of a doctor, comes to heal Wildcat's wounds. By this time, Wildcat suspects that Rabbit is a trickster, and the latter has a hard time to explain the slit in his nose. He finally satisfies the gullible Wildcat, however, and as usual puts him to sleep. The last time Wildcat comes after Rabbit, he finds him on the water in a magic man-of-war. When Wildcat comes near, Rabbit drives him back, and at last escapes from the pursuit of Wildcat.

21. Micmac: Rand, No. 54.

K5. Transformation flight. Rabbit, pursued by Otter, changes himself to an old woman, and when Otter comes along he is persuaded to carry in wood for the old woman. The next time Otter chases him Rabbit becomes an Indian chief, and at a feast to which he has invited Otter knocks him senseless. The third deceit shows Rabbit as a sea captain on a man-of-war floating in a lake which was formerly a swamp. He shoots at Otter and causes him to flee.

22. Micmac: Leland, op. cit. p. 311.

John the Bear. [For the beginning of the story see Chapter II, No. 15.]

L. Forgotten fiancée. When the hero leaves his bride and goes home for a visit, she warns him not to allow the dog at the wigwam door to lick his hands. He neglects the warning and forgets his wife.

M. Waking from magic forgetfulness. While she is waiting for him in a tree over the water, an old man discovers her by her reflection in the stream, and compels her to marry him. She, however, forces a magic storm so that the old man cannot sleep with her. When she sings a magic song, the hero notices her and remembers.

All the tales given in the foregoing summaries have every indication of being direct borrowings. Of the longer, and of many of the shorter, versions there can be no doubt at all, for though the action of the tale is complex, the Indian versions are true to the European type. A confusing element in the story is the tests the hero is put to by the heroine's father. This is such a usual ele

ment in native Indian tales that the details belonging to the Indian test-theme are found instead of European incidents. In a few cases it has been quite impossible to decide whether tales including the tests performed with the help of the wife or daughter, followed by an elopement, are native or borrowed. I have included such as seemed to me most likely to be foreign origin. Most of the versions come from French sources, though the Tepecano variant (No. 15) is undoubtedly of Spanish origin.

VII.

CINDERELLA

VIII. THE TRUE BRIDE.

The stories of "Cinderella" and of "The True Bride" have so many points in common that it will be convenient to consider them together. The relation of the versions collected among the Indians will be clarified by reference to a general type containing the incidents of both stories.

The best discussion of these stories is found in Miss Cox's Cinderella, which is entirely devoted to these and closely related tales. See also Bolte und Polívka, i, 165ff.

GENERAL TYPE EMBRACING BOTH TALES.
CINDERELLA.

A. Cruel stepmother. The heroine, though surpassing her stepsisters in beauty and goodness, is cruelly mistreated by her stepmother.

B. Help of mistreated heroine. The heroine is helped in her distress-(B1) by fairy, (B2) by magic animals, (B3) by ghost or reincarnation of mother, (B4) by grandmother, (B5), by kind person..

C. Success at dance. Though the heroine is left behind when her sisters go to a dance, she receives beautiful clothes from her helper and goes to the dance, where she wins the heart of the prince.

D. Tabu broken. She has been forbidden to remain beyond

midnight. She does so and is compelled to flee from the dance unidentified.

E. Jealous sisters.

Her sisters are jealous at her success

when they discover it, and plot against her.

F. Slipper test. The only means the prince has of identifying the girl of the dance is from a slipper that she has let fall in her hurried departure. Cinderella is the only girl in the land whose foot it fits.

G. Happy marriage with prince.

THE TRUE BRIDE.

A. Cruel stepmother. As above.

H. Enforced quest. The stepmother in the hope of getting rid of the heroine sends her on impossible quests.

I. Kind and unkind. The heroine meets a person who makes a request with which she graciously complies. As reward she receives the gift of increasing beauty and the power of dropping jewels from her mouth as she talks. In addition, she is able to accomplish the object of her quest. Her stepsisters try the same thing, but their conduct is so ungracious that they are made increasingly ugly and with each word they utter a toad drops from their mouth.

G. Happy marriage with prince. A prince observes the heroine and marries her.

J1. Animal-birth slander. When the heroine bears her first child, the stepmother succeeds in substituting an animal for it and persuading the husband that the wife has borne the animal. The child is hidden.-J2. Heroine thrown into water. The heroine is thrown into a stream to drown.-J3. Heroine transformed. The heroine is transformed-usually into a duck or a deer.

K1.

False bride. The husband is persuaded to marry the ugly sister.-K2. Substitute bride. The ugly sister takes the heroine's place without suspicion from the husband.

L1. Care of abandoned children by animal. The child (or children) are cared for by a helpful animal, who also assists in disenchanting or resuscitating the mother.-L2. Enchanted mother suckles children. The enchanted mother in her animal form (or the ghost of the drowned mother) returns to suckle her child which is in the room with her husband.

M1. Husband's attention attracted by helpful animal.—M2. Husband's attention attracted by returned mother. The mother returns for three times. On the third occasion the husband sees her and calls her name.

N.

Disenchantment.

VERSIONS OF "CINDERELLA."

1. French Canadian: Barbeau, JAFL, xxix, 55.

D.

Tabu broken. She leaves before eleven o'clock the first time, but at a second dance she over-stays the time. In her haste she drops her slipper.

2.

Zuñi: Cushing, Zuni Folk Tales, p. 54; Parsons, JAFL, xxxi, 234.

B2. Help of mistreated heroine by magic animals. A poor and mistreated girl, who tends turkeys at some distance from the camp, cannot attend the big dance at the camp because she has no clothes fit to wear. The turkeys take pity on her and promise that they will fit her out for the dance if she will be back at a certain hour and if she will not forget her turkeys. They make her a magic gown bedecked with all kinds of jewels.

C. Success at dance. When she goes to the dance, all the young men want to dance with her, and the chief's son in particular falls in love with her.

D. Tabu broken. She is so entranced with the splendor of the occasion that the hours pass swiftly for her and she forgets her turkeys. At last she remembers them, but it is too late. She rushes back and asks their forgiveness, but her beautiful garments are changed to her old miserable rags.

[It seems most likely that the tale just cited is due to Spanish influence. "Cinderella" exists in all parts of the world, and the lack of published versions should not make us conclude that it is not told among the Spanish-speaking inhabitants of New Mexico

and Arizona; comparatively few of their tales have been collected, For a version from Chile see Bolte und Polívka, i, 182.]

A boy has the power of transforming himself into a moose, and is consequently called Moose. He is invisible to everyone except his sister.

(F) Marriage test. He sends word throughout the country that he will marry any girl who can see him. Many girls try without success.

A. Abused youngest daughter. Among those who fail are two sisters who, not considering their youngest sister worthy to compete, have left her at home. They have always cuffed her about and ill-treated her until she is dwarfed and ugly.

Mean disguise. The young sister is not discouraged, however, and makes herself a dress of birch-bark and wears ugly moccasins. All who see her make fun of her. [For the mean disguise see Cox, op. cit., pp. 53-79.]

G. Happy marriage. When the sister of the boy asks her, "What are my brother's shoulder-straps made of?" the girl replies, "A rainbow." This is conclusive evidence that she really sees the boy. As soon as the hero has married her, she becomes magically beautiful. [Cf. the incident of "The Loathly Lady," p. 363, above.]

[This "Cinderella" story, if it be one, has become greatly corrupted. This is true of many of the Micmac tales. Three centuries of contact with the French have resulted in such amalgamation of the tales as to make them hopelessly confused.]

4. Piegan: Michelson, JAFL, xxix, 409.

Dr. Michelson reports that "Cinderella" is told among the Piegans, and that it has been only recently acquired by them.

VERSIONS OF "THE TRUE BRIDE."

For a discussion of the distribution of "The True Bride," see Bolte und Polívka, i, 99.

5. German: Grimm, No. 13.

A. Cruel stepmother. Regular.