Apart from the dressing of the story, which is unusually good, the variant follows the normal course. The several signs by which the hero is recognized by the king and the princess mark the imaginative wealth of the Celt, though the appearance of a ring, and the fact that the hero is left on a desert island by an infatuated general, show a close correspondence with Hungarian II. The introduction of the children as part of the property to be divided is interesting, since it shows the connecting link by which the simple compound now under consideration passed into combination with the theme of The Two Friends. [119] Gaelic, however, clearly belongs where it is here placed. The healing of the princess at the hero's coming reminds one of the similar trait in Spanish. Breton III. [120] is peculiar in several ways. A young man, who had been unjustly cast off by his parents, put himself under the protection of St. Corentin and the Virgin. To an old woman he gave all his stock of money that she might bury her husband and have masses said for his soul. The saint and the Virgin then led the hero to a nobleman, whose daughter he married. On a hunt he was cast into the sea by an envious uncle of his wife, at a time when she was pregnant; but he was brought to an island by some mysterious power and nourished there for five years by St. Corentin. Finally an old man appeared and took him home after he had promised half of his possessions to the rescuer. When a year had passed, the old man came back and demanded half of the child; but just as the mysterious stranger was about to divide the child St. Corentin and the Virgin appeared and explained their identity, together with that of the old man, who was the saint himself. They told the hero, furthermore, that God was well pleased with him, and would take his son and himself to Paradise. Father and son fell dead immediately, while the wife went into a convent. This tale, like Nicholas, has been dressed up as a legend, chiefly in the praise of St. Corentin, with the result that the elements are confused. The burial, however, persists, though the ransoming of the woman has been feebly replaced by the aid of the saint and the Virgin. The hero is cast into the sea by an avaricious uncle of the bride, again a weakened trait. The rescue and the agreement to divide are normal in essentials, though adorned with superfluous miracles, as is again the conclusion of the tale. It illustrates how easily such a narrative may be adapted, whether consciously or not, to a religious purpose. The division of the child, which comes in question, is of precisely the same character as in Gaelic; it does not imply the presence of a new motive, though it indicates the possibility of a new combination.