based on the history, traditional or written, of his people. The spirit that animated its heroes became a part of him, and consequently it was but natural that that spirit should find expression in a literary production in which a military hero is portrayed.
From the above comparative study of Tirant lo Blanch in relation to its sources, viz., Lull's Libre del Orde d'Cauayleria, Muntaner's Chronica, and the English romance, Guy of Warwick, we are convinced that these sources have furnished important ideas and material to Martorell. The features drawn from Lull's work are few, but, on the other hand, they have been subjected to very little change. It is important, however, for it seems to have provided a starting point for the author. Guy of Warwick has yielded more concrete material than the other two sources, but it has been modified to suit the pleasure and to meet the needs of the author. Muntaner's Chronica did not furnish as many ideas and suggestions as Guy of Warwick, but the martial spirit of the Catalan and Aragonese warriors pervades a large part of the work.
It is not in our power to divine with certainty the plan as originally conceived by the author when he began his work. However, it is evident that he was intimately acquainted with Lull's work and the English romance from the very beginning. It is quite probable that Martorell's purpose was to make a hero of the squire who had received instructions pertaining to knighthood from the hermit, as related by Lull. This hermit reminded him of Guy of Warwick, whom he greatly admired, and he could not resist the temptation to reproduce that part of the English champion's career which led to his retirement to a hermitage. Then, as we have already observed, the squire who is now Tirant lo Blanch meets the hermit, William of Warwick, after which he continues his way to the English court. A little more than a year
