rom these. Something similar has even spread to Greenland, where the
story of the Giant and the boy is told by Rae, _Great White
Peninsula_. (See Grimm, tr. Hunt, i., 364.) The Dutch version is told
of Kobis the Dauntless. Cosquin, who has two versions (8 and 25), has
more difficulty than usual in finding the full plot in Oriental
sources, though various incidents have obviously 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.

XI. EARL OF CATTENBOROUGH

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 the original home of
Puss-in-Boots, though he seems to own that it had one. His criterion
is the absence or presence of a moral in the story, in this case the
incident showing the ingratitude of the Marquis. This