According to Simrock IX., finally, the three sons of a king seek the bird phoenix to cure their blind father. The two elder enter the castle of a beautiful maiden, and are lost; but the youngest resists the temptation, and takes lodging at an inn. There at night he is startled by a ghost, which tells him that it is the spirit of a man whom the host has buried in the cellar for non-payment of a score, and which implores his help. The youth arranges for payment of the debt and for proper burial, then goes his way. In the wood he meets a wolf, which instructs him how to find the bird phoenix in a cage in the magical castle, and carries him thither. Because he fails to take the worse-looking bird according to instructions, he has to get a steed as swift as wind for the lord of the castle. Again he is disobedient when told to take the worst-looking horse only, and so has to get the most beautiful woman in the world for the lord of this castle. Again he is brought by the wolf to a castle, where he obediently chooses a black maiden instead of one who is apparently beautiful. With maiden, horse, and bird he turns home. The wolf in parting from him explains that it is the ghost of the dead man, and warns him not to buy gallows flesh. When he meets his brothers on their way to be hanged, however, he forgets this, and ransoms them. In return he is nearly murdered by them and left for dead, but is rescued and healed by the wolf, and so at last reaches his destination. In none of these nine stories is the burial of the dead, one of the two most fundamental features of our leading motive, in any way obscured. They are thus less difficult to treat than was the preceding group, in spite of the added complications introduced by the advent of the helpful animal. This creature should naturally take the role of the ghost, appear as the embodiment of the dead man's soul indeed; and with but two exceptions [191] it actually fulfils the part. In those two there has been, apparently, imperfect amalgamation, so that the helper is duplicated, and the motivation obscured. In Walewein, a literary version, consciously adapted to the requirements of a roman d'aventure, this need excite no wonder. The ghost does its part properly, and the fox is merely an additional agency in the service of the hero, acting out of pure kindness of heart [192] as far as one can see. Lotharingian, not contented with duplicating the trait, triplicates it. The fox, as in the ordinary form of The Thankful Beasts, helps the hero because of a benefit received; the shepherd bestows magical gifts, as in a common type of The Water of Life, because of the hero's kindness; while the dead debtor remains inactive after the burial, and plays no further part in the narrative.