Other instances of resemblance may be found in the following passages: «S» 49–50 = «D» 94–99;[51] «S» 103 = «D» 202, 209; «S» 119 = «D» 385; «S» 146 = «D» 445–46; «S» 150 = «D» 503–4; «S» 157 = «D» 509; «S» 300 = «D» 967; [p-xxv] «S» 303 = «D» 915; «S» 396 = «D» 977; «S» 312 = «D» 989; «S» 340 = «D» 1063; «S» 360 = «D» 1101; «S» 376 = «D» 1119, 1121; «S» 377 = «D» 1133; «S» 380 = «D» 1136; «S» 699 = «D» 1379; «S» 723 = «D» 1384, &c., &c. Besides, there are some names which occurring in none of the French versions, but in the «Destruction», point to this poem as to the original of the «Sowdan». Thus «Savaris»[52] («S» 171) seems to be taken from «D» 540. «Astragot» or «Estragot», «S» 346, 2944, 3022, the name of the giant by whom Savaris is slain, and who is said to be the husband of Barrock, occurs in «D» 1090. The «Ascopartes», a people subjected to the Soudan, are mentioned in «D» 98, 426, but not in «F» or «P». King «Lowes», in the context where it occurs («S» 24) is clearly taken from «D» 9. «Iffrez», «S» 165, is perhaps the same as «Geffroi» in «D» 1139, 1367, 1122. [«Mounpelers», «S» 3228, occurs only in «D» 250, 286.] «Persagyn», «S» 1259, seems to be identical with «Persagon», «D» 162. The form «Laban» is only met with in the «Destruction», the French and the Provençal versions, and the Ashmole «Ferumbras» reading «Balan».[53] The name of the Soudan’s son, «Ferumbras», is explained by the form «Fierenbras», which occurs in «D» 57, 66, 71, 91, 343, 1210, 1237, besides the spelling «Fierabras», which is the only one used in the French, the Provençal and Caxton’s versions. Also the phrase ‘sowdan’ seems to have been derived from the «Destruction» (l. 1436, ‘soldan’), as it does not occur in any other version. The great number of these resemblances seem evidently to point out the «Destruction» as the original of the first portion of the «Sowdan»; the few points in which the two versions differ not being such as to offer convincing arguments against this supposition. [p-xxvi] Indeed if, for instance, we find a lot of nations, the names of which are not in «D», mentioned by the author of the poem as belonging to the Soudan’s empire, this point can be considered as irrelevant, as from many other instances we know how fond many composers of mediæval romances were of citing geographical names, by the great number of which they believed to show their knowledge in that science.[54] Also the three names of Saints («Qwyntyn», «Symon», «Fremond»[55]), and the names of five Saracen gods and of a Saracen bishop,[56] many of which, moreover, seem to be inserted only for the sake of rhyme, cannot be regarded as being of great consequence in establishing the source of the «Sowdan». Others also, as «Oliborn», «Focard», «Hubert», «Gyndard», «Tamper» (the last occurring twice as a rhyme-word), being the names of insignificant characters, may be looked upon as mere expletives. Another variation is «Isrez» (ll. 625, 641) for «Tabour» («D» 1202).