AND ONE NIGHTS (q.v.)  are full of popular tales, and popular marchen are the detritus of the See also:

• SAGA (literally a story committed to writing)

saga,—was for a See also:

• LONG, GEORGE (1800-1879)
• LONG, JOHN DAVIS (1838– )

long See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time tales are the See also:

• STAPLE

staple of the See also:

• MEDIEVAL

medieval Gesta Romanorum, and of the collections of Straparola and other See also:

• ITALIAN

Italian conteurs . In all these and similar gatherings the See also:

• STORY, JOHN (c. 1510-1571)
• STORY, JOSEPH (1779-1845)
• STORY, ROBERT HERBERT (1835-1907)
• STORY, WILLIAM WETMORE (1819—1895)

story, long circulated from mouth to mouth among the See also:

• PEOPLE

people, is handled with conscious See also:

• ART

art, and little but the See also:

• GENERAL
• GENERAL (Lat. generalis, of or relating to a genus, kind or class)

general outline of See also:

• PLOT
• PLOT, ROBERT (164o-1696)

plot and See also:

• CHARACTER (Gr. xapareri7p, from xap&crew, to scratch)

character of incident can be regarded as See also:

• ORIGINAL

original . In the Histories ou Contes du Temps Passe of See also:

• PERRAULT, CHARLES (1628-1703)

Perrault (See also:

• ELZEVIR

Elzevir, See also:

• AMSTERDAM
• AMSTERDAM (NEw AMSTERDAM)

Amsterdam, 1697; the Parisian edition is of the same date) we have one of the earliest gatherings of tales which were taken down in their nursery shape as they were told by nurses to See also:

• CHILDREN, LAW RELATING TO

children . This at least seems probable, though M . See also:

• ALFRED

Alfred See also:

• MAURY, LOUIS FERDINAND ALFRED (1817–1892)
• MAURY, MATTHEW FONTAINE (1806-1873)

Maury thinks Perrault See also:

• DREW
• DREW, SAMUEL (1765-1833)

drew from See also:

• LITERARY

literary See also:

• SOURCES

sources . Perrault attributed the See also:

• COMPOSITION
• COMPOSITION (Lat. compositio, from componere, to put together)

composition to his son, P . Darmancour, at that time a See also:

• CHILD
• CHILD, FRANCIS JAMES (1825-1896)
• CHILD, L
• CHILD, LYDIA MARIA (1802-1880)
• CHILD, SIR FRANCIS (1642-1713)
• CHILD, SIR JOHN (d. 1690)
• CHILD, SIR JOSIAH (163o - 1699)

child, and this pretext enabled him to give his stories in a See also:

• SIMPLE

simple and almost popular See also:

• GUISE
• GUISE, HOUSE OF

guise . It seems that popular tales in many cases probably owe their origin to the See also:

• DESIRE

desire of enforcing a moral or See also:

• PRACTICAL

practical See also:

• LESSON (through Fr. lecon from Lat. lectio, reading; legere, to read)

lesson . It appears that their irrational and " infantile " c Faracter—" depourvues de raison "—is derived from their origin, if not actually among children, at least among childlike peoples, who have not arrived at " raison," that is, at the scientific and See also:

• MODERN

modern conception of the See also:

• WORLD

world and of the nature of See also:

• MAN
• MAN, ISLE OF (anc. Mona)

man . The success of Perrault's popular tales brought the genre into literary See also:

• FASHION (adapted from Fr. facon, agon, Lat. factio, making, facere, to do or make)

fashion, and the Comtesse d'See also:

• AULNOY (or AuNOY), MARIE CATHERINE LE JUMEL DE BARNEVILLE DE LA MOTTE, BARONNE

Aulnoy invented, or in some cases adapted, " contes," which still retain a See also:

• GREAT

great ; See also:

• GERMAN
• GERMAN, DUTCH AND SCANDINAVIAN

German and Scottish marchen, is it See also:

• EXTINCT

extinct, See also:

• CANNIBALISM

cannibalism and popularity . But the precise and scientific collection of tales cruel See also:

• TORTURE (from Lat. torquere, to twist)

torture being favourite incidents . from the lips of the people is not much earlier than our See also:

• CENTURY (from Lat. centuria, a division of a hundred men)

century .

(3) The same plots and incidents as they exist in the heroic The See also:

• CHIEF (from Fr. chef, head, Lat. caput)

chief impulse to the study was given by the See also:

• BROTHERS, RICHARD (1757-1824)

brothers See also:

• GRIMM, FRIEDRICH MELCHIOR, I
• GRIMM, JACOB LUDWIG CARL (1785-1863)
• GRIMM, WILHELM CARL (1786-1859)

Grimm . The first edition of their Kinder- and Haus-Marchen was published in 1812 . The See also:

• ENGLISH

English reader will find a very considerable bibliography of popular tales, as known to the Grimms, in Mrs Alfred' See also:

• HUNT, ALFRED WILLIAM (183o-1896)
• HUNT, HENRY (1i73-1835)
• HUNT, HENRY JACKSON (1819-1889)
• HUNT, JAMES HENRY LEIGH (1784-1859)
• HUNT, ROBERT (1807-1887)
• HUNT, THOMAS STERRY (1826-1892)
• HUNT, WILLIAM HENRY (1790—1864)
• HUNT, WILLIAM HOLMAN (1827-1910)
• HUNT, WILLIAM MORRIS (1824-1879)

Hunt's See also:

• TRANSLATION

translation, Grimm's See also:

• HOUSEHOLD, ROYAL

Household Tales, with Notes (See also:

• LONDON

London, 1884) . " How unique was our collection when it first appeared," they exclaim, and now merely to enumerate the books of such traditions would occupy much space . In addition to the marchen of Indo-See also:

• EUROPEAN

European peoples, the Grimms became acquainted with some See also:

• MALAY

Malay stories, some narratives of Bechuanas, Negroes, See also:

• AMERICAN

American See also:

• INDIANS, NORTH AMERICAN

Indians, and Finnish, Esthonian, and Magyar stories . Thus the Grimms' knowledge of non-European marchen was extremely slight . It enabled them, however, to observe the increase of refinement " in proportion as gentler and more humane See also:

• MANNERS, CHARLES (1857– )

manners develop themselves," the monstrosities of Finnish and Red-See also:

• INDIAN

Indian See also:

• FANCY (a shortened form, dating from the 15th century, of " fantasy," which is derived through the O. Fr. fantasie, modern fantaisie. from the Latinized form of the Gr. cbavraoia, Oavrai'ecv, Oat Pais, to show)

fancy gradually fading in the narratives of Germans and Italians . The Grimms See also:

• NOTICE

notice that the See also:

• EVOLUTION

evolution of popular narrative resembles the evolution of the art of See also:

• SCULPTURE
• SCULPTURE (Lat. sculptura, from sculpere, to carve, cognate with Gr. yXb4ew)

sculpture, from the See also:

• SOUTH
• SOUTH, ROBERT (1634–1716)

South-See also:

• SEA (in O. Eng. sae, a common Teutonic word; cf. Ger. See, Dutch Zee, &c.; the ultimate source is uncertain)
• SEA, COMMAND OF THE

Sea idol to the See also:

• FRIEZE

frieze of the See also:

• PARTHENON (HapOevwv)

Parthenon, "from the strongly marked, thin, even ugly, but highly expressive forms of its earliest stages to those which possess See also:

• EXTERNAL

external beauty of See also:

• MOULD

mould." Since the Grimms' time our knowledge of the popular tales of non-European races has been greatly enriched . We possess See also:

• NUMBERS, BOOK OF
• NUMBERS, PARTITION OF

numbers of See also:

• NORTH
• NORTH, BARONS
• NORTH, MARIANNE (1830—1890)
• NORTH, ROGER (1653-1734)
• NORTH, SIR THOMAS (1535?-16o1?)

North-American, Brazilian, Zulu, See also:

• SWAHILI (Wa-Swahili, i.e. coast people, from the Arabic sail, coast)

Swahili, See also:

• ESKIMO, ESKIMOS

Eskimo, Samoan, See also:

• MAORI

Maori, Kaffir, Malagasy, Bushman, North See also:

• AFRICAN

African, Fiort, New Caledonian, and even Australian marchen, and can study them in comparison with the stories of See also:

• HESSE
• HESSE (Lat. Hessia, Ger. Hessen)

Hesse, of the See also:

• WEST
• WEST, BENJAMIN (1738-1820)
• WEST, NICHOLAS (1461-1533)

West See also:

• HIGHLANDS, THE

Highlands of See also:

• SCOTLAND
• SCOTLAND, CHURCH OF
• SCOTLAND, EPISCOPAL CHURCH OF

Scotland, of Scandinavia . While the popular romances of races of all See also:

• COLOURS, MILITARY

colours must be examined together, another See also:

• ELEMENT (Lat. elementum)

element in this subject is not less important . It had probably been often observed before, as by See also:

• LORD
• LORD (O. Eng. hldford, i.e. hldfweard, the warder or keeper of bread, hlIf, loaf; the word is not represented in any other Teutonic language)
• LORD, JOHN (1810-1894)

Lord Fountainhall (167o), but the fact was brought out most vividly by J . G. von See also:

• HAHN, AUGUST (1792–1863)

Hahn (Griechische and albanesische Marchen, See also:

• LEIPZIG

Leipzig, 1864), that the popular tales of European races turn on the same incidents, and display the same See also:

• SUCCESSION (Lat. successio, from succedere, to follow after)

succession of situations, the same characters, and the same plots, as are See also:

• FAMILIAR (through the Fr. familier, from Lat. familiaris, of or belonging to the familia, family)

familiar in the See also:

• ANCIENT
• ANCIENT (also spelt ANTIENT; derived, through the Fr. ancien, old, from the late Lat. antianum, from ante, before)

ancient epic literature of See also:

• GREECE

Greece, See also:

• INDIA
• INDIA, FRENCH

India, See also:

• GERMANY
• GERMANY (Ger. Deutschland)

Germany and Scandinavia .

The epics are either fully-See also:

• DEVELOPED

developed marchen evolved by the literary See also:

• GENIUS (from Lat. genere, gignere)

genius of poets and saga-men, or the marchen are degenerate and broken-down memories of the epics and sagas, or perhaps there may be examples of both processes . The second view,—namely, that the popular tales are, so to speak, the scattered grains of See also:

• GOLD
• GOLD [symbol Au, atomic weight 195.7(H = 1),197.2(0 =16)]

gold of which the epic is the original " See also:

• POCKET

pocket " or " placer,"—the belief that the prevalent . But a variety of arguments enforce the opposite conclusion, namely, that the marchen are essentially earlier in character than the epic, the final See also:

• FORM (Lat. forma)

form to which they have been wrought by the genius of See also:

• HOMER, WINSLOW (1836-191o)

Homer or of some other remote yet cultivated poet . If this view be accepted, the evolution of ,marchen and of certain myths has passed through the following stages: (1) The popular See also:

• TALE (O.Eng. talu, number, account, story; the word is common to many Teutonic languages; cf. Ger. Zahl, number, Erzahlung, narrative, Du. taal, speech, language)

tale, as current among the uncultivated peoples, such as See also:

• IROQUOIS

Iroquois, Zulus, See also:

• BUSHMEN, or BOSJESMANS

Bushmen, Samoans, Eskimo, and See also:

• SAMOYEDES

Samoyedes . This tale will reflect the See also:

• MENTAL

mental See also:

• CONDITION (Lat. condicio, from condicere, to agree upon, arrange; not connected with conditio, from condere, conditum, to put together)

condition of See also:

• RUDE, FRANCOIS (1784–1855)

rude peoples, and will be full of monstrous and miraculous events, with an See also:

• ABSENCE (Lat. absentia)

absence of See also:

• REASON (Lat. ratio, through French raison)

reason proper, as Perrault says, " a ceux qui n'en ont pas encore." At the same time the tale will very probably enforce some moral or practical lesson, often the See also:

• SANCTION (Lat. sanctia, from sancire, to decree or ordain)

sanction of a See also:

• TABOO (also written tapu and tabu)

taboo, and may even appear to have been invented with this very purpose, for man is everywhere impressed with the importance of conduct . (2) The same tale—or rather a See also:

• SERIES (a Latin word from serere, to join)

series of incidents and a plot essentially the same—as it is discovered surviving in the oral traditions of the illiterate peasantry of European races . Among them the monstrous element, the ferocity of manners observed in the first See also:

• STAGE (Fr. 6/age; from Lat. stare, to stand)

stage, will be somewhat modified, but will be found most notable among the See also:

• SLAVONIC, OLD

Slavonic tribes . Nowhere, even in epics and See also:

• POETRY

poetry of the cultivated races, such as the Homeric epics, the See also:

• GREEK
• GREEK, ETRUSCAN AND

Greek tragedies, the Cyclic poets, the See also:

• KALEWALA, or KALEVALA

Kalewala of the Finns, certain See also:

• HYMNS

hymns of the Rigveda, certain legends of the Brahmanas, the story of the Volsungs,—in these a See also:

• LOCAL

local and almost See also:

• HISTORICAL

historical character is given by the introduction of names of known places, and the adventures are attributed to See also:

• NATIONAL

national heroes, See also:

• ODYSSEUS (in Latin Ulixes, incorrectly written Ulysses)

Odysseus, See also:

• OEDIPUS (OiSiirovs, O16tir63i7s, Wines, from Gr. ot&eiv swell, and gobs foot, i.e. " the swollen-footed ")

Oedipus, See also:

• SIGURD (Sigur6r)

Sigurd, Wainamoinen, See also:

• JASON ('Iaacov)

Jason, Pururavas, and others . The whole See also:

• TONE, THEOBALD WOLFE (1763-1798)

tone and manners are nobler and more refined in proportion as the literary workman-See also:

• SHIP

ship is more elaborate . This theory of the origin of popular tales in the fancy of peoples in the See also:

• SAVAGE
• SAVAGE, MINOT JUDSON (1841– )
• SAVAGE, RICHARD (d. 1743)

savage condition (see See also:

• MYTHOLOGY

MYTHOLOGY), of their survival as marchen among the peasantry of Indo-European and other civilized races, and of their transfiguration into epics, could only be worked out after the See also:

• DISCOVERY

discovery that savage and civilized popular tales are full of See also:

• CLOSE
• CLOSE (from Lat. clausum, shut)
• CLOSE, MAXWELL HENRY (1822-1903)

close resemblances . These resemblances, when only known to exist among Indo-European peoples, were explained as See also:

• PART

part of a See also:

• COMMON

common See also:

• ARYAN

Aryan See also:

• INHERITANCE

inheritance, and as the result of a malady of See also:

• LANGUAGE (adapted from the Fr. langage, from langue, tongue, Lat. lingua)

language . This See also:

• SYSTEM

system, when applied to myths in general, has already been examined (see MYTHOLOGY) .

According to another view, marchen every-where resemble each other because they all arose in India, and have thence been borrowed and transmitted . For this theory consult See also:

• BENFEY, THEODOR (1809-1881)

Benfey's Panchatantra and M . Cosquin's Contes de See also:

• LORRAINE

Lorraine (See also:

• PARIS
• PARIS (also called ALEXANDROS)
• PARIS, ALEXIS PAULIN (1800-x881)
• PARIS, BRUNO PAULIN GASTON (1839-1903)
• PARIS, FRANCOIS DE (169o-1727)
• PARIS, LOUIS PHILIPPE ALBERT
• PARIS, TREATIES OF (1814-1815)

Paris, 1886) In opposition to the Aryan theory, and the theory of borrowing from India, the sytem which is here advocated regards popular tales as kaleidoscopic arrangements of comparatively few situations and incidents, which again are naturally devised by the See also:

• EARLY
• EARLY, JUBAL ANDERSON (1816-1894)

early fancy . Among these incidents may be mentioned, first, kinship and intermarriage between man and the See also:

• LOWER

lower animals and even inorganic phenomena . Thus a girl is wooed by a See also:

• FROG

frog, See also:

• PUMPKIN

pumpkin, See also:

• GOAT (a common Teut. word; O. Eng. gat, Goth. gaits, Mod. Ger. Geiss, cognate with Lat. haedus, a kid)

goat, See also:

• BEAR
• BEAR, BLACK
• BEAR, BROWN
• BEAR, GRIZZLY
• BEAR, ISABELLINE
• BEAR, WHITE

bear, or See also:

• ELEPHANT

elephant, in Zulu, Scotch, Walachian, Eskimo, See also:

• OJIBWAY (OJIBWA)

Ojibway, and German marchen . This incident is based on the lack of a sense of difference between man and the things in the world which is prevalent among savages (see' MYTHOLOGY) . Other incidents familiar in our nursery tales (such as " See also:

• CINDERELLA (i.e. little cinder girl)

Cinderella " and " Puss in Boots") turn on the early belief in See also:

• METAMORPHOSIS

metamorphosis, in magic, in friendly or protecting animals (totems or beast manitous) . Others depend on the early prevalence of cannibalism (compare Grimm, 47, " The See also:

• JUNIPER

Juniper See also:

• TREE (0. Eng. treo, treow, cf. Dan. tree, Swed. Odd, tree, trd, timber; allied forms are found in Russ. drevo, Gr. opus, oak, and 36pv, spear, Welsh derw, Irish darog, oak, and Skr. dare, wood)
• TREE, SIR HERBERT BEERBOHM (1853- )

Tree ") . This recurs in the mad See also:

• SONG

song of Gretchen in See also:

• FAUST, or FAUSTUS

Faust, concerning which a distinguished student writes, " This See also:

• GHOST (a word common to the W. Teutonic languages; O.E. vest, Dutch, 'geest, Ger. Geist)

ghost of a ballad or See also:

• RHYME

rhyme is my earliest remembrance, as crooned by an old See also:

• EAST
• EAST, ALFRED (1849- )

East-See also:

• LOTHIAN

Lothian See also:

• NURSE (a shortened form of the earlier " nourice," adapted through the French from Lat. nutrix, nu/rite, to nourish)

nurse." (Compare See also:

• CHAMBERS (the Fr. chambre, from Lat. camera, a room)
• CHAMBERS, EPHRAIM (d. 1740)
• CHAMBERS, GEORGE (1803-1840)
• CHAMBERS, ROBERT (18oz-1871)
• CHAMBERS, SIR WILLIAM (1726-1796)

Chambers's Popular Rhymes of Scotland, r87o, p . 49.) The same See also:

• LEGEND (through the French from the med. Lat. legenda, things to be read, from legere, to read)

legend occurs among the Bechuanas, and is published by Casalis . Yet another incident springs from the taboo on certain actions between See also:

• HUSBAND

husband and wife, producing the story of See also:

• CUPID (Cupido, " desire ")

Cupid and See also:

• PSYCHE (//vxi7)

Psyche (see See also:

• LANG, ANDREW (1844— )
• LANG, KARL HEINRICH, RITTER VON (1764-1835)

Lang's See also:

• CUSTOM (from O. Fr. costume, costume or coustume; Low Lat. costuma, a shortened form of consuetudo)

Custom and Myth, 1884, p . 64) .

Once more, the custom which makes the youngest child the See also:

• HEIR (Lat. heres, from a root meaning to grasp, seen in heres or erus, master of a house, Gr. xeip, hand, Sans. hat ana, hand)

heir is illustrated in the marchen of the success, despite the See also:

• JEALOUSY (adapted from Fr. jalousie, formed from jaloux, jealous, Low Lat. zelosus, Gr. j'i os, ardour, zeal, from the root seen in '&u', to boil, ferment; cf. " yeast ")

jealousy of the elders, of Cinderella, of the Zulu See also:

• PRINCE
• PRINCE (Lat. princeps, from primus capio, " I am the first to take "; Ital. principe, Fr. prince)

prince (Calla-way's Tales from the Amazulu, pp . 64, 65), and in countless other marchen . In other cases, as in the world-wide marchen corresponding to the Jason epic, we seem in presence of an early -amantic invention, how diffused it is difficult to imagine . Moral lessons, again, are inculcated by the numerous tales which turn on the See also:

• DUTY (from " due," that which is owing, O. Fr. deu, dil, past participle of devoir; Lat. debere, debitum; cf. " debt ")

duty of kindness, or on the impossibility of evading See also:

• FATE

fate as announced in prophecy . In opposition to the philological explanation of the story of Oedipus as a nature-myth, this theory of a collection of incidents illustrative of moral lessons is admirably set forth in Prof . See also:

• COMPARETTI, DOMENICO (1835- )

Comparetti's Edipo e la Mitologia Comparata (See also:

• PISA
• PISA, COUNCIL OF (1409)

Pisa, 1867) . On a general view, then, the stuff of popular tales is a certain number of incidents and a certain set of combinations of these incidents . Their See also:

• STRANGE, SIR ROBERT (1721-1792)

strange and irrational character is due to their remote origin in the fancy of men in the savage condition; and their wide See also:

• DISTRIBUTION (Lat. distribuere, to deal out)

distribution is caused, partly perhaps by oral trans-See also:

• MISSION

mission from people to people, but more by the tendency of the early See also:

• IMAGINATION

imagination to run everywhere in the same grooves . The narratives, in the ages of heroic poetry, are elevated into epic song, and in the See also:

• MIDDLE

middle ages they were even embodied in legends of the See also:

• SAINTS, BATTLE OF THE

saints . This view is maintained at greater length, and with numerous illustrations, in the introduction to Mrs Hunt's translation of Grimm's Kinder- and Haus-Marchen, and in Custom and Myth, already referred to . For savage popular tales see Theal's Kaffir Folk See also:

• LORE
• LORE, AMBROISE DE (1396-1446)

Lore (2nd ed., London, 1886) ; Callaway's Nursery Tales of the Amazulu (London, 1868); See also:

• SCHOOLCRAFT, HENRY ROWE (1793-1864)

Schoolcraft's Algic Researches; Gill's Myths and Tales of the South Pacific; See also:

• PETITOT, JEAN (1608–1691)
• PETITOT, JEAN LOUIS (1652–c. 1730)

Petitot's Traditions Indiennes (1886) ; Shortland's Maori See also:

• RELIGION
• RELIGION, FOLKLORE, CUSTOM

Religion and Mythology (London, 1882) ; the South African Folk Lore See also:

• RECORD (Lat. recordari, to recall to mind, from cor, heart or mind)

Record; the Folk Lore Record (London, 1879--85, Malagasy stories); Rink's Tales and Traditions of the Eskimo; See also:

• BLEEK, FRIEDRICH (1793-1859)
• BLEEK, WILHELM HEINRICH IMMANUEL (1827-1875)

Bleek's Hottentot Tales and Fables (London, 1864) ; See also:

• CASTREN, MATTHIAS ALEXANDER (1813-1853)

Castren's Samoyedische Marchen; See also:

• MASPERO, GASTON CAMILLE CHARLES (1846– )

Maspero's Conies Egyptiens (from ancient See also:

• EGYPTIAN

Egyptian See also:

• MSS

MSS.) ; and See also:

• LELAND (LEYLAND Or LAYLONDE), JOHN (c. 1506-1552)
• LELAND, CHARLES GODFREY (1824-1903)
• LELAND, JOHN (1691–1766)

Leland's See also:

• ALGONQUIN, E
• ALGONQUIN, or ALGONKIN (a word formerly regarded as a Fjench contraction of Algomequin, " those on the other side " of the river, viz. the St Lawrence, but now believed to be from the Micmac algoomaking—" at the place of spearing fish ")

Algonquin Legends (London, 1884) . For European tales, the bibliography in the translation of Grimm already referred to may be used, and the Maisonneuve collection, See also:

• LES

Les Litieratures populaires, may be recommended .

The names of Liebrecht, Kohler, See also:

• DASENT, SIR GEORGE WEBBE (1817–1896)

Dasent, Ralston, See also:

• NIGRA, COSTANTINO, COUNT (1828-1907)

Nigra, Pitre, Cosquin, Afanasief, Gaidoz, Sebillot, may serve as clues through the enchanted See also:

• FOREST

forest of the nursery tales of See also:

• EUROPE

Europe . See also:

• MISS

Miss See also:

• COXE, HENRY OCTAVIUS (1811–1881)
• COXE, WILLIAM (1747-1828)

Coxe's Cinderella (Folk-Lore Society) is an excellent See also:

• WORK

work on the subject, as is See also:

• SIDNEY
• SIDNEY (or SYDNEY), ALGERNON (1622-1683)
• SIDNEY, SIR HENRY (1529-1586)
• SIDNEY, SIR PHILIP (1554-1586)

Sidney Hartland's Legend of See also:

• PERSEUS

Perseus, mainly concerned with myths of miraculous births . For See also:

• AUSTRALIA

Australia see Mrs Langloh See also:

• PARKER, JOHN HENRY (1806-1884)
• PARKER, JOSEPH (183o-1902)
• PARKER, MARTIN (c. 1600-c. 1656)
• PARKER, MATTHEW (1504-1575)
• PARKER, SAMUEL (164o-1688)
• PARKER, SIR GILBERT (1862— )
• PARKER, SIR HYDE, BART
• PARKER, THEODORE (1810-186o)

Parker's Australian Legendary Tales (2 vols.) and polit¢na . See also:

• TALFOURD, SIR THOMAS NOON (1795-1854)

Talfourd died in See also:

• COURT
• COURT (from the O. Fr. court, Late Lat. cortis, curtis, a popular form of class. Lat. cohors, gen. cohortis; the mod. Fr. form tour is due to the influence of the Lat. curia, the word used in medieval documents to translate " court " in the feudal sense)
• COURT, ANTOINE (1696-176o)

court during the performance of his Howitt's Native Tribes of South-East Australia . M . Sebillot has edited See also:

• FRENCH
• FRENCH, DANIEL CHESTER (1850– )
• FRENCH, NICHOLAS (1604-1678)

French tales, and Mr Dennett has given Folk-Lore of the Fiort. judicial duties, at See also:

• STAFFORD
• STAFFORD, EARLS AND MARQUESSES OF

Stafford, on the 13th of See also:

• MARCH
• MARCH (1) (from Fr. marcher, to walk; the earliest sense in French appears to be " to trample," and the origin has usually been found in the Lat. marcus, hammer; Low Lat. marcare, to hammer; hence to beat the road with the regular tread of a soldier: cf.
• MARCH, AUZIAS (c. "1395-1458)
• MARCH, EARLS OF
• MARCH, FRANCIS ANDREW (1825– )

March 1854 . There are abundant materials and discussions in Frazer's The In addition to the writings above-mentioned, Talfourd was the See also:

• GOLDEN

Golden Bough . (A .