These nine variants are, it will be seen, related in very different degrees to The Grateful Dead. What a debased type of the maerchen they represent is shown by the fact that in no less than five [182] the burial of the corpse, which is the most fundamental trait of the theme, has been lost. Yet for two reasons it is clear that they are really scions of the stock. In the first place, wherever the burial has been cut away, other elements of the motive in its simple form have been retained. Thus in Hungarian I. and Rumanian II. the deeds of the old beggar (or Christ) make his identity with the ghost unquestionable; in Straparola II., despite its sophistication, the wild man fills the same role, while his explanations at the end show that the burial has been merely blurred; in Sicilian both the agreement to divide and the division of the woman as a test are introduced; and in Treu Heinrich there is double division in a way, since the hero divides his property with his faithful follower to begin with and afterwards agrees to an exchange of hospitality with the helpful knight, going so far as actually to give him two of the four gifts received from the princess. In the second place, certain variants without the burial are very closely allied with others which retain it, [183] as will be seen in a moment. Thus all those treated here may safely be admitted to the group. The reader must, however, have been struck, while examining the summaries just given, with the great diversity of the residuum which would be left if the parts properly belonging to The Grateful Dead were taken away. Indeed, they may be separated on this score into four categories with a couple of minor divisions. Polish, Hungarian I., and Rumanian II. are very similar in respect to these matters, having a princess who is won by the feat of obtaining something left at home by her father (this feat made possible by the power given the hero to change his form) and a treacherous rival. Polish has the peculiarity that the article to be obtained by the hero is a magical sword. [184] Treu Heinrich stands a little apart from these, since the rival does not appear and the princess is won by a tourney; yet it has the curious metamorphosis, and must be considered as having some connection. Maltese and Venetian fall together. Venetian has retained from The Water of Life only the misfortune and the treachery of the older brothers, [185] while Maltese keeps also the magical bird and the features naturally connected therewith. The introduction of two steamboats in the latter is a curious illustration of the ease with which popular tales change details without altering essentials. Sicilian and Harz II. again are alike, both being compounded with The Skilful Companions, [186] and making the winning of the princess depend on feats really accomplished by the helpers characteristic to that tale. Straparola II. must be placed alone, having nearly all trace of The Water of Life lost in the traits of