Nursery Tales of the
Zulus_, Natal, 1868). The idea recurs in Theal's Kaffir Collection (p.
136); in both cases the substituted bride is a beast. In Scotland the
story of the _Black Bull o' Norroway_ contains the incident of the
substituted bride. The Kaffirs, in _The Wonderful Horns_, have a large
part of that story, but without the substituted bride, who, in Europe,
occasionally attaches herself as a sequel to _Toads and Diamonds_. This
is illustrated especially in Grimm's _Three Dwarfs in the Wood_ (13),
where the good girl's speech is made literally golden. The bad girl, who
speaks toads, marries the king's son who loves the good girl. Fragments
of verse, in which the good girl tries to warn her husband, resemble
those in the _Black Bull o' Norroway_. The tale is complicated by the
metamorphosis of the true bride (no great change her lover would say)
into 'a little duck.' She regains her shape when a sword is swung over
her. The bad girl is tortured like Regulus. This is _Bushy-bride_ in
Dasent's _Tales from the Norse_.

There seems to be no reason why the adventure of the good and bad
sisters should merge in the formula of the substituted bride, more than
in the adventure of the princess accused of bearing bestial children, or
in any other. Probably Perrault felt this, and, having made his moral
point, was content to do without the sequel.

_Les Fees_ is interesting then, first, as an example of a moral idea
illustrated in tales even in South Africa, and, secondly (in its longer
and more usual form), as an example of the manner in which any story may
glide into any other. All the incidents of popular tales, like the bits
of glass in a kaleidoscope, may be shaken into a practically limitless
number of combinations.

[Footnote 67: Antoninus Liberalis, xxxv.]

CENDRILLON.

_Cinderella._

The story of Cinderella (_Cendrillon_, _Cucendron_, _Cendreusette_,
_Sainte Rosette_) is one of the most curious in the history of
_Maerchen_. Here we can distinctly see how the taste and judgment of
Perrault altered an old and barbarous detail, and there, perhaps, we
find the remains of a very ancient custom.

There are two points in _Cinderella_, and her cousin _Peau d'Ane_,
particularly worth notice. First, there is the process by which the
agency of a _Fairy Godmother_ has been substituted for that of a
_friendly beast_, usually a connection by blood-kindred of the hero or
heroine. Secondly, there is the favouritism