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money of his own free will. In the Gesta and the Pecorone the creditor obstinately stands out for money when the forfeiture is barred. Gesta: — Da michi pecuniam meam.

— Nullum denarium ab eo obtinebis: Coram onmibus tibi optuli et rennuisti.

Pecorone: — Fatemi dare quei cento mila ducati.

— Io non ti darei un danaio; avessigli tolti quando io te gli volli far dare.

4°. Dolopathos ends abruptly after the trial.

Gesta and Pecorone have a playful scène of recognition.

Gesta: — "Ergo ingratus fuisti (says the Bride) quod militem ad prandium non invitasti." — "Subito intravit et subito exivit." — Ait puella:

— "Si eum iam videres, haberes noticiam eius?"

— "Eciam optime". — Statim puella cameram intravit, et induit se sicut prius. Que induta foras exivit. Miles cum ipsam vidisset per omnia noticiam eius habebat. Statim super collum suum cecidit et prae gaudio lacrimatus est: Benedicatur hora in qua tecum conveni. —

The device of the rings in the Pecorone may be more brilliant, perhaps, but the behaviour and language of the bride in connection with it are far from delicate. Still it seems as if the recognition scène was not an entirely new addition, but rather a more highly wrought substitute for an episode already there, in the Gesta, but not in Dolopathos.

5°. In Dolopathos the creditor has a personal grudge against the borrowing youth, which is motived.

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