P. 124 a, 4th paragraph. The ballad in Schlegel’s Reisen is simply a threnody in Esthonian marriage ceremonies over the carrying away of the bride to her husband’s house, and is not to the point.
125, 493 b, II, 498 b, III, 499 a, IV, 447 b, V, 208 b. ‘L’os qui chante:’ M. Eugène Monseur has continued his study of this tale in Bulletin de Folklore, I, 39-51, 89-149, II, 219-41, 245-51. See also Bugiel in Wisła, VII, 339-61, 557-80, 665-85.
[See also ‘Die Geschichte von zwei Freunden,’ Socin u. Stumme, Dialekt der Ho͜uwāra des Wād Sūs in Marokko, pp. 53, 115, Abhandlungen der Phil.-hist. Classe der K. Sächs. Gesellschaft der Wissenschaften, XV.]
[On disclosure by musical instruments see Revue Celtique, II, 199; Hartland, Legend of Perseus, I, 193. F. N. Robinson.]
126 a. [For a parallel to the South African tale see Jacottet, Contes pop. des Bassoutos, p. 52.]
126 b. C is also translated by H. Schubart in Arnim’s Tröst Einsamkeit, 1808, p. 146.
11. The Cruel Brother.
P. 144 a. For ‘Frau von Weissenburg,’ ‘Frau von der Löwenburg,’ ‘Junker Hans Steutlinger,’ see Erk, ed. Böhme, Nos. 102, 103, I, 360 ff.
144 b, 2d paragraph, V, 208 b. Add: ‘Le Testament du Chien,’ Bédier, Les Fabliaux, 2d ed., p. 473; ‘Testament de la vieille Jument,’ ‘de la vieille Truie,’ ‘de la Chèvre,’ Luzel, Chansons pop. de la Basse-Bretagne, II, 88-97. ‘The Robin’s Last Will,’ Miss M. H. Mason’s Nursery Rhymes and Country Songs, p. 41.