Just as Miramillia is ready to give over her search for a happy woman, Adario, her son, returns in company with a former lover of hers whose daughter he has saved from a villain at the expense of a wound from which he has but then recovered. Naturally the girl rewards him with her hand, and all ends well.[7] Of the stories in this diversified collection that of Anziana approaches in kind, though not in degree, the tragic pathos of Isabella and the Pot of Basil ("Decameron," IV, 5). The second narrative has all the glamor of adventure in the barbaric East, and the romantic interest that attaches to lovers separated but eternally constant. The histories of Stenoclea and of Tellisinda contain situations of dramatic intensity. But perhaps the story of Violathia is the most worthy of attention on account both of its defects and of its merits. The weakest part of the plot is the husband, who is jealous without cause, and equally without reason suddenly reforms. But the character of Violathia is admirably drawn. Unlike the usual heroine of Haywoodian fiction she is superior to circumstance and does not yield her love to the most complacent adjacent male. As a dutiful wife she resists for a long time the insinuations of Charmillo, but when she decides to fly to her lover, her husband's tardy change of heart cannot alter her feelings. Her character is individual, firm, and palpable. If the story was original with Mrs. Haywood, it shows that her powers of characterization were not slight when she wished to exert them. The influence of the _novella_ and of the Oriental tale produced nothing better.