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94 (here a knight and a friend of the hero's corresponds to the normal form of the episode in that Oliver pays the creditors and the sum necessary for the man's interment. So, too, the demand made by the ghost for half of all that has been won runs true to the original form. The distinctive trait of Amis and Amiloun, at the same time, comes out more clearly than in the case of such folktales as Gaelic—the hero actually kills his little children to save the life of his old friend and foster-brother. One factor leads me to think that the romance and the two romantic plays are to be regarded as forms of the general type treated in this chapter, with additions from other stories. The ghost rescues the hero from imprisonment. A rescue of the sort—normally after the hero has been cast into the sea or left behind by his rival—is characteristic of The Grateful Dead + The Ransomed Woman. In Oliver this rescue takes place, to be sure, after the marriage instead of before, which is the normal order, yet it is a factor of considerable importance. The romance takes a position somewhat apart; and even though this is partly due to the literary handling which it has undergone, it must remain doubtfully classed with the immediate circle of variants belonging to the compound type.

The position of the play by Lope de Vega is involved with that of Oliver. Don Juan de Castro flees to England because of the unlawful love of his stepmother, the Princess of Galicia. His ship is wrecked on the English coast, and the captain, Tibaldo, is cast ashore in a dying condition. To free the latter's mind from unrest, Don Juan pays his debts of two thousand ducats, though this is half of the hero's possessions. He hears that the princess Clarinda is promised to anyone of princely blood who wins an approaching tournament. While he