trickled through to the East, as for example the hero Nasnai Bahadur in the Caucasus, who overcomes his three narts, or giants, very much in the same manner as our tailor.
This Puss-in-Boots formula has become universally European from Perrault's version, to whom we owe the boots that occur in no other version, so that I have been reluctantly obliged to take them off. But apart from this the story in its entirety existed earlier in Straparola, xi., 1, and in the Pentamerone, and is found widely spread through Italy (Pitre, 88; Imbriani, 10; Gonzenbach, 65, etc.), as well as in Hungary (Jones and Kropf, No. 1), Germany (Grimm, 33a), and even in Finland (see Jones and Kropf, p. 305). In some of these cases the cat is a vixen (or female fox), and the incident of the false bathing and the marriage occurs before reaching the ogre's castle, as is indeed more natural. I have, therefore, so far amended Perrault. In most of the folk versions the miller's son betrays ingratitude towards his animal protector, who sometimes reduces him to his original state. This final incident, unknown to Perrault, shows the independence of these versions from that contained in his Mother Goose Stories. In Sweden the hero, if one may speak Hibernically, is a girl, who turns up her nose at everything in the palace as not being so good as in her castle of Cattenburg (Thorpe quoted by Lang, Perrault, p. lxxi.). In India it is found in Day, Folk Tales of Bengal, under the title of "The Matchmaking Jackal," which has numerous Indian touches; thus the jackal remembers the grandeur of the weaver's forefathers and rolls himself in betel leaves. Sultan Darai, in the Swahili version (Steere), has the stripping incident and the no-talking trick, as well as the ingratitude at end. Lang argues elaborately that it is impossible to determine
