[7] The frame of the Pentamerone is the story of the "False Bride:" see Gonz., Nos. 11, 12; Pitrè, No. 13; Imbriani, "'E Sette Mane-Mozze;" and Hahn, Nos. 12, 49. Grimm, II. p. 483, gives the stories in the Pent. which have parallels among his own Kinder- und Hausmärchen. The notes to Liebrecht's translation are to be supplemented by the same author's additional notes in his translation of Dunlop, p. 515.
[8] This story is usually printed with Perrault's tales, but its author was really Mlle. Lhéritier. See the latest edition of Perrault's tales, Les Contes de Charles Perrault, par André Lefèvre, Paris, Lemerre, 1875, p. xli.
[9] See Dunlop-Liebrecht, p. 408 et seq.; and Grimm, II. p. 489 et seq.
[10] References to four of the five stories will be found as follows: I., Pitrè, vol. IV. pp. 372, 375; II., Pitrè, ibid. p. 381; III., Nov. fior. pp. 93, 112, Pitrè, No. 36; V., Pitrè, vol. IV. p. 391. The two editions of Naples, 1684 and 1751, are extremely scarce and the student will be obliged to have recourse to the edition of 1789, contained in the Collezione di tutti li poeti in lingua Napoletana.
[11] Pitrè, vol. I. p. xliii., mentions some other names, as, rumanzi by the inhabitants of Termini, and pugaret by the Albanian colonists. To these may be added another Milanese appellation, panzanega.
[12] Other endings are given by Imbriani, Pomiglianesi, p. 129:—
Cuccurucù,
No' noe n' cchiù.
(Cuccurucù, there is no more.)
Cuccurucù.
Sa' 'o vuo' cchiù bello, t' o dice tu.
(Cuccurucù, if you want it finer, tell it yourself.) See also Pitrè, vol. I. p. 196, note 2. The most curious introductions and endings are those in De Nino, Usi e Costumi abruzzesi, vol. III. There is no general formula, but each fiaba has one of its own. Some are meaningless jingles, but others are quite extensive poems on religious subjects. Among these may be found legends of various saints, St. Nicholas, p. 335, etc.