_Remarks_.--“The Three Bears” is the only example I know of where a tale that can be definitely traced to a specific author has become a folk-tale. Not alone is this so, but the folk has developed the tale in a curious and instructive way, by substituting a pretty little girl with golden locks for the naughty old woman. In Southey's version there is nothing of Little Silverhair as the heroine: she seems to have been introduced in a metrical version by G. N., much be-praised by Southey. Silverhair seems to have become a favourite, and in Mrs. Valentine's version of “The Three Bears,” in “The Old, Old Fairy Tales,” the visit to the bear-house is only the preliminary to a long succession of adventures of the pretty little girl, of which there is no trace in the original (and this in “The Old, Old Fairy Tales.” Oh! Mrs. Valentine!). I have, though somewhat reluctantly, cast back to the original form. After all, as Prof. Dowden remarks, Southey's memory is kept alive more by “The Three Bears” than anything else, and the text of such a nursery classic should be retained in all its purity. XIX. JACK THE GIANT-KILLER. _Source_.--From two chap-books at the British Museum (London, 1805, Paisley, 1814). I have taken some hints from “Felix Summerly's” (Sir Henry Cole's) version, 1845. From the latter part, I have removed the incident of the Giant dragging the lady along by her hair. _Parallels_.--The chap-book of “Jack the Giant-Killer” is a curious jumble. The second part, as in most chap-books, is a weak and late invention of the enemy, and is not _volkstümlich_ at all. The first part is compounded of a comic and a serious theme. The first is that of the Valiant Tailor (Grimm, No. 20); to this belong the incidents of the fleabite blows (for variants of which see Köhler in _Jahrb. rom. eng. Phil._, viii. 252), and that of the slit paunch (_cf._ Cosquin, _l.c._, ii. 51). The Thankful Dead episode, where the hero is assisted by the soul of a person whom he has caused to be buried, is found as early as the _Cento novelle antiche_ and Straparola, xi. 2. It has been best studied by Köhler in _Germania_, iii. 199-209 (_cf._ Cosquin, i. 214-5; ii. 14 and note; and Crane, _Ital. Pop. Tales_, 350, note 12). It occurs also in the curious play of Peele's _The Old Wives' Tale_, in which one of the characters is the Ghost of Jack. Practically the same story as this part of Jack the Giant-Killer occurs in Kennedy, _Fictions of the Irish Celts_, p. 32, “Jack the Master and Jack the Servant;” and Kennedy adds (p. 38), “In some versions Jack the Servant is the spirit of the buried man.” The “Fee-fi-fo-fum” formula is common to all English stories of giants and ogres; it also occurs in Peele's play and in _King Lear_ (see note on “Childe Rowland”). Messrs. Jones and Kropf have some remarks on it in their “Magyar Tales,” pp. 340-1; so has Mr. Lang in his “Perrault,” p. lxiii., where he traces it to the Furies in Aeschylus' _Eumenides_. XX. HENNY-PENNY.