[33] The preservation of the frame of the Çukasaptati in Italian popular tales is only paralleled, to our knowledge, by the preservation of the Seven Wise Masters in a Magyar popular tale. See La Tradizione dei Sette Savi nelle Novelline magiare. Lettera al Prof. A. D'Ancona di E. Teza, Bologna, 1864.
It is possible that the Italian stories containing the frame of the Çukasaptati may have been developed from the story in the Seven Wise Masters which is found in both the Oriental and Occidental versions. The spirit of Folk-tales seems to us averse to expansion, and that condensation is the rule. We think it more likely that it was by way of oral tradition, or from some now lost collection of Oriental tales once known in Italy.
[34] It is in the work by Teza mentioned in the last note, p. 52.
[35] See Pitrè, vol. I. p. 23. The three stories in one are called Donna Viulanti (Palermo) and Lu Frati e lu Soru (Salaparuta).
[36] See Chapter I. note 7.
[37] The Italian versions are: Pitrè, No. 78, "Lu Zu Viritati" ("Uncle Truth"); Gonz., No. 8, "Bauer Wahrhaft" ("Farmer Truth"); XII. Conti Pomiglianesi, p. 1, "Giuseppe 'A Veretà" ("Truthful Joseph," the version translated by us); p. 6, another version from same place and with same name; and in Straparola, III. 5. References to Oriental sources maybe found in Köhler's notes to Gonz., No. 8, and Oesterley's notes to Gesta Rom. cap. 111.
In addition to the Oriental elements mentioned in the third chapter, Stanislao Prato has discovered the story of Nala in a popular tale from Pitigliano (Tuscany), see S. Prato, La Leggenda indiana di Nala in una novella popolare pitiglianese, Como, 1881. (Extracted from I Nuovi Goliardi.)