These three variants make evident the nature of the foreign material in Esthonian II. and Rumanian I. The whole sub-group, indeed, has in combination with The Grateful Dead + The Poison Maiden important elements from the themes of The Water of Life and The Lady and the Monster. These features will be considered in detail in a later chapter, [95] when we study the general type The Grateful Dead + The Water of Life. For the present it is enough to indicate how the addition has affected the type with which we are immediately concerned. Of the three Irish tales, the first two have best preserved the characteristics of the compound as found in Asia and Eastern Europe. Irish I. has all the essential features of Armenian and Gypsy,--for example, the burial, the agreement to divide what is gained, and the removal of the evil things by which the woman is possessed. To be sure, the latter are devils, not serpents, and the woman is beaten, not divided. Yet the division appears in another form, since the hero is ready to share his child with the red-haired man, a trait connected with the theme of Amis and Amiloun. [96] Irish II. is in some respects more changed, and in some respects less, than Irish I. The agreement to divide is changed to a promise that the green man shall have the first kiss of the bride. On the other hand, the serpents in the woman's body are retained, a trait which is very primitive and very important in enabling us to identify the position of these variants. Irish III. has lost most of the typical features of the compound. Kennedy's evidence shows that Jack the servant is to be regarded as really the thankful dead; but the agreement to divide the gains and the removal of the demons or serpents have entirely disappeared under pressure from the secondary theme, the essential idea of which is the accomplishment by the hero of certain unspelling tasks. In conjunction with the other two variants, however, the position of Irish III. is clear. Very different from the Irish tales is Breton I., since under the influence of a tendency very common in Brittany, the narrative has become a Mary legend and has lost its clearness of outline in the process. Yet it really belongs to this group, replacing by a dragon-fight and a rescue of the hero from the villain the cleansing of the bride. At least, I am led to the belief that such is the case by the fact that the story fits into no other category. Nor is it surprising that the position of the tale should be obscure in view of the grotesque transformation which it has undergone.