(the names are taken from the "Orlando Furioso"). They are instructed by
an old man (like Merlin in "Childe Rowland") how to rescue their sister,
and ultimately succeed. The play has besides this the themes of the
Thankful Dead, the Three Heads of the Well (which see), the Life
Index, and a transformation, so that it is not to be wondered at if some
of the traits of "Childe Rowland" are observed in it.

But a still closer parallel is afforded by Milton's _Comus_. Here
again we have two brothers in search of a sister, who has got into the
power of an enchanter. But besides this, there is the refusal of the
heroine to touch the enchanted food, just as Childe Rowland finally
refuses. And ultimately the bespelled heroine is liberated by a
liquid, which is applied to her _lips and finger-tips_, just as
Childe Rowland's brothers are unspelled. Such a minute resemblance as
this cannot be accidental, and it is therefore probable that Milton
used the original form of "Childe Rowland," or some variant of it, as
heard in his youth, and adapted it to the purposes of the masque at
Ludlow Castle, and of his allegory. Certainly no other folk-tale in
the world can claim so distinguished an offspring.

_Remarks_.--Distinguished as "Childe Rowland" will be henceforth
as the origin of _Comus_, if my affiliation be accepted, it has
even more remarkable points of interest, both in form and matter, for
the folklorist, unless I am much mistaken. I will therefore touch upon
these points, reserving a more detailed examination for another
occasion.

First, as to the form of the narrative. This begins with verse, then
turns to prose, and throughout drops again at intervals into poetry in
a friendly way like Mr. Wegg. Now this is a form of writing not