In another place (Publ. of the Mod. Lang. Assoc. of America, xv. 221-232) I have attempted to point out some of the ‘Germanic elements’ in the story. It seems possible to distinguish two essential elements in the story: (1) Horn’s expulsion from his kingdom and his return and avengement of his father’s death; (2) the separation and reunion of the faithful lovers. Of these elements the first seems to be especially Germanic. At least historic incidents which might supply the nucleus for such a tale were particularly common in connection with the continual wars between Denmark, Norway and Sweden, and also with the invasions of England, Danish and Norman. (Cf. the death of Beaduheard. Eng. Chron. (Winch.) a. 787, also the death of Aethelwulf at hands of Danes, avenged by his brother Aethelstan. Gaimar, 2391 ff.) The second element also may have been of Germanic origin, though it has become greatly conventionalized and has come to be the more prominent element in the story. The minor features of the story, though often purely conventional, and, therefore, belonging to no distinct nationality, at times show Germanic traits, as for instance in the _comitatus_ relation existing between Horn and his followers, in the manner of wooing and of wedding, in the etiquette of the feasts, in the etiquette of the duel, and in the formal challenge on the part of a champion of an invading host, to a duel upon the result of which shall depend the marriage of a princess or the fate of a kingdom (cf. Mod. Lang. Assoc. Publ., as above, pp. 228-231). The story as it is preserved in K. H., the earliest of existing versions, is no doubt a greatly expanded form of the original nucleus. The timely rescue of the princess from a forced marriage, which in the Scottish ballad has been preserved at the expense of the complete loss of the other element, the recovery of the kingdom and the avengement of the father’s death, even in the earlier K. H. version has come quite to overshadow the recovery and revenge element. It seems very probable also that there has been a duplication of the rescue scene, due either to the desire of the _jongleur_, or minstrel, to repeat a successful climax, or to a blending of two versions of the same story, a not at all uncommon feature in such romances,[I-8] and that the second rescue scene, with its more archaic and more particularly Germanic features, represents the sole turning-point in an earlier and simpler version, the first and more conventional rescue scene being an expansion contributed by a later composer. All this, which rests largely on conjecture, would assume for the nucleus of the story a relatively simple incident in which there are involved only two places, the kingdom from which the prince is expelled and which he regains, and the kingdom where he finds refuge.