versions, all connected with the romance of the "Swan Knight." M. Gaston Paris has studied the whole story group (Romania, xix. 314, &c.) with the following results: The folk-tale of the seven swans had originally nothing to do with the saga of the swan-knight. The connection apparent in the 12th century texts is artificial; the swans owe their shape-shifting capacity to the superhuman nature of their mother; this trait has been almost effaced even in the oldest versions. The distinguishing mark of the swans in all the versions is the possession of silver or gold chains, which are what may be called metamorphosis tokens; it follows from this that the contamination of the two story-types ("Seven Swans" and "Swan Knight") must be older than the oldest version of the first story, as these chains can only be derived from the one with which in the Swan Knight saga the swan draws the knight back.
In Romania (xxi. 62, seg.) M. Ferd. Lot examines the question in the light of our tale. He points out that it indicates clearly the superhuman nature of the mother, and that as the silver chains figure in the story, they cannot be due in the Continental versions to contamination with the Swan Knight saga, as M. Gaston Paris imagines. M. Lot evidently inclines to look upon them as talismans, the abandonment of which was the original cause of the metamorphosis, and the handling of which at the end brings about the change back to human shape. He points out that these chains form an essential part of the gear of beings appearing in bird guise (especially if they belong to Faery); thus in the 10th-century 'Sickbed of Cuchulainn' the goddesses Fand and Liban appear as two swans united by a golden chain; in the 8th to 9th century Conception of Cuchulainn, Dechtire, the mother of the hero by the god Lug, appears with her companions in the guise of many-hued birds linked together by chains of silver (or red gold in one version). The MS. evidence for these tales reaches back to the early 11th century.
Curiously enough, M. Lot has not cited the closest parallel to our tale from old Irish literature, and one which is certainly connected with it in some measure, the fine story called the "Dream of Angus." A story of this title is cited in the epic catalogue of the Book of Leinster (which dates back to the early 11th century) as one of the introductory stories to the Tain bo Cuailgne. This assumed its present shape substantially between 650 and 750. The introductory stories had originally no connection with it, and were invented or re-shaped in the 8th to 10th centuries, after the Tain had taken undisputed place as the lead-
