, the third with the story of his life. So he is recognized. On the twelfth birthday of his first child the black man comes to him and is offered the boy, but instead of taking him explains his identity.

As far as The Grateful Dead, The Ransomed Woman, and the sacrifice of the child are concerned, this follows the normal course of events, except perhaps as to the child, of actually dividing which there is no question. Like Lithuanian II., Jean de Calais III., IV., V., and X., Basque II., and Norwegian I., it makes the hero and heroine set out for her father’s court together and of their own free will.[44] The colour of the thankful dead is a peculiar trait. Yet the element which complicates the question, as mentioned above, is the feat by which the hero obtains his wife. If I am not mistaken, this allies the variant on one side with stories of the type of The Water of Life, where the bride is gained by the performance of some task obviously set as impossible. The questions involving the relations of such motives with The Grateful Dead will occupy the next chapter, so that it needs simply to be mentioned at this point.

In Simrock II. a miller’s son goes with merchandise to England. In London he pays all his money for the debts and the burial of a poor man. He is again sent to England by his father, and this time he gives his whole ship to ransom a beautiful maiden. When he returns with her, he is cast off by his father, marries the girl, and lives on what she makes by her needle. He takes a piece of her embroidery with him to England, where it is seen by the king and queen, whose daughter has become his wife. He is sent for her in company with a minister, who pitches him overboard and goes on for the princess, hoping to marry her. The hero swims ashore, in the meantime, and communicates with his wife by means of a dove, which also feeds him. Finally a spirit conveys him to London, after receiving the promise of half of his first child. He obtains work in the kitchen of the castle, and sends a ring to his wife, by means of which they are reunited. At the birth of their child he refuses to give the spirit half, but offers the whole instead,[45] whereupon ensues an explanation.

This variant is of the same type as Jean de Calais II. and VII.,[46] resembling the latter more than the former in details. The three are sufficiently unlike, however, to make any immediate relationship quite out of the question, even did not geography forbid. As in Hungarian II., Oliver, Lope de Vega, Calderon, Jean de Calais V. and VIII., and Norwegian I., the heroine is an English princess, a point of interest, but not of much importance.

Simrock VIII. differs from the above in only two points. The beginning states that a merchant while in Turkey pays the debts and burial expenses of a poor man. On his next voyage he buys three hundred slaves from the Emperor of Constantinople. Three of them he keeps at his home, one of whom he marries. The further adventures of the hero agree with Simrock II. even in names and most details, except that the hero is recognized at the court by dropping his ring in a cup of tea, which the princess gives him to drink. It will be evident that the two tales are nearly related.

Last, but not least interesting of the versions in which the child appears, is the Factor’s Garland or Turkey Factor, which must have been almost as well known in England at one time as the form of the story in Jack the Giant-Killer. It has no very remarkable features in its outline. A young Englishman, while acting as a factor in Turkey, pays fifty pounds to have the body of a Christian buried. A little later he pays one hundred pounds to ransom a beautiful Christian slave, and takes her back to his home, where he makes her his house-keeper. Later he sets out again, and is told by the woman to wear a silk waistcoat that she has embroidered, when he comes to the court whither he is bound. The work is recognized by her father, the emperor, and the factor sent back to fetch her. While returning with the princess, he is pushed overboard in his sleep by the captain, but swims to an island, whence he is rescued by an old man in a canoe, who bargains with him for his first-born son when three (or thirty) months old. The hero is recognized at court and marries the princess, while the captain dies by suicide. In two (or three) years the old man returns, just when the couple’s son is three (or thirty) months old, and demands the child. On the hero’s yielding, he explains that he is the ghost, and disappears.

Like Gaelic[47] and Simrock VIII.—the latter just discussed—this version makes the hero undergo his early adventures in Turkey. Indeed, the similarity to Gaelic throughout is very notable, far more so than in the case of Basque II.[48] The only point in which it differs materially is the division of property, which in Gaelic concerns the wife and the three children, in the Factor’s Garland one son only. In this matter there is agreement between the present variant, Basque II., and Simrock VIII. Despite the likeness to Gaelic, there is no good reason for arguing any immediate connection with that version. They stand close to one another geographically and in content, that is all; they cannot be proved to be more than near relatives in the same generation.

The variants which introduce the division of the child have now all been considered. It is necessary to turn to a few scattered specimens in which the compound, The Grateful Dead + The Ransomed Woman, has been joined with other material.

Bohemian is a curious and instructive example of the confusion which has resulted from welding various themes together. Bolemir, a merchant’s son, is sent to sea, where he is robbed by pirates and imprisoned. He finds means to help an old man, who gives him a magic flute, and a princess, who gives him half of her veil and ring. By the aid of the flute he succeeds in winning the chief’s permission to leave the island in the company of his friends. He sails with them to another island. There, at the old man’s request, he strikes him on the head and buries him. He then goes home with the princess. On his second voyage he displays from his mast-head a golden standard, which the princess has made. He reaches the city of the lady’s father, tells his story, and returns for the princess with the chamberlain. While they are all returning together, he is cast into the sea by the chamberlain, who takes the woman to court and obtains a promise of marriage, when a church has been built to her mind. Bolemir is saved from the sea by the ghost of the old man, and is given a wishing ring. He turns himself into an eagle and flies to court, into an old man and becomes a watchman at the church. By means of his ring he builds the structure, and paints it with the story of his life. At the wedding breakfast of the princess, who cannot longer delay the bridal, he tells his story, and so marries her.