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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; ‹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 Savaris52 (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. ‹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