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 that the huntsman had to endure torture. The issue was that he was successful, the castle ascended out of the earth, and husband and wife were reunited.

This story differs in many important respects from the type; and it contains the incident, very rare in a modern European saga belonging to this group, of the recovery of the bride. I shall have occasion to revert to the curious inability of the enchanted princess to open the chest containing the wonderful shift. Meanwhile, let me observe that in most of the tales the feather-dress, or talisman, by which the bride may escape, is committed to the care of a third person—usually a kinswoman of the husband, and in many cases his mother; and that the wife as a rule only recovers it when it is given to her, or at least when that which contains it has been opened by another: she seems incapable of finding it herself.

There is another type of the Swan-maiden myth, which appears to be the favourite of the Latin nations, though it is also to be met with among other peoples. Its outline may, perhaps, best be given from the nursery tale of the Marquis of the Sun, as told at Seville. The Marquis of the Sun was a great gamester. A man played with him and lost all he had, and then staked his soul—and lost it. The Marquis instructed him, if he desired to recover it, to come to him when he had worn out a pair of iron shoes. In the course of his wanderings he finds a struggle going on over a dead man, whose creditors would not allow him to be buried until his debts had been paid. Iron Shoes pays them, and one shoe goes to pieces. He afterwards meets a cavalier, who reveals himself as the dead man whose debts had been paid, and who is desirous of requiting that favour. He therefore directs Iron Shoes to the banks of a river where three white doves come, change into princesses, and bathe. Iron Shoes is to take the dress of the smallest, and thus get her to tell him whither he has to go. Obeying this