There cannot surely be more evidence required to refute the assertion of Mr. Dunlop, that L'Adroite Princesse (be it written by Perrault or Mademoiselle Lheritier) is taken from the Pentamerone, with little variation of machinery or incident. The story he alludes to is the fourth of the third day, and is entitled Sapia Liccarda. There is no such name as Finette in it, and it is well known, independently of Mademoiselle Lheritier's declaration, that Le Conte de Finette was one of the oldest of the French nursery tales.
Nor can we desire clearer evidence of the way in which these stories were written than that which is afforded to us by the repeated acknowledgments of Mademoiselle Lheritier:—
"Ce que je viens de vous dire Est toujours au fond bien naïvement Tel qu'on ma conté quand j'etais enfant."
And, again,—
"Cent fois ma nourrice on ma mie M'ont fait ce beau recit pres des tissons Je n'ai fait qu'adjouter un peu de broderie."
Let any one compare these lines with those of the concluding portion of the story of L'Adroite Princesse commencing "Voila Madame," &c., and they must be struck by the singular resemblance.
There will be many general readers, and perhaps some critics, who may think I have been unnecessarily minute in my notes and humble attempts at illustration; but whilst I feel that the fairy tales I have selected contain in themselves nothing that may not afford innocent entertainment to children, I certainly hope that the little information I have been able to collect respecting some hitherto obscure and disputed points may give both this and the book that preceded it an interest in the eyes of elder readers, who may meet, where they least expect it, some fact or suggestion, trifling in itself, but furnishing a clue to more important matter.
My principal object has been, however, in this volume, to disabuse the minds of those who have taken for granted the assertions of our historians of fiction concerning the original sources from whence Perrault and Madame d'Aulnoy in particular derived the plots of their fairy tales—assertions which I confess I had not thought necessary to notice until, in a kind and complimentary review of my former volume, it was publicly regretted as an omission. I trust I have now made it perfectly clear that whether or not the writers of those tales were cognizant of the existence in the collections of Straparola and Basile of some half-dozen meagre and garbled versions of stories told for ages in all the tongues of Europe and Asia, that the real foundation of those of Perrault were the old Breton Contes de ma Mère l'Oye, which in company