Here we have our theme combined with a form of The Swan-Maiden, [44] which occurs in only one other case, as far as I am able to discover. The reason for the combination is not far to seek. The latter part of the tale represents the reward of the rescuer by the rescued. That the benefit does not take the form of actual burial need not disturb us. The man was at least far gone towards death, and he was a debtor--a trait found in about two-thirds of the variants known to me. Moreover, the supernatural character of the comrade is indicated by the adventure into which he leads the youth. The tale has been partly rationalised, that is all. Esthonian I. [45] shows a different combination, which is unique as far as I know. In a gorge not far from the village of Arukaela (near Wesenberg) a howling was heard every night for years. Finally a bold man went by night to the place and found the skeleton of a murdered king, which told him that it had howled thus for a hundred years because it had not been buried with holy rites. The next day the man took the bones to a priest, and, while burying them, discovered an enormous treasure. As Schiefner said, [46] when he first printed the story, it recalls the Grimms' Der singende Knochen, [47] which in turn is a compound of The Water of Life, with the idea of murder discovered by means of a dead man's bones. The Esthonian tale has, however, only the latter circumstance, combined with a simple form of The Grateful Dead. The hero's reward is immediate--he finds gold in the earth while digging the grave; and the ghost does not appear. The variant is thus of no great significance. The group of tales that must next be considered furnishes rather more important evidence as to the development of the theme. It is a compound of The Grateful Dead with the motive which we may call The Spendthrift Knight. As far as I know, the type is purely mediaeval. The group includes Richars, Lion de Bourges, Dianese, Old Swedish, Rittertriuwe, and Sir Amadas.