than vice versa, but the latter event may happen if the obscurer figure will serve to enliven the tale.
Of the twenty variants in our cycle which have a thankful beast, Jewish has the simple theme; Servian IV. the combination with The Poison Maiden; Jean de Calais II., VII., and X., Simrock II., III., V., and VIII., and Oldenburgian the combination with The Ransomed Woman; and Walewein, Lotharingian, Tuscan, Brazilian, Basque I., Breton IV., V., and VI., and Simrock IX. the combination with The Water of Life.
Now in Jewish[1] the hero is saved from shipwreck[2] by a stone, carried home by an eagle, and there met by a white-clad man, who explains the earlier appearances. This is mere reinforcement of the tale by triplication, and implies nothing more than a certain vigour of imagination on the part of the story-teller. In Servian IV.,[3] where the hero spares a fish which he has caught, there appears, on the contrary, to be actual combination with The Thankful Beasts as a motive. The fish comes on the scene in human form, and fulfils the part of the grateful dead till the very end, when it leaps back into its element. As for the variants of the compound type with The Ransomed Woman there is considerable diversity, yet all of them have merely substitution, not combination. So in Jean de Calais II., VII. and X.,[4] which are closely allied with other members of the group so named, the beast appears, but in one case as a white bird, in the second as a fox, and in the third as a crow. That this is anything more than a substitution due to the story-teller's individuality cannot be admitted, though knowledge of The Thankful Beasts as a motive is not barred out. Simrock II. and VIII.[5] are likewise nearly related to one another and to Jean de
