Chapter VIII · Conclusion.
Reading edition
There can be no doubt that The Grateful Dead as a theme is based upon beliefs about the sacred duty of burial and upon the customs incident to withholding burial for the sake of revenge or recompense. To study these phenomena in detail is not necessary to the scheme of this book, but belongs rather to the province of primitive religion and law. It is sufficient for our purpose to show the nature and extent of such observances and beliefs for the sake of the light which they may throw on the genesis of the tale itself.
An example of the mediaeval belief is found in the Middle High German Kudrun, written at the end of the twelfth century or the beginning of the thirteenth.
“Daz hâst wol gerâten,” sprach der von Sturmlant.
“jâ sol man verkoufen ir ros und ir gewant,
die dâ ligent tôte, daz man der armen diete
nâch ir lîbes ende von ir guote disen frumen biete.”
Dô sprach der degen Îrolt: “sol man ouch die begraben,
die uns den schaden tâten, od sol man si die raben
und die wilden wolve ûf dem wérde lâzen niezen?”
In most versions of The Grateful Dead a corpse is left unburied either because creditors remain unpaid or the surviving relatives cannot pay for Christian burial. From sixteenth century Scotland we have evidence that the latter trait is based on actual custom. Sir David Lyndesaye, in The Monarche, while describing the exactions of the clergy, says:
Quhen he hes all, than, vnder his cure,
And Father and Mother boith ar dede,
Beg mon the babis, without remede:
They hauld the Corps at the kirk style;
And thare it moste remane ane quhyle,
Tyll thay gett sufficient souerte
This evidence for the widespread belief in the pious duty of burial and for the custom of withholding burial in cases where the dead man was poor, though it might easily be increased in bulk, makes very clear at least two matters. The tale of The Grateful Dead might have arisen almost anywhere and in almost any age since the time of the Egyptians. Again, when once it had been formed, it was likely to be reinforced or changed by the beliefs and customs prevalent in the lands to which it came.
The first matter at once suggests the question as to whether, after all, the märchen has not been more than once discovered by the imagination of story-tellers,—whether it has not sprung up again and again in different parts of the world like different botanical species, instead of being a single plant which has propagated itself through many centuries. In spite of the evident possibility that such sporadic development might have taken place, I cannot believe that it happened so. If we had to do with some vaguely outlined myth in which only the underlying idea was the same in the several groups of variants, and if this vague tale were narrated among peoples of absolutely no kinship to one another, say by the Indians of North America and the Zulus, one could have no reasonable doubt that similar conditions had produced similar tales. Such stories exist in numbers sufficient to render untenable the old hypothesis of Oriental origins in anything like the form in which it was held by Benfey or even Cosquin.
The age of the theme cannot definitely be measured. It is possible, however, to say that it must have existed at least as early as the beginning of our era. Tobit is of assistance again here. As the book is believed to have been written during the reign of Hadrian (76–138 A.D.) and as it has the motive in a compound form, which is unlikely to have arisen immediately after the simple story was first set afloat, there is little danger of over-statement in saying that the latter must have been known at least as early as the first part of first century A.D., or more probably before the birth of Christ. Any statement beyond this would rest on idle speculation.
After The Grateful Dead was once established as a narrative, its development can be traced with some degree of precision, though not without many gaps here and there. Its history is largely a matter of combinations with originally independent themes, with an occasional landmark in the form of a literary version. The most notable compounds into which it has entered are those with The Poison Maiden, The Ransomed Woman, and certain types connected with The Water of Life. That it entered into other minor compounds at various stages gives evidence that it retained its independence long after the first union took place, even though examples of the simple type are so hard to find and in some cases of such doubtful character.
Were it necessary to justify such studies as the present, one might add that, apart from helping to the settlement of such more general questions as those just mentioned, they throw light on the sources of particular literary works, better than does the haphazard search for parallels, and they often enable the student to see the relations between the literatures of neighbouring countries more clearly than he would be able to do without the perspective gained by a comparative consideration of a single theme in many lands. In ways like these the author hopes that this history of The Grateful Dead may be serviceable.
The End.