The Grateful Dead: The History of a Folk StoryGerould, Gordon Hall
General
The Grateful Dead: The History of a Folk Story
Gerould, Gordon Hall
Dead -- Folklore; Folk literature -- Themes, motives; Grateful dead (Tale)
The traces of the Puss in Boots motive [62] are, I think, sufficiently
clear, especially in the first of the two variants, since the point
of that familiar tale is certainly that the hero marries a woman of
high estate by making himself out as of equal rank, substantiating
his statements by a succession of clever ruses. That the grateful dead
enables him to fulfil the required conditions is an introduction that
could easily replace the ordinary one, especially since a helper of
some sort is necessary to the story. Just what the relation of these
two variants is to other Puss in Boots stories does not here concern
us. From the side of The Grateful Dead, however, it is possible
to see how the combination--found only in two folk-tales from a
single country, it will be observed--may have arisen. The benefits
bestowed on the hero show an essential likeness to those found in a
widespread compound type to be studied in a later chapter, [63] where
the thankful dead helps his friend to obtain a wife by the performance
of some feat. Since the combination now in consideration seems to
be confined to the region about Denmark, while mediaeval and modern
examples of the other are found in many lands, it may be regarded as
a mere variation on the better-known compound type, produced by the
similarity of the two endings. Yet it has to be treated separately,
because it involves an independent theme.
An echo of the simple theme of The Grateful Dead is found in two
English plays--Massinger's Fatal Dowry and Rowe's Fair Penitent. In
the former young Charolais goes to prison to release his father's
body from the clutch of creditors, who wish to keep it unburied
for vengeance. [64] He is rescued by Rochfort, who pays the debts
and gives him his daughter in marriage. The intrigues of love and
vengeance that follow do not concern us. In Rowe's play, which was
based on Massinger's, this part has been curtailed to a few slight
references. Altamont gives himself as ransom for his father's body
to the greedy creditors, who will not allow burial to take place. He
is rewarded by the care and bounty of Sciolto, who becomes a second
father to him.
Public-domain text, read in full here on John Shaqi.
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