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diff --git a/44969-h/44969-h.htm b/44969-h/44969-h.htm index 5ded8e8..3ef6653 100644 --- a/44969-h/44969-h.htm +++ b/44969-h/44969-h.htm @@ -2,7 +2,7 @@ "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> - <meta http-equiv="Content-Type" content="text/html;charset=iso-8859-1" /> + <meta http-equiv="Content-Type" content="text/html;charset=UTF-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg eBook of English and Scottish Popular Ballads, by Francis James Child. @@ -214,47 +214,7 @@ em.gesperrt </style> </head> <body> - - -<pre> - -The Project Gutenberg EBook of The English and Scottish Popular Ballads -(Volume I of 5), by Various - -This eBook is for the use of anyone anywhere at no cost and with -almost no restrictions whatsoever. You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org - - -Title: The English and Scottish Popular Ballads (Volume I of 5) - -Author: Various - -Editor: Francis James Child - -Release Date: February 20, 2014 [EBook #44969] - -Language: English - -Character set encoding: ISO-8859-1 - -*** START OF THIS PROJECT GUTENBERG EBOOK ENGLISH, SCOTTISH BALLADS, VOL I *** - - - - -Produced by Simon Gardner, Katherine Ward, Alicia Williams, -David T. Jones and the Online Distributed Proofreading -Team at http://www.pgdp.net - - - - - - -</pre> - +<div>*** START OF THE PROJECT GUTENBERG EBOOK 44969 ***</div> <h4>Transcriber's Notes</h4> @@ -504,10 +464,10 @@ Alexander Young, of Glasgow; Mr Arthur Laurenson, of Lerwick, Shetland; Mr J. Burrell Curtis, of Edinburgh; Dr Vigfusson, of Oxford; Professor Edward Arber, of Birmingham; the Rev. J. Percival, Mr Francis Fry, Mr J. F. Nicholls, of Bristol; Professor George Stephens, of Copenhagen; -Mr R. Bergstrm, of the Royal Library, Stockholm; Mr W. R. S. Ralston, +Mr R. Bergström, of the Royal Library, Stockholm; Mr W. R. S. Ralston, Mr William Henry Husk, Miss Lucy Toulmin Smith, Mr A. F. Murison, of London; Professor Sophocles; Mr W. G. Medlicott, of Longmeadow; to Mr -M. Heilprin, of New York, Mme de Maltchyc, of Boston, and Rabbi Dr +M. Heilprin, of New York, Mme de Maltchycé, of Boston, and Rabbi Dr Cohn, for indispensable translations from Polish and Hungarian; to Mr James Russell Lowell, Minister of the United States at London; to Professor Charles Eliot Norton, for such "pains and benefits" as I @@ -534,7 +494,7 @@ Sources, and such indexes of Titles and Matters as will make it easy to find everything that the book may contain.</p> <p>With renewed thanks to all helpers, and helpers' helpers, I would -invoke the largest coperation for the correction of errors and the +invoke the largest coöperation for the correction of errors and the supplying of deficiencies. To forestall a misunderstanding which has often occurred, I beg to say that every traditional version of a popular ballad is desired, no matter how many texts of the same may @@ -575,7 +535,7 @@ Alexander Forbes, of Edinburgh, and Messrs G. L. Kittredge and G. M. Richardson, former students of Harvard College, for various communications.</p> -<p>To Dr Reinhold Khler's unrivalled knowledge of popular fiction, and +<p>To Dr Reinhold Köhler's unrivalled knowledge of popular fiction, and his equal liberality, I am indebted for valuable notes, which will be found in the Additions at the end of this volume.</p> @@ -586,7 +546,7 @@ neglected.</p> <p>Professors D. Silvan Evans, John Rhys, Paul Meyer, and T. Frederick Crane have lent me a ready assistance in literary emergencies.</p> -<p>The interest and coperation of Mr Furnivall and Mr Macmath have been +<p>The interest and coöperation of Mr Furnivall and Mr Macmath have been continued to me without stint or weariness.</p> <p>It is impossible, while recalling and acknowledging acts of courtesy, @@ -1044,7 +1004,7 @@ F. J. C.</p> <tr><td align="right">241.</td><td align="left"><span class="smcap">The Baron o Leys</span></td><td align="right">355</td></tr> <tr><td align="right"></td><td align="left">(Additions and Corrections: V, 275.)</td></tr> <tr><td align="right">242.</td><td align="left"><span class="smcap">The Coble o Cargill</span></td><td align="right">358</td></tr> -<tr><td align="right">243.</td><td align="left"><span class="smcap">James Harris (The Dmon Lover)</span></td><td align="right">360</td></tr> +<tr><td align="right">243.</td><td align="left"><span class="smcap">James Harris (The Dæmon Lover)</span></td><td align="right">360</td></tr> <tr><td align="right"></td><td align="left">(Additions and Corrections: IV, 524.)</td></tr> <tr><td align="right">244.</td><td align="left"><span class="smcap">James Hatley</span></td><td align="right">370</td></tr> <tr><td align="right">245.</td><td align="left"><span class="smcap">Young Allan</span></td><td align="right">375</td></tr> @@ -1315,7 +1275,7 @@ new office a trained and mature scholar, at home in the best methods and traditions of German universities, yet with no sacrifice of his individuality and intellectual independence.</p> -<p>While in Germany Mr Child studied at Berlin and Gttingen, giving his +<p>While in Germany Mr Child studied at Berlin and Göttingen, giving his time mostly<span class="pagenum"><a name="Page_xxv" id="Page_xxv">[Pg xxv]</a></span> to Germanic philology, then cultivated with extraordinary vigor and success. The hour was singularly propitious. In the three or four decades preceding Mr Child's residence in Europe, Germanic @@ -1326,7 +1286,7 @@ half of the century had not vanished. Scholars, however severe, looked through the form and strove to comprehend the spirit. The ideals of erudition and of a large humanity were not even suspected of incompatibility. The imagination was still invoked as the guide and -illuminator of learning. The bond between antiquity and medivalism and +illuminator of learning. The bond between antiquity and mediævalism and between the Middle Ages and our own century was never lost from sight. It was certainly fortunate for American scholarship that at precisely this juncture a young man of Mr Child's ardent love of learning, strong @@ -1346,11 +1306,11 @@ having attempted to secure a doctor's degree. Never eager for such distinctions, he had been unwilling to subject himself to the restrictions on his plan of study which candidacy for the doctorate would have imposed. Three years after, however, in 1854, he was -surprised and gratified to receive from the University of Gttingen the +surprised and gratified to receive from the University of Göttingen the degree of Doctor of Philosophy, accompanied by a special tribute of respect from that institution. Subsequently he received the degree of LL. D. from Harvard (in 1884) and that of L. H. D. from Columbia (in -1887); but the Gttingen Ph. D., coming as it did at the outset of his +1887); but the Göttingen Ph. D., coming as it did at the outset of his career, was in a high degree auspicious.</p> <p>The Boylston Professorship of Rhetoric and Oratory, to which, as has @@ -1493,7 +1453,7 @@ efforts in this direction continued through many years. A number of manuscripts were in private hands; of some the whereabouts was not known; of others the existence was not suspected. But Mr Child was untiring. He was cordially assisted by various scholars, antiquaries, -and private gentlemen, to whose coperation ample testimony is +and private gentlemen, to whose coöperation ample testimony is borne in the Advertisements prefixed to the volumes in the present work. Some manuscripts were secured<span class="pagenum"><a name="Page_xxviii" id="Page_xxviii">[Pg xxviii]</a></span> for the Library of Harvard University—notably Bishop Percy's Papers, the Kinloch MSS, and @@ -1535,12 +1495,12 @@ Child's plan it was requisite to determine, in the fullest manner, the history and foreign relations of every piece included in his collection. To this end he devoted much time and unwearied diligence to forming, in the Library of the University, a special collection of -"Folk-lore," particularly of ballads, romances, and <i>Mrchen</i>. This +"Folk-lore," particularly of ballads, romances, and <i>Märchen</i>. This priceless collection, the formation of which must be looked on as one of Mr Child's most striking services to the university, numbers some 7000 volumes. But these figures by no means represent the richness of the Library in the departments concerned, or the services of Mr -Child in this particular. Medival literature in all its phases was +Child in this particular. Mediæval literature in all its phases was his province, and thousands of volumes classified in other departments of the University Library bear testimony to his vigilance in ordering books, and his astonishing bibliographical knowledge. Very few books @@ -1621,10 +1581,10 @@ as they undoubtedly were, by no means dominated him. They were always at the command of the higher qualities of his genius,—sagacity, acumen, and a kind of sympathetic and imaginative power in which he stood almost alone among recent scholars. No detail of language -or tradition or archology was to him a mere lifeless fact; it was +or tradition or archæology was to him a mere lifeless fact; it was transmuted into something vital, and became a part of that universal humanity which always moved him wherever he found it, whether in the -pages of a medival<span class="pagenum"><a name="Page_xxx" id="Page_xxx">[Pg xxx]</a></span> chronicle, or in the stammering accents of a late +pages of a mediæval<span class="pagenum"><a name="Page_xxx" id="Page_xxx">[Pg xxx]</a></span> chronicle, or in the stammering accents of a late and vulgarly distorted ballad, or in the faces of the street boys who begged roses from his garden. No man ever felt a keener interest in his kind, and no scholar ever brought this interest into more vivifying @@ -1893,7 +1853,7 @@ the present ballad and <b>A-H</b> of the following are specimens.</p> <p>Ballads like our 1, <b>A</b>, <b>B</b>, 2, <b>A-H</b>, are very common in <b>German</b>. Of the former variety are the following:</p> -<p><b>A.</b> 'Rthsellied,' Bsching, Wchentliche Nachrichten, +<p><b>A.</b> 'Räthsellied,' Büsching, Wöchentliche Nachrichten, <span class="smcap">I</span>, 65, from the neighborhood of Stuttgart. The same, Erlach, <span class="smcap">III</span>, 37; Wunderhorn, <span class="smcap">IV</span>, 139; Liederhort, p. 338, No 153; Erk u. Irmer, H. 5, p. 32, No 29; Mittler, No 1307 (omits the last @@ -1902,20 +1862,20 @@ stanza); Zuccalmaglio, <span class="smcap">II</span>, 574, No 317 [with change i ask you a riddle; if you guess it, you shall be my wife." She answers, "Your riddle shall soon be guessed; I will do my best to be your wife;" guesses eight pairs of riddles, is taken up behind him, and they ride -off. <b>B.</b> 'Rthsel um Rthsel,' Wunderhorn, <span class="smcap">II</span>, 407 [429, +off. <b>B.</b> 'Räthsel um Räthsel,' Wunderhorn, <span class="smcap">II</span>, 407 [429, 418] == Erlach, <span class="smcap">I</span>, 439. Zuccalmaglio, <span class="smcap">II</span>, 572, No 316, rearranges, but adds nothing. Mittler, No 1306, inserts three stanzas (7, 9, 10). This version begins: "Maid, I will give you some riddles, and if you guess them will marry you." There are seven pairs, and, these guessed, the man says, "I can't give you riddles; let's marry;" to<span class="pagenum"><a name="Pg_1-2" id="Pg_1-2">[Pg 2]</a></span> which she gives no coy assent: but this conclusion is said not to -be genuine (Liederhort, p. 341, note). <b>C.</b> 'Rthsellied,' Erk, +be genuine (Liederhort, p. 341, note). <b>C.</b> 'Räthsellied,' Erk, Neue Sammlung, Heft 3, p. 64, No 57, and Liederhort, 340, No 153<sup>a</sup> two Brandenburg versions, nearly agreeing, one with six, the other with five, pairs of riddles. A proper conclusion not having been obtained, the former was completed by the two last stanzas of <b>B</b>, which are -suspicious. <b>C</b> begins like <b>B</b>. <b>D.</b> 'Rthselfragen,' -Peter, Volksthmliches aus sterreichisch-Schlesien, <span class="smcap">I</span>, +suspicious. <b>C</b> begins like <b>B</b>. <b>D.</b> 'Räthselfragen,' +Peter, Volksthümliches aus Österreichisch-Schlesien, <span class="smcap">I</span>, 272, No 83. A knight rides by where two maids are sitting, one of whom salutes him, the other not. He says to the former, "I will put you three questions, and if you can answer them will marry you." He @@ -1924,13 +1884,13 @@ answered, bids her, since she is so witty, build a house on a needle's point, and put in as many windows as there are stars in the sky; which she parries with, "When all streams flow together, and all trees shall fruit, and all thorns bear roses, then come for your answer." <b>E.</b> -'Rthsellied,' Tschischka u. Schottky, Oesterreichische Volkslieder, +'Räthsellied,' Tschischka u. Schottky, Oesterreichische Volkslieder, 2d ed., p. 28, begins like <b>B</b>, <b>C</b>, has only three pairs of riddles, and ends with the same task of building a house on a needle's -point. <b>F.</b> 'Rthsellied,' Hocker, Volkslieder von der Mosel, in -Wolf's Zeits. fr deutsche Myth., <span class="smcap">I</span>, 251, from Trier, begins +point. <b>F.</b> 'Räthsellied,' Hocker, Volkslieder von der Mosel, in +Wolf's Zeits. für deutsche Myth., <span class="smcap">I</span>, 251, from Trier, begins with the usual promise, has five pairs of riddles, and no conclusion. -<b>G.</b> 'Rthsel,' Ditfurth, Frnkische V. L., <span class="smcap">II</span>, 110, No +<b>G.</b> 'Räthsel,' Ditfurth, Fränkische V. L., <span class="smcap">II</span>, 110, No 146, has the same beginning, six pairs of riddles, and no conclusion.</p> <p>Some of the riddles occur in nearly all the versions, some in only one @@ -2477,10 +2437,10 @@ milk? comes near to English <b>A</b> 15, <b>C</b> 13, <b>D</b> 5, What is greener than grass? <b>C</b> 11, <b>D</b> 2, What is whiter than milk? We have again, What is greener than grass? in 'Capt. Wedderburn's Courtship,' <b>A</b> 12; What is whiter than snow? What is greener -than clover? in 'Rthselfragen,' Firmenich, Germaniens Vlkerstimmen, +than clover? in 'Räthselfragen,' Firmenich, Germaniens Völkerstimmen, <span class="smcap">III</span>, 634; in 'Kranzsingen,' Erk's Liederhort, p. 342, 3; 'Traugemundslied,' 11; 'Ein Spiel von den Freiheit,' Fastnachtspiele -aus dem 15n Jahrhundert, <span class="smcap">II</span>, 555; Altdeutsche Wlder, +aus dem 15n Jahrhundert, <span class="smcap">II</span>, 555; Altdeutsche Wälder, <span class="smcap">III</span>, 138. So, What is whiter than a swan? in many of the versions of Svend Vonved, Grundtvig, <span class="smcap">III</span>, 786; <span class="smcap">IV</span>, 742-3-7-8; Afzelius, <span class="smcap">II</span>, 139, etc.; and Sin is blacker than @@ -2502,7 +2462,7 @@ Maid and the Fish,' Vuk, <span class="smcap">I</span>, 196, No 285, Talvj, <span p. 184; (Polish) Wojcicki, <span class="smcap">I</span>, 203; (Wendish) Haupt and Schmaler, <span class="smcap">I</span>, 177, No 150, <span class="smcap">II</span>, 69, No 74; (Russian) Wenzig, Bibliothek Slav. Poesie, p. 174; (Esthonian) Neus, Ehstnische -V. L., 390 ff, and Fosterlndskt Album, <span class="smcap">I</span>, 13, Prior, Ancient +V. L., 390 ff, and Fosterländskt Album, <span class="smcap">I</span>, 13, Prior, Ancient Danish Ballads, <span class="smcap">II</span>, 341.</p></div> <div class="footnote"> @@ -2589,24 +2549,24 @@ clothes for her of the linden-leaf. Then she must bring him shears from the middle of the Rhine. But first he must build her a bridge from a single twig, etc., etc. To this effect, with some variations in the tasks set, in <b>A</b>, 'Eitle Dinge,' Rhaw, Bicinia (1545), -Uhland, <span class="smcap">I</span>, 14, No 4 A, Bhme, p. 376, No 293. <b>B.</b> 'Van -ideln unmglichen Dingen,' Neocorus († c. 1630), Chronik des Landes -Ditmarschen, ed. Dahlmann, p. 180 == Uhland, p. 15, No 4 B, Mllenhof, -p. 473, Bhme, p. 376, No 294. <b>C.</b> Wunderhorn, <span class="smcap">II</span>, +Uhland, <span class="smcap">I</span>, 14, No 4 A, Böhme, p. 376, No 293. <b>B.</b> 'Van +ideln unmöglichen Dingen,' Neocorus († c. 1630), Chronik des Landes +Ditmarschen, ed. Dahlmann, p. 180 == Uhland, p. 15, No 4 B, Müllenhof, +p. 473, Böhme, p. 376, No 294. <b>C.</b> Wunderhorn, <span class="smcap">II</span>, 410 [431] == Erlach, <span class="smcap">I</span>, 441, slightly altered in Kretzschmer -[Zuccalmaglio], <span class="smcap">II</span>, 620. <b>D.</b> 'Unmglichkeiten,' +[Zuccalmaglio], <span class="smcap">II</span>, 620. <b>D.</b> 'Unmöglichkeiten,' Schmeller, Die Mundarten Bayerns, p. 556. <b>E.</b> Schlesische Volkslieder, p. 115, No 93. <b>F.</b> 'Liebes-Neckerei,' Meier, -Schwbische V. L., p. 114, No 39. <b>G.</b> 'Liebesspielereien,' -Ditfurth, Frnkische V. L., <span class="smcap">II</span>, 109, No 144. <b>H.</b> 'Von -eitel unmglichen Dingen,' Erk's Liederhort, p. 337, No 152<sup>b</sup>. -<b>I.</b> 'Unmgliches Begehren,' V. L. aus Oesterreich, Deutsches -Museum, 1862, <span class="smcap">II</span>, 806, No 16. <b>J.</b> 'Unmgliche Dinge,' -Peter, Volksthmliches aus sterreichisch-Schlesien, <span class="smcap">I</span>, +Schwäbische V. L., p. 114, No 39. <b>G.</b> 'Liebesspielereien,' +Ditfurth, Fränkische V. L., <span class="smcap">II</span>, 109, No 144. <b>H.</b> 'Von +eitel unmöglichen Dingen,' Erk's Liederhort, p. 337, No 152<sup>b</sup>. +<b>I.</b> 'Unmögliches Begehren,' V. L. aus Oesterreich, Deutsches +Museum, 1862, <span class="smcap">II</span>, 806, No 16. <b>J.</b> 'Unmögliche Dinge,' +Peter, Volksthümliches aus Österreichisch-Schlesien, <span class="smcap">I</span>, 270, No 82. In <b>K</b>, 'Wettgesang,' Meinert, p. 80, and <b>L</b>, Liederhort, p. 334, No 152, there is a simple contest of wits between a youth and a maid, and in <b>M</b>, Erk, Neue Sammlung, <b>H.</b> 2, -No 11, p. 16, and <b>N</b>, 'Wunderbare Aufgaben,' Prhle, Weltliche u. +No 11, p. 16, and <b>N</b>, 'Wunderbare Aufgaben,' Pröhle, Weltliche u. geistliche Volkslieder, p. 36, No 22 B, the wit-contest is added to the very insipid ballad of 'Gemalte Rosen.'</p> @@ -2618,7 +2578,7 @@ in propounding impossible tasks.</p> <p>A Wendish ballad, Haupt and Schmaler, <span class="smcap">I</span>, 178, No 151, and a Slovak, Čelakowsky, <span class="smcap">II</span>, 68, No 12 (the latter translated by -Wenzig, Slawische Volkslieder, p. 86, Westslavischer Mrchenschatz, p. +Wenzig, Slawische Volkslieder, p. 86, Westslavischer Märchenschatz, p. 221, and Bibliothek Slavischer Poesien, p. 126), have lost nearly all their story, and, like German <b>K</b>, <b>L</b>, may be called mere wit-contests.</p> @@ -2670,12 +2630,12 @@ camisiam satis longam ei promitto." So the king sent "vas debitum et preciosum," the shirt was made, and the king married her.<a name="FNanchor_1_14" id="FNanchor_1_14"></a><a href="#Footnote_1_14" class="fnanchor">[14]</a> It may be doubted whether the sagacious maid did not, in the unmutilated story, deal with the problem as is done in a Transylvanian tale, Haltrich, -Deutsche Volksmrchen, u.s.w., No 45, p. 245, where the king requires +Deutsche Volksmärchen, u.s.w., No 45, p. 245, where the king requires the maid to make a shirt and drawers of two threads. The maid, in this instance, sends the king a couple of broomsticks, requiring that he should first make her a loom and bobbin-wheel out of them.</p> -<p>The tale just cited, 'Der Burghter und seine kluge Tochter,' is one +<p>The tale just cited, 'Der Burghüter und seine kluge Tochter,' is one of several which have been obtained from tradition in this century, that link the ballads of The Clever Lass with oriental stories of great age. The<span class="pagenum"><a name="Pg_1-9" id="Pg_1-9">[Pg 9]</a></span> material points are these. A king requires the people @@ -2703,8 +2663,8 @@ away: so she had brought the king a present and yet no present. The king thought he could never find a shrewder woman, and married her.</p> <p>Of the same tenor are a tale in Zingerle's Tyrolese Kinder u. -Hausmrchen, 'Was ist das Schnste, Strkste und Reichste?' No 27, p. -162, and another in the Colshorns' Hanoverian Mrchen u. Sagen, 'Die +Hausmärchen, 'Was ist das Schönste, Stärkste und Reichste?' No 27, p. +162, and another in the Colshorns' Hanoverian Märchen u. Sagen, 'Die kluge Dirne,' No 26, p. 79. Here a rich and a poor peasant [a farmer and his bailiff] have a case in court, and wrangle till the magistrate, in his weariness, says he will give them three questions, and whichever @@ -2723,8 +2683,8 @@ been prompted by a daughter at home. The judge then says that if the girl will come to him neither dressed nor naked, etc., he will marry her; and so the shrewd wench becomes a magistrate's wife.</p> -<p>'Die kluge Bauerntochter,' in the Grimms' K. u. H. mrchen, No 94, and -'Die kluge Hirtentochter,' in Prhle's Mrchen fr die Jugend, No 49, +<p>'Die kluge Bauerntochter,' in the Grimms' K. u. H. märchen, No 94, and +'Die kluge Hirtentochter,' in Pröhle's Märchen für die Jugend, No 49, p. 181, afford another variety of these tales. A peasant, against the advice of his daughter, carries the king a golden mortar, as he had found it, without any pestle. The king shuts him up in prison till @@ -2733,12 +2693,12 @@ he shall produce the pestle [Grimms]. The man does nothing but cry, learning what the girl's counsel had been, says he will give her a riddle, and if she can make it out will marry her. She must come to him neither clothed nor naked, neither riding nor driving, etc. The girl -wraps herself in a fishing net [Grimms, in bark, Prhle], satisfies the +wraps herself in a fishing net [Grimms, in bark, Pröhle], satisfies the other stipulations also, and becomes a queen.<a name="FNanchor_1_15" id="FNanchor_1_15"></a><a href="#Footnote_1_15" class="fnanchor">[15]</a></p> <p>Another story of the kind, and very well preserved, is No 25 of Vuk's -Volksmrchen der Serben, 'Von dem Mdchen das an Weisheit den Kaiser -bertraf,' p. 157. A poor<span class="pagenum"><a name="Pg_1-10" id="Pg_1-10">[Pg 10]</a></span> man had a wise daughter. An emperor gave him +Volksmärchen der Serben, 'Von dem Mädchen das an Weisheit den Kaiser +übertraf,' p. 157. A poor<span class="pagenum"><a name="Pg_1-10" id="Pg_1-10">[Pg 10]</a></span> man had a wise daughter. An emperor gave him thirty eggs, and said his daughter must hatch chickens from these, or it would go hard with her. The girl perceived that the eggs had been boiled. She boiled some beans, and told her father to be ploughing @@ -2793,11 +2753,11 @@ a king, or at least far above her station. The Grimms' story has the feature, not found in the others, that the father had been thrown into prison. Still another variety of these stories, inferior, but preserving essential traits, is given by Schleicher, Litauische -Mrchen, p. 3, 'Vom schlauen Mdchen.'</p> +Märchen, p. 3, 'Vom schlauen Mädchen.'</p> <p>A Turkish tale from South Siberia will take us a step further, 'Die -beiden Frsten,' Radloff, Proben der Volkslitteratur der trkischen -Stmme Sd-Sibiriens, <span class="smcap">I</span>, 197. A prince had a feeble-minded +beiden Fürsten,' Radloff, Proben der Volkslitteratur der türkischen +Stämme Süd-Sibiriens, <span class="smcap">I</span>, 197. A prince had a feeble-minded son, for whom he wished to get a wife. He found a girl gathering fire-wood with others, and, on asking her questions, had reason to be pleased with her superior discretion. He sent an ox to the girl's @@ -2910,8 +2870,8 @@ minister had become an object of displeasure to the king, and in consequence had long been lying in prison when the crisis occurred which rendered him indispensable, a circumstance which is repeated in the tale of The Wise Heykar (Arabian Nights, Breslau transl., -<span class="smcap">XIII</span>, 73 ff, Cabinet des Fes, <span class="smcap">XXXIX</span>, 266 ff) and in -the Life of sop. But The Clever Wench reappears in another tale in +<span class="smcap">XIII</span>, 73 ff, Cabinet des Fées, <span class="smcap">XXXIX</span>, 266 ff) and in +the Life of Æsop. But The Clever Wench reappears in another tale in the same Sanskrit collection (with that express title), and gives her aid to her father, a priest, who has been threatened with banishment by his king if he does not clear up a dark matter within five days. @@ -2925,21 +2885,21 @@ The Wise Heykar. </p> tip end of a stick, which occur both in the Tibetan tales and the Shukasaptati, are found again, with unimportant changes, in the Wallachian popular story, and the Hungarian, which in general resemble -the Arabic. Some of those in the Arabian tale and in the Life of sop +the Arabic. Some of those in the Arabian tale and in the Life of Æsop are of the same nature as the wit-trials in the Servian and German popular tales, the story in the Gesta Romanorum, and the German and English ballads. The wise Heykar, e.g., is required to sew together a burst mill-stone. He hands the king a pebble, requesting him first to make an awl, a file, and scissors out of that. The king of Egypt tells -sop, the king of Babylon's champion sage, that when his mares hear the -stallions neigh in Babylon, they cast their foal. sop's slaves are +Æsop, the king of Babylon's champion sage, that when his mares hear the +stallions neigh in Babylon, they cast their foal. Æsop's slaves are told to catch a cat, and are set to scourging it before the Egyptian public. Great offense is given, on account of the sacred character of -the animal, and complaint is made to the king, who sends for sop in -a rage. sop says his king has suffered an injury from this cat, for +the animal, and complaint is made to the king, who sends for Æsop in +a rage. Æsop says his king has suffered an injury from this cat, for the night before the cat had killed a fine fighting-cock of his. "Fie, -sop!" says the king of Egypt; "how could the cat go from Egypt to -Babylon in one night?" "Why not," replies sop, "as well as mares in +Æsop!" says the king of Egypt; "how could the cat go from Egypt to +Babylon in one night?" "Why not," replies Æsop, "as well as mares in Egypt hear the stallions neigh in Babylon and cast their foal?"</p> <p>The tales in the Shukasaptati and in the Dsanglun represent the object @@ -2950,10 +2910,10 @@ paid by the king whose riddles are guessed, or by him who fails to guess. This form of story, though it is a secondary one, is yet by no means late, as is shown by the anecdote in Plutarch, Septem Sapientum Convivium (6), itself probably a fragment of such a story, in which the -king of the thiops gives a task to Amasis, king of Egypt, with a stake +king of the Æthiops gives a task to Amasis, king of Egypt, with a stake of many towns and cities. This task is the favorite one of draining [drinking] all the water in the sea, which we have had in the Servian -tale (it also is in the Life of sop), and Bias gives the customary +tale (it also is in the Life of Æsop), and Bias gives the customary advice for dealing with it.<a name="FNanchor_1_20" id="FNanchor_1_20"></a><a href="#Footnote_1_20" class="fnanchor">[20]</a></p> <p>From the number of these wise virgins should not be excluded the king's @@ -2972,10 +2932,10 @@ in Northern tradition, and in no form of this story, except the English, is a preternatural personage of any kind the hero. Still it is better to urge nothing more than that the elf is an intruder in this particular ballad, for riddle-craft is practised by a variety of -preternatural beings: notoriously by Odin, Thor, the giant Vafrnir, -and the dwarf Alwss in the Edda, and again by a German "berggeist" -(Ey, Harzmrchenbuch, p. 64, 'Die verwnschte Prinzessin'), a Greek<span class="pagenum"><a name="Pg_1-14" id="Pg_1-14">[Pg 14]</a></span> -dragon (Hahn, Griechisebe u. Albanesische Mrchen, <span class="smcap">II</span>, 210), +preternatural beings: notoriously by Odin, Thor, the giant Vafþrúðnir, +and the dwarf Alwíss in the Edda, and again by a German "berggeist" +(Ey, Harzmärchenbuch, p. 64, 'Die verwünschte Prinzessin'), a Greek<span class="pagenum"><a name="Pg_1-14" id="Pg_1-14">[Pg 14]</a></span> +dragon (Hahn, Griechisebe u. Albanesische Märchen, <span class="smcap">II</span>, 210), the Russian rusalka, the Servian vila,<a name="FNanchor_1_21" id="FNanchor_1_21"></a><a href="#Footnote_1_21" class="fnanchor">[21]</a> the Indian rakshas. For example: a rusalka (water-nymph) pursues a pretty girl, and says, I will give you three riddles: if you guess them, I will let you go home @@ -3003,9 +2963,9 @@ the substitute of the elfin knight because the devil is the regular successor to any heathen sprite, or as the embodiment of craft and duplicity, and to give us the pleasure of seeing him outwitted. We find the devil giving riddles, as they are called (tasks), in the Grimms' -K. u. H. mrchen, No 125 (see also the note in vol. <span class="smcap">III</span>); -Prhle's K. u. V. mrchen, No 19; Vernaleken, Oesterreichische K. -u. H. mrchen, No 37. He also appears as a riddle-monger in one of +K. u. H. märchen, No 125 (see also the note in vol. <span class="smcap">III</span>); +Pröhle's K. u. V. märchen, No 19; Vernaleken, Oesterreichische K. +u. H. märchen, No 37. He also appears as a riddle-monger in one of the best stories in the Golden Legend. A bishop, who was especially devoted to St Andrew, was tempted by Satan under the semblance of a beautiful woman, and was all but lost, when a loud knocking was heard @@ -3637,7 +3597,7 @@ McWhinnie, collier, Newtown Green, Ayr.</p></div> <span class="i0">And ye maun sack't atween your thies.'<br /></span> </div><div class="stanza"> <span class="i0"><span class="linenum">15</span><br /></span> -<span class="i0">'My curse on those wha learnd thee;<br /></span> +<span class="i0">'My curse on those wha learnëd thee;<br /></span> <span class="i0">This night I weend ye'd gane wi me.'<br /></span> </div></div> @@ -3834,7 +3794,7 @@ A. Such burden-stems are, however, very common in Icelandic ballads. They are, for the most part, of a different metre from the ballad, and very often not of the same number of lines as the ballad stanza. A <i>part</i> of the burden stem would seem to be taken for the refrain; as -slenzk Fornkvi, <span class="smcap">I</span>, 30, of four verses, 1, 2, 4; 129, of +Íslenzk Fornkvæði, <span class="smcap">I</span>, 30, of four verses, 1, 2, 4; 129, of two, the last half of the first and all the second; 194, of four, the last; 225, of five, the last two; <span class="smcap">II</span>, 52, of five, the second and last two. @@ -3844,14 +3804,14 @@ In later times the Danish stev-stamme was made to conform to the metre of the ballad, and sung as the first stanza, the last line perhaps forming the burden. Compare the stev-stamme, Grundwig, <span class="smcap">III</span>, 470, with the first stanza of the ballad at p. 475. If not so changed, -says Grundtvig, it dropped away. Lyngbye, at the end of his Friske -Qvder, gives the music of a ballad which he had heard sung. The whole +says Grundtvig, it dropped away. Lyngbye, at the end of his Færöiske +Qvæder, gives the music of a ballad which he had heard sung. The whole stem is sung first, and then repeated as a burden at the end of every verse. The modern way, judging by Berggreen, Folke-Sange og Melodier, 3d ed., <span class="smcap">I</span>, 352, 358, is simply to sing the whole stem after each verse, and so says Grundtvig, <span class="smcap">III</span>, 200, D. The whole stem is appended to the last stanza (where, as usual, the burden, which had -been omitted after stanza 1, is again expressed) in the Fre ballad +been omitted after stanza 1, is again expressed) in the Færöe ballad in Grundtvig, <span class="smcap">III</span>, 199, exactly as in our broadside, or in Motherwell's Minstrelsy, Appendix, p. iii. I must avow myself to be very much in the dark as to the exact relation of stem and burden.</p></div> @@ -3860,13 +3820,13 @@ very much in the dark as to the exact relation of stem and burden.</p></div> <p><a name="Footnote_1_14" id="Footnote_1_14"></a><a href="#FNanchor_1_14"><span class="label">[14]</span></a> Grundtvig has noticed the resemblance of G.R. 64 and the ballad.—Much of what follows is derived from the admirable -Benfey's papers, 'Die kluge Dirne, Die indischen Mrchen von den klugen -Rthsellsern, und ihre Verbreitung ber Asien und Europa,' Ausland, +Benfey's papers, 'Die kluge Dirne, Die indischen Märchen von den klugen +Räthsellösern, und ihre Verbreitung über Asien und Europa,' Ausland, 1859, p. 457, 486, 511, 567, 589, in Nos 20, 21, 22, 24, 25.</p></div> <div class="footnote"> -<p><a name="Footnote_1_15" id="Footnote_1_15"></a><a href="#FNanchor_1_15"><span class="label">[15]</span></a> Ragnar Lobrk (Saga, c. 4, Rafn, Fornaldar Sgur, +<p><a name="Footnote_1_15" id="Footnote_1_15"></a><a href="#FNanchor_1_15"><span class="label">[15]</span></a> Ragnar Loðbrók (Saga, c. 4, Rafn, Fornaldar Sögur, <span class="smcap">I</span>, 245), as pointed out by the Grimms, notes to No 94, requires Kraka (Aslaug) to come to him clothed and not clothed, fasting and not fasting, alone and not without a companion. She puts on a @@ -3883,18 +3843,18 @@ and Dsanglun, oder der Weise u. der Thor, also from the Kanjur, translated by I.J. Schmidt, c. 23; the Mongol translation of Dsanglun [see Popow, Mongolische Chrestomathie, p. 19, Schiefner's preface to Radloff, <span class="smcap">I</span>, xi, xii]; an imperfect Singhalese version in -Spence Hardy's Manual of Buddhism, p. 220, 'The History of Wiskh;' +Spence Hardy's Manual of Buddhism, p. 220, 'The History of Wisákhá;' 'Geschichte des weisen Heykar,' 1001 Nacht, Habicht, v. d. Hagen u. Schall, <span class="smcap">XIII</span>, 71, ed. 1840; 'Histoire de Sinkarib et de ses -deux Visirs,' Cabinet des Fes, <span class="smcap">XXXIX</span>, 266 (Persian); two old +deux Visirs,' Cabinet des Fées, <span class="smcap">XXXIX</span>, 266 (Persian); two old Russian translations of Greek tales derived from Arabic, Pypin, 'in the Papers of the Second Division of the Imperial Acad. of Sciences, -St Petersburg, 1858, <span class="smcap">IV</span>, 63-85;' Planudes, Life of sop; A. -and A. Schott, Walachische Mhrchen, p. 125, No 9, 'Vom weissen und -vom rothen Kaiser;' Erdlyi, Npdalok s Mondk, <span class="smcap">III</span>, 262, +St Petersburg, 1858, <span class="smcap">IV</span>, 63-85;' Planudes, Life of Æsop; A. +and A. Schott, Walachische Mæhrchen, p. 125, No 9, 'Vom weissen und +vom rothen Kaiser;' Erdélyi, Népdalok és Mondák, <span class="smcap">III</span>, 262, No 8, 'The Little Boy with the Secret and his Little Sword.' To these is to be added, 'L'Histoire de Moradbak,' Caylus, Nouveaux Contes -Orientaux, Œuvres Badines, <span class="smcap">VII</span>, 289 ff, Cabinet des Fes, +Orientaux, Œuvres Badines, <span class="smcap">VII</span>, 289 ff, Cabinet des Fées, <span class="smcap">XXV</span>, 9-406 (from the Turkish?). In the opinion of Benfey, it is in the highest degree likely, though not demonstrable, that the Indian tale antedates our era by several centuries. Ausland, p. 511; @@ -3903,7 +3863,7 @@ see also pp. 487, 459.</p></div> <div class="footnote"> <p><a name="Footnote_1_17" id="Footnote_1_17"></a><a href="#FNanchor_1_17"><span class="label">[17]</span></a> Ingenuity is one of the six transcendental virtues of -Mahāyāna Buddhism. Schlagintweit, Buddhism in Tbet, p. 36.</p></div> +Mahāyāna Buddhism. Schlagintweit, Buddhism in Tíbet, p. 36.</p></div> <div class="footnote"> @@ -3922,23 +3882,23 @@ still.</p></div> <div class="footnote"> <p><a name="Footnote_1_20" id="Footnote_1_20"></a><a href="#FNanchor_1_20"><span class="label">[20]</span></a> Amasis in return (8) puts some of the questions which we -are apt to think of as peculiarly medival: What is oldest? What is +are apt to think of as peculiarly mediæval: What is oldest? What is most beautiful, biggest, wisest, strongest? etc. Two of these we have had in Zingerle's story. They are answered in a commonplace way by the -thiop, with more refinement by Thales. Seven similar questions were +Æthiop, with more refinement by Thales. Seven similar questions were propounded by David to his sons, to determine who was worthiest to succeed him, and answered by Solomon, according to an Arabian writer -of the 14th century: Rosenl, <span class="smcap">I</span>, 167. Amasis also sent a +of the 14th century: Rosenöl, <span class="smcap">I</span>, 167. Amasis also sent a victim to Bias (2), and asked him to cut out the best and worst of the flesh. Bias cut out the tongue. Here the two anticipate the Anglo-Saxon Salomon and Saturn: "Tell me what is best and worst among men." "I tell thee word is best and worst:" Kemble, p. 188, No 37; Adrian and -Ritheus, p. 204, No 43; and Bed Collectanea, p. 326. This is made into -a very long story in the Life of sop, 11. See other examples in Knust, +Ritheus, p. 204, No 43; and Bedæ Collectanea, p. 326. This is made into +a very long story in the Life of Æsop, 11. See other examples in Knust, Mittheilungen aus dem Eskurial, p. 326 f, note b, and Nachtrag, p. 647; Oesterley's Kirchhof, <span class="smcap">v</span>, 94, note to 3, 129; and Landsberger, Die Fabeln des Sophos, <span class="smcap">cx</span>, ff. We may add that Plutarch's -question, Which was first, the bird or the egg? (Qust. Conviv. l. 2, +question, Which was first, the bird or the egg? (Quæst. Conviv. l. 2, q. 3), comes up again in The Demaundes Joyous, No 41, Kemble's Salomon and Saturn, p. 290.</p></div> @@ -3951,14 +3911,14 @@ Afanasief, <span class="smcap">III</span>, 76; Ralston, Songs of the Russian Peo <div class="footnote"> -<p><a name="Footnote_1_22" id="Footnote_1_22"></a><a href="#FNanchor_1_22"><span class="label">[22]</span></a> The legend of St Andrew in Legenda Aurea, Grsse, +<p><a name="Footnote_1_22" id="Footnote_1_22"></a><a href="#FNanchor_1_22"><span class="label">[22]</span></a> The legend of St Andrew in Legenda Aurea, Grässe, cap. <span class="smcap">II</span>, 9, p. 19 ff; also in the Fornsvenskt Legendarium, <span class="smcap">I</span>, 143 ff; Zambrini, Leggende Inedite, <span class="smcap">II</span>, 94 -ff; Pitr, Canti pop. Siciliani, <span class="smcap">II</span>, 232 ff: that of St -Bartholomew, Grsse, p. 545, cap. <span class="smcap">CXXIII</span>, 5, and in a German +ff; Pitré, Canti pop. Siciliani, <span class="smcap">II</span>, 232 ff: that of St +Bartholomew, Grässe, p. 545, cap. <span class="smcap">CXXIII</span>, 5, and in a German Passional, Mone's Anzeiger, 1839, <span class="smcap">VIII</span>, col. 319 f: that of St -Ulrich in Achazel and Korytko, <span class="smcap">I</span>, 76, 'Svti Ureh,' translated -by A. Grn, Volkslieder aus Krain, p. 136 ff. The third question and +Ulrich in Achazel and Korytko, <span class="smcap">I</span>, 76, 'Svéti Ureh,' translated +by A. Grün, Volkslieder aus Krain, p. 136 ff. The third question and answer are in all the same. St Serf also has the credit of having baffled the devil by answering occult questions in divinity: Wintown's Scottish Chronicle, <span class="smcap">I</span>, 131, <span class="smcap">V</span>, 1238 ff, first pointed @@ -3987,15 +3947,15 @@ Blaikie, in the Appendix to the Minstrelsy. The idea at the bottom of the piece is that the devil will carry off the wee boy if he can nonplus him. So, in certain humorous stories, a fool wins a princess by dumfounding her: e.g., Halliwell's Popular Rhymes and Nursery-Tales, p. -32; Von der Hagen's Gesammtabenteuer, No 63, iii, 179; Asbjrnsen og +32; Von der Hagen's Gesammtabenteuer, No 63, iii, 179; Asbjørnsen og Moe, Norske Folkeeventyr, No 4. But here the boy always gets the last word. (See further on, under '<a href="#Ballad_46">Captain Wedderburn's Courtship.</a>')</p> <p>An extremely curious Swedish ballad of the same description, from the Lappfiord, Finland, with the substitution of an old crone, possibly a witch, and clearly no better than one of the wicked, for the false -knight, is given by Oskar Rancken in Ngra Prof af Folksng och Saga i -det svenska sterbotten, p. 25, No 10. It is a point in both that the +knight, is given by Oskar Rancken in Några Prof af Folksång och Saga i +det svenska Österbotten, p. 25, No 10. It is a point in both that the replicant is a wee boy (gossen, som liten var).</p> <p><span class="pagenum"><a name="Pg_1-21" id="Pg_1-21">[Pg 21]</a></span></p> @@ -4040,7 +4000,7 @@ seems to have been of the same character, but now sounds only like a "flyting."<a name="FNanchor_1_23" id="FNanchor_1_23"></a><a href="#Footnote_1_23" class="fnanchor">[23]</a> The first stanza would lead us to expect that Harpkin is to be a form of the Elfin Knight of the preceding ballad, but Fin is seen to be the uncanny one of the two by the light of the other -ballads. Finn (Fin) is an ancestor of Woden, a dwarf in Vlusp 16 +ballads. Finn (Fin) is an ancestor of Woden, a dwarf in Völuspá 16 (19), and also a trold (otherwise a giant), who is induced by a saint to build a church: Thiele, Danske Folkesagn, <span class="smcap">I</span>, 45, Grimm, Mythologie, p. 455. The name is therefore diabolic by many antecedents.</p> @@ -4335,7 +4295,7 @@ was communicated by Willems to Mone's Anzeiger in 1836, col. 448 ff, thirty-eight two-line stanzas, and afterwards appeared in Willems's Oude vlaemsche Liederen (1848), No 49, p. 116, with some changes in the text and some various readings. Uhland, <span class="smcap">I</span>, 153, 74 D, gave -the Anzeiger text, with one correction. So Hoffmann, Niederlndische +the Anzeiger text, with one correction. So Hoffmann, Niederländische Volkslieder, 2d ed., No 9, p. 39, but substituting for stanzas 19, 20 four stanzas from the margin of O.v.L., and making other slighter changes. Baecker, Chants historiques de la Flandre, No 9, p. 61, @@ -4414,7 +4374,7 @@ blithely, and is received with honor and love by the whole court.<a name="FNanch <p>Another Flemish version (<b>C</b>) has been lately published under the title, 'Roland,' by which only, we are informed, is this particular form known in Bruges and many parts of<span class="pagenum"><a name="Pg_1-26" id="Pg_1-26">[Pg 26]</a></span> Flanders:<a name="FNanchor_1_30" id="FNanchor_1_30"></a><a href="#Footnote_1_30" class="fnanchor">[30]</a> Chants populaires -recueillis Bruges par Adolphe Lootens et J. M. E. Feys, No 37, p. 60, +recueillis à Bruges par Adolphe Lootens et J. M. E. Feys, No 37, p. 60, 183 vv, in sixty-three stanzas, of two, three, four, or five lines. This text dates from the last century, and is given with the most exact fidelity to tradition. It agrees with <b>A</b> as to some main points, @@ -4533,7 +4493,7 @@ absurd extravagances: the heroine meets the robber's sister with twelve fierce dogs, and then his twelve swains, and cuts down both dogs and swains.</p> -<p>The names in the Danish ballads are, <b>A</b>, Ulver and Vnelil; +<p>The names in the Danish ballads are, <b>A</b>, Ulver and Vænelil; <b>B</b>, Olmor, or Oldemor, and Vindelraad; <b>C</b>, Hollemen and Vendelraad; <b>D</b>, Romor, Reimord, or Reimvord, and the maid unnamed; <b>F</b>, Herr Peder and Liden Kirsten; <b>H-L</b>, Ribold, @@ -4541,10 +4501,10 @@ Rigbold [<b>I</b>, Rimmelil] and Guldborg.</p> <p>Four <b>Swedish</b> versions are known, all from tradition of this century. <b>A</b>, 'Den Falske Riddaren,' twenty-three two-line -stanzas, Arwidsson, 44 B, <span class="smcap">I</span>, 301. <b>B</b>, 'Rfvaren +stanzas, Arwidsson, 44 B, <span class="smcap">I</span>, 301. <b>B</b>, 'Röfvaren Brun,' fifteen stanzas, Afzelius, 83, <span class="smcap">III</span>, 97. <b>C</b>, twen<span class="pagenum"><a name="Pg_1-28" id="Pg_1-28">[Pg 28]</a></span>ty-seven stanzas, Arwidsson, 44 A, <span class="smcap">I</span>, 298. <b>D</b>, -'Rfvaren Rymer,' sixteen stanzas, Afzelius, 82, <span class="smcap">III</span>, 94. +'Röfvaren Rymer,' sixteen stanzas, Afzelius, 82, <span class="smcap">III</span>, 94. <b>A</b>, <b>B</b>, <b>D</b> have resemblances, at the beginning, to the Ribold ballads, like the Danish <b>A</b>, <b>B</b>, <b>E</b>, <b>G</b>, while the beginning of <b>C</b> is like the Danish <b>C</b>, @@ -4565,12 +4525,12 @@ murdered girl and share the booty, but find that they have their brother to bury.</p> <p>The woman has no name in any of the Swedish ballads. <b>A</b> calls the -robber "an outlandish man" (en man ifrn fremmande land), <b>B</b>, +robber "an outlandish man" (en man ifrån fremmande land), <b>B</b>, simple Brun, <b>C</b>, a knight, and <b>D</b>, Riddaren Rymer, or Herr Rymer.</p> <p>Of <b>Norwegian</b> versions, but two have been printed: <b>A</b>, -'Svein Normann,' twenty two-line stanzas, Landstad, 69, p. 567; +'Svein Norðmann,' twenty two-line stanzas, Landstad, 69, p. 567; <b>B</b>, 'Rullemann og Hildeborg,' thirty stanzas, Landstad, 70, p. 571, both from recent recitation. Bugge has communicated eight others to Grundtvig. Both <b>A</b> and <b>B</b> have the paradise at the @@ -4592,7 +4552,7 @@ that the murderer's sleep was induced by a spell, as in English <b>A</b>. <b>F</b> 9 has,</p> <div class="poem"><div class="stanza"> -<span class="i0">Long time stood Gullbjr; to herself she thought,<br /></span> +<span class="i0">Long time stood Gullbjör; to herself she thought,<br /></span> <span class="i0">May none of my <i>runes</i> avail me ought?<br /></span> </div></div> @@ -4601,11 +4561,11 @@ rune-slumber that came over him. Only <b>G</b>, <b>H</b>, <b>I</b>, <b>K</b> give the number of the murdered women: in <b>G</b>, <b>H</b>, eight, in <b>I</b>, nine, in <b>K</b>, five.</p> -<p>The names are, in <b>A</b>, Svein Normann and Gubjrg; <b>B</b>, +<p>The names are, in <b>A</b>, Svein Norðmann and Guðbjörg; <b>B</b>, Rulleman and Hildeborg [or Signe]; <b>C</b>, <b>D</b>, <b>E</b>, -<b>F</b>, Svein Nrmann and Gullbjr [Gunnbjr]; <b>G</b>, Rullemann +<b>F</b>, Svein Nórmann and Gullbjör [Gunnbjör]; <b>G</b>, Rullemann and Kjersti; <b>H</b>, Rullball and Signelill; <b>I</b>, Alemarken and -Valers; <b>K</b>, Rulemann and a fair maid.</p> +Valerós; <b>K</b>, Rulemann and a fair maid.</p> <p>Such information as has transpired concerning <b>Icelandic</b> versions of this ballad is furnished by Grundtvig, <span class="smcap">IV</span>, 4. The Icelandic @@ -4615,13 +4575,13 @@ century down. The eldest, from a manuscript of 1665, runs thus:</p> <div class="poem"><div class="stanza"> <span class="i0"><span class="linenum">1</span><br /></span> -<span class="i0">sa went along the street, she heard a sweet sound.<br /></span> +<span class="i0">Ása went along the street, she heard a sweet sound.<br /></span> </div><div class="stanza"> <span class="i0"><span class="linenum">2</span><br /></span> -<span class="i0">sa went into the house, she saw the villain bound.<br /></span> +<span class="i0">Ása went into the house, she saw the villain bound.<br /></span> </div><div class="stanza"> <span class="i0"><span class="linenum">3</span><br /></span> -<span class="i0">'Little sa, loose me! I will not beguile thee.'<br /></span> +<span class="i0">'Little Ása, loose me! I will not beguile thee.'<br /></span> </div><div class="stanza"> <span class="i0"><span class="linenum">4</span><br /></span> <span class="i0">'I dare not loose thee, I know not whether thou'lt beguile me.'<br /></span> @@ -4639,13 +4599,13 @@ century down. The eldest, from a manuscript of 1665, runs thus:</p> <span class="i0">'Thou art now the eleventh, I'll not let thee slip.'<br /></span> </div></div> -<p>A copy, from the beginning of the 18th century, has, in stanza 2, "sa +<p>A copy, from the beginning of the 18th century, has, in stanza 2, "Ása went into the <i>wood</i>," a recent copy, "over the fields;" and stanza 3, in the former, with but slight differences in all the modern copies, reads,</p> <div class="poem"><div class="stanza"> -<span class="i0">'Welcome art thou, sa maid! thou wilt mean to loose me.'<br /></span> +<span class="i0">'Welcome art thou, Ása maid! thou wilt mean to loose me.'<br /></span> </div></div> <p>Some recent copies (there is one in Berggreen, Danske Folkesange, 2d @@ -4659,10 +4619,10 @@ ed., <span class="smcap">I</span>, 162) allow the maid to escape, adding,</p> <span class="i0">He waited for her a long time, but she never came back to him.<br /></span> </div><div class="stanza"> <span class="i0"><span class="linenum">11</span><br /></span> -<span class="i0">sa took her white steed, of all women she rode most.<br /></span> +<span class="i0">Ása took her white steed, of all women she rode most.<br /></span> </div><div class="stanza"> <span class="i0"><span class="linenum">12</span><br /></span> -<span class="i0">sa went into a holy cell, never did she harm to man.<br /></span> +<span class="i0">Ása went into a holy cell, never did she harm to man.<br /></span> </div></div> <p>This is certainly one of the most important of the <b>German</b> @@ -4670,73 +4630,73 @@ ballads, and additions are constantly making to a large number of known versions. Excepting two broadsides of about 1560, and two copies from recitation printed in 1778, all these, twenty-six in number, have been obtained from tradition since 1800.<a name="FNanchor_1_35" id="FNanchor_1_35"></a><a href="#Footnote_1_35" class="fnanchor">[35]</a> They are as follows: -<b>A a</b>, 'Gert Olbert,' 'Die Mrners Sang,' in Low German, as +<b>A a</b>, 'Gert Olbert,' 'Die Mörners Sang,' in Low German, as written down by William Grimm, in the early years of this century, 61 vv, Reifferscheid, p. 161, <span class="smcap">II</span>. <b>A b</b>, "from the -Mnster region," communicated to Uhland by the Baroness Annette von -Droste-Hllshof, 46 vv, Uhland, <span class="smcap">I</span>, 151, No 74 C; repeated +Münster region," communicated to Uhland by the Baroness Annette von +Droste-Hüllshof, 46 vv, Uhland, <span class="smcap">I</span>, 151, No 74 C; repeated in Mittler, No 79. <b>A c</b>, a fragment from the same source as the preceding, and written down at the beginning of this century, 35 vv, Reifferscheid, p. 161, <span class="smcap">I</span>. <b>B</b>, 'Es wollt sich -ein Markgraf ausreiten,' from Bkendorf, Westphalia, as taken down +ein Markgraf ausreiten,' from Bökendorf, Westphalia, as taken down by W. Grimm, in 1813, 41 vv, Reifferscheid, p. 116. <b>C a</b>, 'Die Gerettete,' "from the Lower Rhine," twenty-six two-line stanzas, Zuccalmaglio, No 28, p. 66; Mittler, No 85. <b>C b</b>, eleven two-line stanzas, Montanus (== Zuccalmaglio) Die deutschen Volksfeste, p. 45. -<b>D</b>, 'Von einem wackern Mgdlein, Odilia geheissen,' etc., from +<b>D</b>, 'Von einem wackern Mägdlein, Odilia geheissen,' etc., from the Rhine, 34 vv [Longard], No 24, p. 48. <b>E</b>, 'Schondilie,' Menzenberg and Breitbach, 59 vv, Simrock, No 7, p. 19; Mittler, No 86. <b>F</b>, 'Jungfrau Linnich,' communicated by Zuccalmaglio as from the Rhine region, Berg and Mark, fourteen two-line stanzas, Erlach, <span class="smcap">IV</span>, 598, and Kretzschmer (nearly), No 92, p. 164; Mittler, No 87. <b>G a</b>, 'Ulinger,' 120 vv, Nuremberg broadside "of about -1555" (Bhme) in Wunderhorn, ed. 1857, <span class="smcap">IV</span>, 101, Bhme, +1555" (Böhme) in Wunderhorn, ed. 1857, <span class="smcap">IV</span>, 101, Böhme, No 13<sup>a</sup>, p. 56. <b>G b c</b>, Basel broadsides, "of about 1570" -(Bhme), and of 1605, in Uhland, No 74 A, <span class="smcap">I</span>, 141; Mittler, +(Böhme), and of 1605, in Uhland, No 74 A, <span class="smcap">I</span>, 141; Mittler, No 77. <b>H</b>, 'Adelger,' 120 vv, an Augsburg broadside, "of about -1560" (Bhme), Uhland, No 74 B, <span class="smcap">I</span>, 146; Bhme, No 13<sup>b</sup>, -p. 58; Mittler, No 76. <b>I</b>, 'Der Brautmrder,' in the dialect -of the Kuhlndchen (Northeast Moravia and Austrian Silesia), 87 vv, +1560" (Böhme), Uhland, No 74 B, <span class="smcap">I</span>, 146; Böhme, No 13<sup>b</sup>, +p. 58; Mittler, No 76. <b>I</b>, 'Der Brautmörder,' in the dialect +of the Kuhländchen (Northeast Moravia and Austrian Silesia), 87 vv, Meinert, p. 61; Mittler, No 80. <b>J</b>, 'Annele,' Swabian, from -Hirrlingen and Obernau, 80 vv, Meier, Schwbische V. L., No 168, p. +Hirrlingen and Obernau, 80 vv, Meier, Schwäbische V. L., No 168, p. 298. <b>K</b>, another Swabian version, from Hirrlingen, Immenried, and many other localities, 80 vv, Scherer, Jungbrunnen, No 5 B, p. -25. <b>L a</b>, from the Swabian-Wrtemberg border, 81 VV, Birlinger, -Schwbisch-Augsburgisches Wrterbuch, p. 458. <b>L b</b>, [Birlinger], -Schwbische V. L., p. 159, from Immenried, nearly word for word the -same. <b>M</b>, 'Der falsche Snger,' 40 vv, Meier, No 167, p. 296. +25. <b>L a</b>, from the Swabian-Würtemberg border, 81 VV, Birlinger, +Schwäbisch-Augsburgisches Wörterbuch, p. 458. <b>L b</b>, [Birlinger], +Schwäbische V. L., p. 159, from Immenried, nearly word for word the +same. <b>M</b>, 'Der falsche Sänger,' 40 vv, Meier, No 167, p. 296. <b>N</b>, 'Es reitets ein Ritter durch Haber und Klee,' 43 vv, a fifth Swabian version, from Hirrlingen, Meier, p. 302. <b>O</b>, 'Alte Ballade die in Entlebuch noch gesungen wird,' twenty-three -double stanzas, in the local dialect, Schweizerbltter von Henne und +double stanzas, in the local dialect, Schweizerblätter von Henne und Reithard, 1833, <span class="smcap">II<sup>r</sup></span> Jahrgang, 210-12. <b>P</b>, 'Das Guggibader-Lied,' twenty-one treble stanzas (23?), in the Aargau dialect, Rochholz, Schweizersagen aus dem Aargau, <b>I</b> 24. <b>Q</b>, 'Es sitzt gut Ritter auf und ritt,' a copy taken down in 1815 by J. Grimm, from the recitation of a lady who had heard it as a child -in German Bohemia, 74 vv, Reifferscheid, p. 162. <b>R</b>, 'Bie wre -işt auv der ritterşmn, 'in the dialect of<span class="pagenum"><a name="Pg_1-30" id="Pg_1-30">[Pg 30]</a></span> Gottschee, Carniola, -86 vv, Schrer, Sitzungsberichte der Wiener Ak., phil-hist. Cl, +in German Bohemia, 74 vv, Reifferscheid, p. 162. <b>R</b>, 'Bie wrüe +işt auv der ritterşmàn, 'in the dialect of<span class="pagenum"><a name="Pg_1-30" id="Pg_1-30">[Pg 30]</a></span> Gottschee, Carniola, +86 vv, Schröer, Sitzungsberichte der Wiener Ak., phil-hist. Cl, <span class="smcap">LX</span>, 462. <b>S</b>, 'Das Lied von dem falschen Rittersmann,' 60 vv, from Styria, Rosegger and Heuberger, Volkslieder aus Steiermark, -No 19, p. 17. <b>T</b>, 'Ulrich und nnchen,'<a name="FNanchor_1_36" id="FNanchor_1_36"></a><a href="#Footnote_1_36" class="fnanchor">[36]</a> 49 vv, Herder's -Volkslieder, 1778, <span class="smcap">I</span>, 79; Mittler, No 78. <b>U</b>, 'Schn -Ulrich und Roth-Aennchen,' 46 vv, in Taschenbuch fr Dichter und +No 19, p. 17. <b>T</b>, 'Ulrich und Ännchen,'<a name="FNanchor_1_36" id="FNanchor_1_36"></a><a href="#Footnote_1_36" class="fnanchor">[36]</a> 49 vv, Herder's +Volkslieder, 1778, <span class="smcap">I</span>, 79; Mittler, No 78. <b>U</b>, 'Schön +Ulrich und Roth-Aennchen,' 46 vv, in Taschenbuch für Dichter und Dichterfreunde, Abth. viii, 126, 1778, from Upper Lusatia (slightly altered by the contributor, Meissner); Mittler, No 84. A copy from Kapsdorf, in Hoffmann and Richter's Schlesische V. L., No 13, p. 27, is -the same, differing by only three words. <b>V</b>, 'Schn-Aennelein,' +the same, differing by only three words. <b>V</b>, 'Schön-Aennelein,' 54 vv, from the eastern part of Brandenburg, Erk u. Irmer, 6th Heft, p. -64, No 56 (stanzas 4-8 from the preceding). <b>W</b>, 'Schn Ullerich +64, No 56 (stanzas 4-8 from the preceding). <b>W</b>, 'Schön Ullerich und Hanselein,' twenty-nine two-line stanzas, from the neighborhood -of Breslau, in Grter's Idunna und Hermode, No 35, Aug. 29, 1812, -following p. 140. The same in Schlesische V. L., No 12, p. 23, 'Schn +of Breslau, in Gräter's Idunna und Hermode, No 35, Aug. 29, 1812, +following p. 140. The same in Schlesische V. L., No 12, p. 23, 'Schön Ulrich u. Rautendelein,' with a stanza (12) inserted; and Mittler, No 81. <b>X</b>, 'Der Albrecht u. der Hanselein,' 42 vv, from Natangen, -East Prussia, in Neue preussische Provinzial-Bltter, 2d series, +East Prussia, in Neue preussische Provinzial-Blätter, 2d series, <span class="smcap">III</span>, 158, No 8. <b>Y</b>, 'Ulrich u. Annle,' nineteen two-line -stanzas, a second Kuhlndchen version, Meinert, p. 66; Mittler, No 83. -<b>Z a</b>, 'Von einem frechen Ruber, Herr Ulrich geheissen,' nineteen +stanzas, a second Kuhländchen version, Meinert, p. 66; Mittler, No 83. +<b>Z a</b>, 'Von einem frechen Räuber, Herr Ulrich geheissen,' nineteen two-line stanzas, from the Rhine [Longard], No 23, p. 46. <b>Z b</b>, 'Ulrich,' as sung on the Lower Rhine, the same ballad, with unimportant verbal differences, and the insertion of one stanza (7, the editor's?), @@ -4809,15 +4769,15 @@ Zuccalmaglio's versions, and, if genuine, would belong to a ballad of the third class.</p> <p><b>D</b> has the name Odilia for the maid, but the knight, or trooper, -has become expressly a robber (ritter, reiter, ruber). They ride to +has become expressly a robber (ritter, reiter, räuber). They ride to a green heath, where there is a cool spring. Odilia asks for and gets a draught of water, and is told that at the linden-tree there will be eating and drinking for them. And when they come to the linden, there hang six, seven maids! All proceeds as before. The talking head is lost. Odilia meets the robber's mother, and makes the usual reply.<a name="FNanchor_1_37" id="FNanchor_1_37"></a><a href="#Footnote_1_37" class="fnanchor">[37]</a></p> -<p><b>E</b> resembles <b>C</b> closely. Odilia becomes Schondilg (Schn -Odilie), Ruber returns to Ritter, or Reiter, and the servant-maid +<p><b>E</b> resembles <b>C</b> closely. Odilia becomes Schondilg (Schön +Odilie), Räuber returns to Ritter, or Reiter, and the servant-maid bribe of seven pounds of gold rises to ten tons.<a name="FNanchor_1_38" id="FNanchor_1_38"></a><a href="#Footnote_1_38" class="fnanchor">[38]</a> Schondilg's toilet, preparatory to going off (6-8), is described with a minuteness that we find only in the Dutch ballad (12-16). After this, there is no @@ -5001,9 +4961,9 @@ he is making for:</p> <p><span class="pagenum"><a name="Pg_1-34" id="Pg_1-34">[Pg 34]</a></span></p> <div class="poem"><div class="stanza"> -<span class="i0">'Wir wollen ein wenig weiter vorwrts faren,<br /></span> -<span class="i0">Bis zu einem khlen Waldbrunnen,<br /></span> -<span class="i0">Der ist mit Blut berronnen.'<a name="FNanchor_1_47" id="FNanchor_1_47"></a><a href="#Footnote_1_47" class="fnanchor">[47]</a><br /></span> +<span class="i0">'Wir wollen ein wenig weiter vorwärts faren,<br /></span> +<span class="i0">Bis zu einem kühlen Waldbrunnen,<br /></span> +<span class="i0">Der ist mit Blut überronnen.'<a name="FNanchor_1_47" id="FNanchor_1_47"></a><a href="#Footnote_1_47" class="fnanchor">[47]</a><br /></span> </div></div> <p class="source">L 26-28, 17-19.</p> @@ -5016,7 +4976,7 @@ hears his sister's laugh; then stabs the knight through the heart. The moral of <b>J</b> is repeated in both: Stay at home, and trust no knight.</p> -<p><b>M</b> smacks decidedly of the bnkelsnger, and has an appropriate +<p><b>M</b> smacks decidedly of the bänkelsänger, and has an appropriate moral at the tail: <i>animi index cauda!</i> The characters are a cavalier and a girl, both nameless, and a brother. The girl, hearing the knight sing "ein Liedchen von dreierlei Stimmen," which should seem to @@ -5042,7 +5002,7 @@ that nobody after that could harm him.<a name="FNanchor_1_49" id="FNanchor_1_49" the course of the story. Anneli, lying under the casement, hears the knight singing as he rides through the reeds. The elaborate toilet is omitted, as in <b>I</b>, <b>J</b>. The knight makes haste to the dark -wood. They come to a cold spring, "mit Bluot war er berrunnen;" then +wood. They come to a cold spring, "mit Bluot war er überrunnen;" then to a hazel, behind which a dove coos ominously. Anneli says, Listen. The dove coos you are a false man, that will not spare my life. No, says the knight, that is not it; the dove is cooing about its blue @@ -5087,7 +5047,7 @@ will not hear, and the doves are hushed. She cries to father, mother, and brother. The brother, who is sitting over his wine at the inn, hears, saddles his best horse, rides furiously, and comes first to a spring filled with locks of maid's hair and red with maid's blood; then -to a bush, where the knight (Rdeli, Rudolph) is twisting his withe. He +to a bush, where the knight (Rüdeli, Rudolph) is twisting his withe. He bids his sister be silent, for the withe is not for her; the villain is twisting it for his own neck, and shall be dragged at the tail of his horse.</p> @@ -5138,7 +5098,7 @@ against knights. </p> <p><span class="pagenum"><a name="Pg_1-36" id="Pg_1-36">[Pg 36]</a></span></p> <p>(III.) <b>T</b>, the first of the third series, has marked signs of -deterioration. Ulrich does not enchant nnchen by his song, and promise +deterioration. Ulrich does not enchant Ännchen by his song, and promise to teach it to her; he offers to teach her "bird-song." They <i>walk</i> out together, apparently, and come to a hazel, with no dove; neither is there any spring. Annie sits down on the grass; Ulrich lays his head @@ -5159,7 +5119,7 @@ laid in the grave, and angels sing over her; Ulrich is broken on the wheel, and round him the ravens cry.</p> <p>There is no remnant or reminiscence of the magical singing in -<b>U</b>. Schn Ulrich and Roth nnchen go on a walk, and come first +<b>U</b>. Schön Ulrich and Roth Ännchen go on a walk, and come first to a fir-tree, then a green mead. The next scene is exactly as in <b>T</b>. Ulrich says the eleven maids were his wives, and that he had thrust his sword through their hearts. Annie asks for three <i>sighs</i>, @@ -5169,7 +5129,7 @@ Ulrich simultaneously in at the door. The remainder is very much as in <b>T</b>.</p> <p><b>V</b> differs from <b>U</b> only in the names, which are -Schn-Heinrich and Schn-nnelein, and in the "sighs" returning to +Schön-Heinrich and Schön-Ännelein, and in the "sighs" returning to cries, which invoke God, father, and brother.</p> <p><b>W</b> begins with a rivalry between Ulrich and Hanselein<a name="FNanchor_1_51" id="FNanchor_1_51"></a><a href="#Footnote_1_51" class="fnanchor">[51]</a> for @@ -5189,18 +5149,18 @@ with a speech like that in <b>I</b>. Still, as Rautendchen is brought to the grave, with toll of bells, so Ulrich is mounted on the wheel, where ravens shriek over him.</p> -<p><b>X.</b> Albrecht and Hnselein woo Alalein. She is promised to -Albrecht, but Hnsel gets her. He takes her to a green mead, spreads +<p><b>X.</b> Albrecht and Hänselein woo Alalein. She is promised to +Albrecht, but Hänsel gets her. He takes her to a green mead, spreads his mantle on the grass, and she sits down. His lying in her lap and her discovery of the awful tree are lost. She weeps, and he tells her she shall be "his eleventh." Her cries are condensed into one stanza:</p> <div class="poem"><div class="stanza"> <span class="i0">'Gott Vater, Sohn, Herr Jesu Christ,<br /></span> -<span class="i0">Mein jngster Bruder, wo Du bist!'<br /></span> +<span class="i0">Mein jüngster Bruder, wo Du bist!'<br /></span> </div></div> -<p>Her brother rides in the direction of the voice, and meets Hnselein +<p>Her brother rides in the direction of the voice, and meets Hänselein in the wood, who says Alalein is sitting with princes and counts. The conclusion is as in <b>T</b>, <b>U</b>, <b>V</b>.</p> @@ -5267,7 +5227,7 @@ German ballad remain to be noticed.</p> <p><b>A.</b> A ballad first published in Nicolai's Almanach, <span class="smcap">II</span>, 100, No 21 (1778), and since reprinted, under the titles, 'Liebe ohne -Stand,' 'Der Ritter und die Knigstochter,' etc., but never with +Stand,' 'Der Ritter und die Königstochter,' etc., but never with absolute fidelity, in Wunderhorn (1819), <span class="smcap">I</span>, 37 (== Erlach, <span class="smcap">II</span>, 120), Kretzschmer, No 72, <span class="smcap">I</span>, 129; Mittler, No 89; Erk, Neue Sammlung, iii, 18, No 14; also, with a few changes, by @@ -5275,8 +5235,8 @@ Zuccalmaglio, No. 95, p. 199, as 'aus Schwaben;' by Erk, Liederhort, No 28, p. 90, as "corrected from oral tradition;" and as "from oral tradition," in Erk's Wunderhorn (1857), <span class="smcap">I</span>, 39. Independent versions are given by Mittler, No 90, p. 83, from Oberhessen; -Prhle, Weltliche u. geistliche Volkslieder, No 5, p. 10, from -the Harz; Reifferscheid, No 18, p. 36, from Bkendorf. Erk refers +Pröhle, Weltliche u. geistliche Volkslieder, No 5, p. 10, from +the Harz; Reifferscheid, No 18, p. 36, from Bökendorf. Erk refers to still another copy, five stanzas longer<span class="pagenum"><a name="Pg_1-38" id="Pg_1-38">[Pg 38]</a></span> than Nicolai's, from Hesse-Darmstadt, Neue Sammlung, iii, 19, note.</p> @@ -5284,7 +5244,7 @@ Hesse-Darmstadt, Neue Sammlung, iii, 19, note.</p> make out. The substance of the narrative is that a knight rides singing through the reeds, and is heard by a king's daughter, who forthwith desires to go with him. They ride till the horse is hungry [tired]; -he spreads his cloak on the grass, and makes, <i>sans faon</i>, his usual +he spreads his cloak on the grass, and makes, <i>sans façon</i>, his usual request. The king's daughter sheds many tears, and he asks why. "Had I followed my father's counsel, I might have been empress." The knight cuts off her head at the word, and says, Had you held your tongue, you @@ -5319,9 +5279,9 @@ cut off.</p> <p><b>B.</b> The Ulinger story is also found combined with that of the beautiful ballad, 'Wassermanns Braut.'<a name="FNanchor_1_55" id="FNanchor_1_55"></a><a href="#Footnote_1_55" class="fnanchor">[55]</a> (1.) In a Transylvanian -ballad, 'Brautmrder,' Schuster, Siebenbrgisch-schsische Volkslieder, +ballad, 'Brautmörder,' Schuster, Siebenbürgisch-sächsische Volkslieder, p. 57, No 54 <b>A</b>, 38 vv, with variations, and p. 59, <b>B</b>, a -fragment of 10 vv; (<b>A</b> in a translation, Bhme, No 14, p. 61.) A +fragment of 10 vv; (<b>A</b> in a translation, Böhme, No 14, p. 61.) A king from the Rhine sues seven years for a king's daughter, and does not prevail till the eighth. She begs her mother not to consent, for she has seen it in the sun that she shall not long be her daughter, in @@ -5346,13 +5306,13 @@ the nix, as asking for three cries, and goes on from this point like the Ulrich ballad <b>W</b>, the conclusion being that the sister is drowned before the brother comes to her aid.<a name="FNanchor_1_56" id="FNanchor_1_56"></a><a href="#Footnote_1_56" class="fnanchor">[56]</a></p> -<p>'Nun schrz dich, Gredlein,' "Forster's Frische Liedlein, No 66," -Bhme, No 53, Uhland, No 256 A, which is of the date 1549, and +<p>'Nun schürz dich, Gredlein,' "Forster's Frische Liedlein, No 66," +Böhme, No 53, Uhland, No 256 A, which is of the date 1549, and therefore older than the Nuremberg and Augsburg broadsides, has derived stanzas 7-9 from an Ulinger ballad, unless this passage is to be regarded as common property. Some copies of the ballad commonly called -'Mllertcke' have also adopted verses from Ulinger, especially that in -Meier's Schwbische Volkslieder, No 233, p. 403.</p> +'Müllertücke' have also adopted verses from Ulinger, especially that in +Meier's Schwäbische Volkslieder, No 233, p. 403.</p> <p>A form of ballad resembling English <b>C-F</b>, but with some important differences, is extraordinarily diffused in <b>Poland</b>. There @@ -5535,7 +5495,7 @@ has left Hiłžička, Hołdrašk is silent. The elder brothe seizes him, the younger dispatches him with his sword.</p> <p>Very similar is a <b>Bohemian</b> ballad, translated in Waldau's -Bhmische Granaten, <span class="smcap">II</span>, 25.<a name="FNanchor_1_65" id="FNanchor_1_65"></a><a href="#Footnote_1_65" class="fnanchor">[65]</a> While Katie is cutting grass, +Böhmische Granaten, <span class="smcap">II</span>, 25.<a name="FNanchor_1_65" id="FNanchor_1_65"></a><a href="#Footnote_1_65" class="fnanchor">[65]</a> While Katie is cutting grass, early in the morning, Indriasch presents himself, and demands some for his horse. She says, You must dismount, if your horse is to have grass. "If I do, I will take away your wreath." "Then God will not grant you @@ -5552,7 +5512,7 @@ fragments.</p> <p>A <b>Servian</b> ballad has fainter but unmistakable traces of the same tradition: Vuk, Srpske Narodne Pjesme, <span class="smcap">I</span>, 282, No 385, ed. 1841; translated by Goetze, Serbische V. L., p. 99, by Talvj, -V. L. der Serben, 2d ed., <span class="smcap">II</span>, 172, by Kapper, Gesnge der +V. L. der Serben, 2d ed., <span class="smcap">II</span>, 172, by Kapper, Gesänge der Serben, <span class="smcap">II</span>, 318. Mara is warned by her mother not to dance with Thomas. She disobeys. Thomas, while dancing, gives a sign to his servants to bring horses. The two ride off, and when they come to the @@ -5591,7 +5551,7 @@ will marry you Sunday."</p> <span class="i0">The fourteen women down below."<br /></span> </div></div> -<p><b>B.</b> 'De Dion et de la Fille du Roi,' from Auvergne, Ampre, +<p><b>B.</b> 'De Dion et de la Fille du Roi,' from Auvergne, Ampère, Instructions, etc., 40 vv, p. 40, stanzas 15-24, the first fourteen constituting another ballad.<a name="FNanchor_1_68" id="FNanchor_1_68"></a><a href="#Footnote_1_68" class="fnanchor">[68]</a> The pair went five or six leagues without exchanging a word; only the fair one said, I am so hungry I @@ -5608,7 +5568,7 @@ friends say?" "I will tell them I did by you as you would have done by me."</p> <p><b>C.</b> 'Veux-tu venir, bell' Jeanneton,' 32 vv,<span class="pagenum"><a name="Pg_1-43" id="Pg_1-43">[Pg 43]</a></span> from Poitou and -Auns, Bujeaud, <span class="smcap">II</span>, 232. When they reach the water, the +Aunís, Bujeaud, <span class="smcap">II</span>, 232. When they reach the water, the fair one asks for a drink. The man says, incoherently enough, Before drinking of this white wine I mean to drink your blood. The stanza that should tell how many have been drowned before is lost. Jeanneton, @@ -5624,20 +5584,20 @@ takes her to a spring, but when there she does not care to drink. The rest of the ballad is pointless, and shows that the original story has been completely forgotten.</p> -<p><b>E.</b> 'Belle, allons nous promener,' from the Lyonnais, 28 vv, +<p><b>E.</b> 'Belle, allons nous épromener,' from the Lyonnais, 28 vv, Champfleury, Chansons des Provinces, p. 172, is like <b>C</b>, but still more defective. The pair go to walk by "la mer courante." There is no order for the lady to strip: on the contrary, she cries, -Dshabillez-moi, dchaussez-moi! and, while the man is drawing off +Déshabillez-moi, déchaussez-moi! and, while the man is drawing off her shoe, "la belle avance un coup de pied, le beau galant tombe dans l'eau."</p> -<p><b>F.</b> 'Allons, mie, nous promener,' 32 vv, Posies populaires de +<p><b>F.</b> 'Allons, mie, nous promener,' 32 vv, Poésies populaires de la France, MS., <span class="smcap">III</span>, fol. 84, No 16, is like <b>C</b>. The lady asks the man to pull off her shoes before he kills her. The man clutches a branch; the woman cuts it away.</p> -<p><b>G.</b> 'Le Tratre Noy,' Chants pop. du Velay et du Forez, Romania, +<p><b>G.</b> 'Le Traître Noyé,' Chants pop. du Velay et du Forez, Romania, <span class="smcap">X</span>, 199, is like <b>E</b>, <b>F</b>.</p> <p><b>H.</b> 'La Fillette et le Chevalier,' Victor Smith, Chants pop. du @@ -5659,9 +5619,9 @@ her son to make away with his wife. He carries her off on his horse to a wheat-field [wood], and kills her with sword and dagger. Returning, he meets his wife's brother, who asks why his shoes are covered with blood. He says he has been killing rabbits. The brother replies, I -see by your paleness that you have been killing my sister. So Grard +see by your paleness that you have been killing my sister. So Gérard de Nerval, Les Filles du Feu, Œuvres Com., <span class="smcap">V</span>, 134, and La -Bohme galante (1866), p. 79: 'Rosine,' Chants pop. du Velay, etc., +Bohème galante (1866), p. 79: 'Rosine,' Chants pop. du Velay, etc., Romania, <span class="smcap">X</span>, 197.</p> <p>The ballad is known over all <b>North Italy</b>, and always nearly in @@ -5736,8 +5696,8 @@ is calling me to bed." "You will sleep with me." They go a hundred leagues, and not a word said, and at last reach his father's castle. When she is undressing, her lace gets into a knot. He suggests that his sword would cut it. She plunges the sword into her heart. So 'Du Beau -Marinier,' Beaurepaire, p. 57 f, and Posies populaires de la France, -MS., <span class="smcap">III</span>, fol. 59, No 4; 'L'pe Libratrice,' V. Smith, +Marinier,' Beaurepaire, p. 57 f, and Poésies populaires de la France, +MS., <span class="smcap">III</span>, fol. 59, No 4; 'L'Épée Libératrice,' V. Smith, Chansons du Velay, etc., Romania, <span class="smcap">VII</span>, 69, nearly; also 'Il Corsaro,' Nigra, Rivista Coutemporanea, <span class="smcap">XXIV</span>, p. 86 ff. In 'La Monferrina Incontaminata,' Ferraro, C. p. m., No 2, p. 3, a French @@ -5774,7 +5734,7 @@ mother, and brothers.</p> in the island of St. George, Azores, which resembles the Spanish closely, but is even curter: <b>A</b>, 'Romance de Dom Franco,' 30 vv; <b>B</b>, 'Dona Inez,' a fragment of 18 vv; Braga, Cantos populares -do Archipelago aoriano, No 48, p. 316, No 49, p. 317: Hartung's +do Archipelago açoriano, No 48, p. 316, No 49, p. 317: Hartung's Romanceiro, <span class="smcap">II</span>, 61, 63. Dona Inez was so precious in the eyes of her parents that they gave her neither to duke nor marquis. A knight who was passing [the Duke of Turkey, <b>B</b>] took a fancy to her, @@ -5788,7 +5748,7 @@ class, but, like the French and Italian ballads mentioned on the preceding page, have more important divergences, and especially the characteristic distinction that the woman kills herself to preserve her honor. 1. 'Jeanne Le Roux,' Luzel, <span class="smcap">I</span>, 324 ff, in two versions; -Posies pop. de la France, MS., <span class="smcap">III</span>, fol. 182. The sieur La +Poésies pop. de la France, MS., <span class="smcap">III</span>, fol. 182. The sieur La Tremblaie attempts the abduction of Jeanne from the church immediately after her marriage ceremony. As he is about to compel her to get up on the crupper of his horse, she asks for a knife to cut her bridal @@ -5797,17 +5757,17 @@ three, and she stabs herself in the heart. La Tremblaie <i>remarks</i>, I have carried off eighteen young brides, and Jeanne is the nineteenth, words evidently taken from the mouth of a Halewyn, and not belonging here. 2. Le Marquis de Coatredrez, Luzel, <span class="smcap">I</span>, 336 ff, meets -a young girl on the road, going to the pardon of Guodet, and forces +a young girl on the road, going to the pardon of Guéodet, and forces her on to his horse. On the way and at his house she vainly implores help. He takes her to the garden to gather flowers. She asks for his knife to shorten the stems, and kills herself. Early in the morning -the door of the chteau is broken in by Kerninon, foster-brother of +the door of the château is broken in by Kerninon, foster-brother of the victim, who forces Coatredrez to fight, and runs him through. 3. 'Rozmelchon,' Luzel, <span class="smcap">I</span>, 308 ff, in three versions, and, 4, -'La Filleule de du Guesclin,' Villemarqu, Barzaz-Breiz, 6th ed., 212 -ff, are very like 2. The wicked Rozmelchon is burned in his chteau +'La Filleule de du Guesclin,' Villemarqué, Barzaz-Breiz, 6th ed., 212 +ff, are very like 2. The wicked Rozmelchon is burned in his château in Luzel's first copy; the other two do not bring him to punishment. -Villemarqu's villain is an Englishman, and has his head cloven by du +Villemarqué's villain is an Englishman, and has his head cloven by du Guesclin. 5. 'Marivonnic,' Luzel, <span class="smcap">I</span>, 350 ff, a pretty young girl, is carried off by an English vessel, the captain of which shows himself not a whit behind the feudal seigneurs in ferocity. The young @@ -5815,9 +5775,9 @@ girl throws herself into the water.</p> <p><b>Magyar.</b> Five versions from recent traditions, all of them interesting, are given in Arany and Gyulai's collection of -Hungarian popular poetry, 'Molnr Anna,' <span class="smcap">I</span>, 137 ff, Nos +Hungarian popular poetry, 'Molnár Anna,' <span class="smcap">I</span>, 137 ff, Nos 1-5.<a name="FNanchor_1_71" id="FNanchor_1_71"></a><a href="#Footnote_1_71" class="fnanchor">[71]</a>—<b>A</b>, p. 141, No 3. A man, nameless here, but called in -the other versions<span class="pagenum"><a name="Pg_1-46" id="Pg_1-46">[Pg 46]</a></span> Martin Ajg, or Martin Sajg, invites Anna Miller +the other versions<span class="pagenum"><a name="Pg_1-46" id="Pg_1-46">[Pg 46]</a></span> Martin Ajgó, or Martin Sajgó, invites Anna Miller to go off with him. She refuses; she has a young child and a kind husband. "Come," he says; "I have six palaces, and will put you in the seventh," and persists so long that he prevails at last. They went a @@ -5836,7 +5796,7 @@ from its sheath (so <b>C</b>), and hewed off his head. She then wrapped herself in his cloak, sprang upon his horse, and returned home, where (in all the copies, as in this) she effected a reconcilement with her husband. <b>B</b>, p. 138, No 2, agrees closely with the foregoing. -Martin Ajg calls to Anna Miller to come with him a long way into the +Martin Ajgó calls to Anna Miller to come with him a long way into the wilderness (so <b>D</b>, <b>E</b>). He boasts of no palaces in this version. He calls Anna a long time, tempts her a long time, drags her on to his horse, and carries her off. The scene under the tree is @@ -5845,8 +5805,8 @@ drops on Martin's face is dew from the tree, and he retorts, How can it be dew from the tree, when the time is high noon? His sword falls out of its sheath as he is mounting the tree, and he asks her to hand it to him. She throws it up (so <b>E</b>), and it cuts his throat in two. -Rightly served, Martin Ajg, she says: why did you lure me from home? -<b>C</b>, p. 144, No 4. Martin Sajg tells Anna Miller that he has +Rightly served, Martin Ajgó, she says: why did you lure me from home? +<b>C</b>, p. 144, No 4. Martin Sajgó tells Anna Miller that he has six stone castles, and is building a seventh. It is not said that he goes to sleep. As in <b>A</b>, Anna pulls his sword from the scabbard. <b>D</b>, p. 146, No 5. Here reappears the very important feature of @@ -5855,7 +5815,7 @@ wilderness, to a place that flows with milk and honey." Anna insists, as before, that Martin shall go up the tree first. He puts down his sword; she seizes it, and strikes off his head with one blow. <b>E</b>, p. 137, No 1, is somewhat defective, but agrees essentially with the -others. Martin Ajg calls Anna; she will not come; he carries her off. +others. Martin Ajgó calls Anna; she will not come; he carries her off. He lets his sword fall as he is climbing, and asks Anna to hand it up to him. She throws it up, as in <b>B</b>, and it cuts his back in two.</p> @@ -5863,8 +5823,8 @@ to him. She throws it up, as in <b>B</b>, and it cuts his back in two.</p> 'Kallewisohnes Tod,' No 2, p. 5, with the Ulinger ballads, and even of his Holepi with the Dutch Halewyn. The resemblance is of the most distant, and what there is must be regarded as casual. The same of -the Finnish 'Kojoins Sohn,' Schrter, Finnische Runen, p. 114, 115; -'Kojosen Poika,' Lnnrot, Kanteletar, p. 279.</p> +the Finnish 'Kojoins Sohn,' Schröter, Finnische Runen, p. 114, 115; +'Kojosen Poika,' Lönnrot, Kanteletar, p. 279.</p> <p>In places where a ballad has once been known, the story will often be remembered after the verses have been wholly or partly forgotten, and @@ -5887,7 +5847,7 @@ so to speak, natu<span class="pagenum"><a name="Pg_1-47" id="Pg_1-47">[Pg 47]</a the robber's house had been and that where the tree had stood were pointed out. The hunter-brother was by some conceived of as the Wild Huntsman, and came to the rescue through the air with a fearful baying -of dogs. (Birlinger in Volksthmliches aus Schwaben, <span class="smcap">I</span>, 368, +of dogs. (Birlinger in Volksthümliches aus Schwaben, <span class="smcap">I</span>, 368, No 592, and Germania, 1st Ser., <span class="smcap">V</span>, 372.)</p> <p>The story of the German ballad <b>P</b> has attached itself to @@ -5901,11 +5861,11 @@ day enticed away a miller's daughter, who was delivered from death as in the ballad. A medicinal spring rose near the fatal tree. (Rochholz, <span class="smcap">I</span>, 22.) No pure version of this ballad has been obtained in the Harz region, though a mixed form has already been spoken of; but -'Der Reiter in Seiden,' Prhle, Mrchen fr die Jugend, No 32, p. 136, +'Der Reiter in Seiden,' Pröhle, Märchen für die Jugend, No 32, p. 136, which comes from the western Harz, or from some place further north, -on the line between Kyffhaser and Hamburg, is, roughly speaking, only +on the line between Kyffhaüser and Hamburg, is, roughly speaking, only 'Gert Olbert' turned into prose, with a verse or two remaining. 'Der -betrogene Betrger,' from Mhlbach, Mller's Siebenbrgische Sagen, No +betrogene Betrüger,' from Mühlbach, Müller's Siebenbürgische Sagen, No 418, p. 309, has for its hero a handsome young man, addicted to women, who obtains from the devil the power of making them follow his piping, on the terms that every twelfth soul is to be the devil's share. He @@ -5940,8 +5900,8 @@ Vogel' and of 'Bluebeard' becomes, or remains, a preternatural being three species of tales and our ballad (also between the German and Danish tales and the Scandinavian ballad of 'Rosmer'), but the precise nature of this affinity it is impossible to expound. 'Bluebeard,' 'La -Barbe Bleue,' Perrault, Histoires ou Contes du temps pass, 1697, p. -57 (Lefvre), has a special resemblance to the German ballads of the +Barbe Bleue,' Perrault, Histoires ou Contes du temps passé, 1697, p. +57 (Lefèvre), has a special resemblance to the German ballads of the second class in the four calls to sister Anne, which represent the cries to father, mother, and brother, and agrees with these ballads as to the means by which the death of the malefactor is brought about.</p> @@ -5975,12 +5935,12 @@ her impending fate by the dove, as in Class II. The other ballads have the usual marks of degeneracy, a dropping or obscuring of marvellous and romantic incidents, and a declension in the rank and style of the characters. <b>T</b>, to be sure, has a hazel, and <b>Y</b> a -tree-stump and a spring, and in <b>T</b> Ulrich offers to teach nnchen +tree-stump and a spring, and in <b>T</b> Ulrich offers to teach Ännchen bird-song, but these traits have lost all significance. Knight and lady sink to ordinary man and maid; for though in <b>Y</b> the woman is called a king's daughter, the opening stanzas of <b>Y</b> are borrowed from a different ballad. Ulrich retains so much of the knight that -he rides to nnchen's house, in the first stanza of <b>T</b>, but he +he rides to Ännchen's house, in the first stanza of <b>T</b>, but he apparently goes on foot with her to the wood, and this is the rule in all the other ballads of this class. As Ulrich has lost his horse, so the brother, in <b>T</b>, <b>U</b>, <b>V</b>, <b>X</b>, has lost his @@ -6090,7 +6050,7 @@ by a friendly power. Some parts of her dress and ornaments, which she had laid off in her rapid following up of the harping, are afterwards found, with a great quantity of precious things, in the subaqueous cave of Quintalin's mother, who is a complete counterpart to Grendel's, and -was probably borrowed from Bewulf.<a name="FNanchor_1_79" id="FNanchor_1_79"></a><a href="#Footnote_1_79" class="fnanchor">[79]</a> This demi-elf Quintalin is +was probably borrowed from Beówulf.<a name="FNanchor_1_79" id="FNanchor_1_79"></a><a href="#Footnote_1_79" class="fnanchor">[79]</a> This demi-elf Quintalin is a tame personage by the side of Grendel or of Halewyn. Halewyn does not devour his victims, like Grendel: Quintalin does not even murder his. He allures women with his music to make them serve his lust. We @@ -6105,7 +6065,7 @@ the knight remain, the muckle gold of the maids already appears as the motive for the murders. In the later Danish <b>E-H</b>, <b>K</b>, <b>L</b>, and Swedish <b>C</b>, <b>D</b>, the original elf or demon has sunk to a remorseless robber, generally with brothers, sisters, or -underlings for accomplices.<a name="FNanchor_1_80" id="FNanchor_1_80"></a><a href="#Footnote_1_80" class="fnanchor">[80]</a> This is preminently his character in +underlings for accomplices.<a name="FNanchor_1_80" id="FNanchor_1_80"></a><a href="#Footnote_1_80" class="fnanchor">[80]</a> This is preëminently his character in English <b>C-F</b>, in nearly all the forty Polish ballads, and in the two principal ballads of the German second class, <b>G</b>, <b>H</b>, though English <b>D</b>, German <b>H</b>, and Polish <b>Q</b> retain @@ -6207,7 +6167,7 @@ in x, 3, xvi, 10 (mitram).</p> <b>A</b>, and the Polish versions, the maid, like Judith, leaves her home in the night.</p> -<p>The Piedmontese cast, Italian <b>E</b> 1 [there is a castle in nearly +<p>The Piedmontese casté, Italian <b>E</b> 1 [there is a castle in nearly all the Italian ballads, and also in Dutch <b>B</b>], may remind us of Holofernes' castra.</p> @@ -6233,11 +6193,11 @@ place; e.g., German <b>G</b> 7:</p> <div class="poem"><div class="stanza"> <span class="i0">'Der Ulinger hat eylff Jungfrawen gehangen,<br /></span> -<span class="i0">Die zwlfft hat er gefangen.'<a name="FNanchor_1_87" id="FNanchor_1_87"></a><a href="#Footnote_1_87" class="fnanchor">[87]</a><br /></span> +<span class="i0">Die zwölfft hat er gefangen.'<a name="FNanchor_1_87" id="FNanchor_1_87"></a><a href="#Footnote_1_87" class="fnanchor">[87]</a><br /></span> </div></div> <p>This corresponds with the passage in Judith's song (xvi, 6), <em class="gesperrt">Dixit -se</em> ... infantes meos <em class="gesperrt">dare</em> in prdam et <em class="gesperrt">virgenes in +se</em> ... infantes meos <em class="gesperrt">dare</em> in prædam et <em class="gesperrt">virgenes in captivitatem</em>: but it is reasonable to suppose that the ballad follows some version of the Bible words that varied much from the original.</p> @@ -6288,7 +6248,7 @@ Jews hold a feast.</p> concluding stanza which certainly belongs to the ballad:</p> <div class="poem"><div class="stanza"> -<span class="i0">sa went into a holy cell,<br /></span> +<span class="i0">Ása went into a holy cell,<br /></span> <span class="i0">Never did she harm to man.<br /></span> </div></div> @@ -6385,7 +6345,7 @@ Folkeviser, No 37, p. 230: <b>B b</b> in the same, No 36, p. 227: <b>C a</b>, <b>b</b>, <b>D a</b>, <b>b</b>, blended, No 35, p. 221. <b>A</b>, by Rosa Warrens, Schottische V. L. der Vorzeit, No 1, p. 1: Gerhard, p. 15. <b>C b</b>, by Rosa Warrens, No<span class="pagenum"><a name="Pg_1-55" id="Pg_1-55">[Pg 55]</a></span> 34, p. 148: Wolf, -Halle der Vlker, <span class="smcap">I</span>, 38, Hausschatz, 225. <b>C</b>, <b>D</b>, +Halle der Völker, <span class="smcap">I</span>, 38, Hausschatz, 225. <b>C</b>, <b>D</b>, etc., as in Allingham, p. 244, by Knortz, Lied. u. Rom. Alt-Englands, No 4, p. 14.</p> @@ -7400,7 +7360,7 @@ again in 'Glenkindie' (st. 6).</p></div> <p><a name="Footnote_1_26" id="Footnote_1_26"></a><a href="#FNanchor_1_26"><span class="label">[26]</span></a> Perhaps the change from wood, <b>A</b>, to water, <b>B-F</b>, was made under the influence of some Merman ballad, or -by admixture with such a ballad; e.g., 'Nkkens Svig,' Grundtvig, No +by admixture with such a ballad; e.g., 'Nøkkens Svig,' Grundtvig, No 39. In this (<b>A</b>) the nix entices a king's daughter away from a dance, sets her on his horse, and rides with her over the heath to a wild water, into which she sinks. It is also quite among possibilities @@ -7459,14 +7419,14 @@ good reason for her tears, but none as yet here.</p></div> <div class="footnote"> -<p><a name="Footnote_1_29" id="Footnote_1_29"></a><a href="#FNanchor_1_29"><span class="label">[29]</span></a> J. W. Wolf, Deutsche Mrchen u. Sagen, No 29, p. 143, +<p><a name="Footnote_1_29" id="Footnote_1_29"></a><a href="#FNanchor_1_29"><span class="label">[29]</span></a> J. W. Wolf, Deutsche Märchen u. Sagen, No 29, p. 143, gives the story according to <b>B</b>, apparently from a ballad like Snellaert's. So Luise v. Ploennies, Reiseerinnerungen aus Belgien, p. 38. </p> <p> Halewyn makes his appearance again in the Flemish ballad, 'Halewyn en -het kleyne Kind,' Coussemaker, No 46, p. 149; Posies populaires de la +het kleyne Kind,' Coussemaker, No 46, p. 149; Poésies populaires de la France, vol. <span class="smcap">I</span>. A boy of seven years has shot one of Halewyn's rabbits, and is for this condemned to be hanged on the highest tree in the park. The father makes great offers for his ransom, but in vain. @@ -7478,19 +7438,19 @@ there is a resemblance here to German ballads (<b>G-X</b>, <b>Z</b>).</p></div> <div class="footnote"> -<p><a name="Footnote_1_30" id="Footnote_1_30"></a><a href="#FNanchor_1_30"><span class="label">[30]</span></a> "La chanson de Halewyn, telle peu prs que la donnent -Willems, Snellaert et de Coussemaker, se vend encore sur le march +<p><a name="Footnote_1_30" id="Footnote_1_30"></a><a href="#FNanchor_1_30"><span class="label">[30]</span></a> "La chanson de Halewyn, telle à peu près que la donnent +Willems, Snellaert et de Coussemaker, se vend encore sur le marché de Bruges. Quoiqu'elle porte pour titre <i>Halewyn</i>, jamais notre -pice n'a t connue ici sous ce nom. Le nom de Halewijn, Alewijn ou -Alwin ... est rserv au hros de la pice suivante" [Mi Adel en Hir +pièce n'a été connue ici sous ce nom. Le nom de Halewijn, Alewijn ou +Alwin ... est réservé au héros de la pièce suivante" [Mi Adel en Hir Alewijn]. Lootens et Feys, p. 66. "Il est a regretter que Willems et de -Coussemaker n'aient pas jug propos de donner cette pice telle que -le peuple l'a conserve; on serait sans aucun doute en possession de +Coussemaker n'aient pas jugé à propos de donner cette pièce telle que +le peuple l'a conservée; on serait sans aucun doute en possession de variantes remarquables, et les lacunes qui existent dans notre version -n'eussent pas manqu d'tre com bles. Il est bon d'insister sur la -remarque faite la suite de la chanson, qu' Bruges et dans beaucoup -de localits de la Flandre, elle n'est connue que sous le titre de -<i>Roland</i>. Ajoutons que notre texte appartient au dernier sicle." L. et +n'eussent pas manqué d'être com blées. Il est bon d'insister sur la +remarque faite à la suite de la chanson, qu'à Bruges et dans beaucoup +de localités de la Flandre, elle n'est connue que sous le titre de +<i>Roland</i>. Ajoutons que notre texte appartient au dernier siècle." L. et F., 295.</p></div> <div class="footnote"> @@ -7513,7 +7473,7 @@ watch kept over the lady in 7-10 are repeated in 'Ribold og Guldborg,' Grundtvig, 82, <b>B</b> 2-7, 8-11, and in 'Den trofaste Jomfru,' ib. 249, <b>A</b> 3-6, 7-10. The watching in <b>A</b>, <b>B</b>, <b>C</b> and the proffered gifts of <b>C</b>, <b>D</b>, <b>F</b> are found in -'Nkkens Svig,' Grundtvig, 39, <b>A</b>, <b>B</b>, 12-18. The disguise +'Nøkkens Svig,' Grundtvig, 39, <b>A</b>, <b>B</b>, 12-18. The disguise in <b>A</b> 11-14, the rest in the wood with the knight's head in the lady's lap, <b>A</b> 16, 27, <b>B</b> 11, 21, <b>D</b> 14, 24, <b>E</b> 11, 21, etc., recur in Ribold, <b>B</b> 12-14, <b>L</b> 9, 10, @@ -7522,14 +7482,14 @@ naturally, are not limited to the Danish copies.</p></div> <div class="footnote"> -<p><a name="Footnote_1_33" id="Footnote_1_33"></a><a href="#FNanchor_1_33"><span class="label">[33]</span></a> So the princess in Asbjrnsen og Moe, N. Folkeeventyr, +<p><a name="Footnote_1_33" id="Footnote_1_33"></a><a href="#FNanchor_1_33"><span class="label">[33]</span></a> So the princess in Asbjörnsen og Moe, N. Folkeeventyr, p. 153. Cf. Campbell's Tales of the West Highlands, <span class="smcap">III</span>, 209; <span class="smcap">IV</span>, 282, 283.</p></div> <div class="footnote"> <p><a name="Footnote_1_34" id="Footnote_1_34"></a><a href="#FNanchor_1_34"><span class="label">[34]</span></a> The binding and waking, with these words, are found also -in a made-up text of 'Frndehvn,' Grundtvig, No 4, <b>C</b> 51-53, but +in a made-up text of 'Frændehævn,' Grundtvig, No 4, <b>C</b> 51-53, but certainly borrowed from some copy of 'Kvindemorderen.'</p></div> <div class="footnote"> @@ -7599,10 +7559,10 @@ has been found in German. See further on in this volume.</p></div> <div class="poem"><div class="stanza"> <span class="i0"><span class="footnum">13</span><br /></span> -<span class="i4">'Ach du schne junkfraw fein,<br /></span> -<span class="i4">Du pfalzgrvin, du kaiserin!<br /></span> -<span class="i4">Der Adelger hat sich vor ailf getdt,<br /></span> -<span class="i4">Du wirst die zwlft, das sei dir gsait.<br /></span> +<span class="i4">'Ach du schöne junkfraw fein,<br /></span> +<span class="i4">Du pfalzgrävin, du kaiserin!<br /></span> +<span class="i4">Der Adelger hat sich vor ailf getödt,<br /></span> +<span class="i4">Du wirst die zwölft, das sei dir gsait.<br /></span> </div> <div class="stanza"> <span class="i0"><span class="footnum">15</span><br /></span> @@ -7630,14 +7590,14 @@ Liederhort, p. 41, No 15, st. 19.</p></div> <p><a name="Footnote_1_45" id="Footnote_1_45"></a><a href="#FNanchor_1_45"><span class="label">[45]</span></a> There is no sense in <i>two</i> doves. The single dove one may suppose to be the spirit of the last victim. We shall find the <i>eleven</i> appearing as doves in <b>Q</b>. There is no occasion to regard the dove -here as a Waldminne (Vilmar, Handbchlein fr Freunde des deutschen +here as a Waldminne (Vilmar, Handbüchlein für Freunde des deutschen Volkslieds, p. 57). Cf. the nightingale (and two nightingales) in the Danish 'Redselille og Medelvold:' see 'Leesome Brand,' further on in this volume.</p></div> <div class="footnote"> -<p><a name="Footnote_1_46" id="Footnote_1_46"></a><a href="#FNanchor_1_46"><span class="label">[46]</span></a> This ballad has become, in Tbingen, a children's game, +<p><a name="Footnote_1_46" id="Footnote_1_46"></a><a href="#FNanchor_1_46"><span class="label">[46]</span></a> This ballad has become, in Tübingen, a children's game, called 'Bertha im Wald.' The three cries are preserved in verse, and very nearly as in <b>J</b>, <b>M</b>. The game concludes by the robber smothering Bertha. Meier, Deutsche Kinder-Reime, No 439.</p></div> @@ -7651,7 +7611,7 @@ Another Swabian copy, Meier, p. 301, note, strophe 6, has: </p> <div class="poem"><div class="stanza"> -<span class="i0">'Wir mssen zu selbigem Bronnen<br /></span> +<span class="i0">'Wir müssen zu selbigem Bronnen<br /></span> <span class="i0">Wo Wasser und Blut heraus ronnen.'<br /></span> </div></div> </div> @@ -7663,14 +7623,14 @@ the rest: </p> <div class="poem"><div class="stanza"> -<span class="i4">Mein Bruder ist ein Jgersmann,<br /></span> +<span class="i4">Mein Bruder ist ein Jägersmann,<br /></span> <span class="i4">Der alle Thierlein schiessen kann;<br /></span> <span class="i4">Er hatt' ein zweischneidiges Schwerte,<br /></span> <span class="i4">Und stach es dem Falschen ins Herze.<br /></span> </div> <div class="stanza"> -<span class="i4">Ihr Mdchen alle insgemein,<br /></span> +<span class="i4">Ihr Mädchen alle insgemein,<br /></span> <span class="i4">Lasst euch doch diess zur Warnung sein,<br /></span> <span class="i4">Und geht doch mit keinem so falschen<br /></span> <span class="i4">In einen so finsteren Walde.<br /></span> @@ -7720,7 +7680,7 @@ p. 26, has, Grundtvig, assuming that the name is Ulbrich Halsemann, would account for the second and superfluous character here [found also in <b>W</b>] by a divarication of Ulrich Halsemann into Ulrich <i>and</i> Halsemann -(Hanslein). Ansar, "bisher unverstndlicher Vorname des Ritters +(Hanslein). Ansar, "bisher unverständlicher Vorname des Ritters Uleraich" in <b>Y</b> (Meinert), would equally well yield Hanslein. Might not Halsemann possibly be an equivalent of Halsherr?</p></div> @@ -7748,7 +7708,7 @@ said, presents traits of all three classes.</p></div> <div class="poem"><div class="stanza"> -<span class="i0">'Da liege, du Huptchen, und faule,<br /></span> +<span class="i0">'Da liege, du Häuptchen, und faule,<br /></span> <span class="i0">Kein Reuter wird dir nachtrauern.'<br /></span> </div></div> @@ -7759,7 +7719,7 @@ are evidently derived from the apostrophe to the murderer's head in <b>I</b>, <b>W</b>, <b>Y</b>. </p> <p> -Stolz Syburg is the hero of a very different ballad, from the Mnster +Stolz Syburg is the hero of a very different ballad, from the Münster region, Reifferscheid, No 16, p. 32 (also No 17, and Simrock, No 9, p. 23, 'Stolz Heinrich'). And from this the name, in consequence of a remote resemblance in the story, may have been taken up by the Rhine @@ -7770,9 +7730,9 @@ nothing but a barren heath. She stabs herself at his feet.</p></div> <div class="footnote"> -<p><a name="Footnote_1_55" id="Footnote_1_55"></a><a href="#FNanchor_1_55"><span class="label">[55]</span></a> 'Wassermans Braut,' Meinert, p. 77; 'Die unglckliche -Braut,' Hoffmann u. Richter, Schlesische V. L., p. 6, No. 2; 'Knigs -Tchterlein,' Erk u. Irmer, vi, 6, No 4; 'Der Wassermann,' Erk's +<p><a name="Footnote_1_55" id="Footnote_1_55"></a><a href="#FNanchor_1_55"><span class="label">[55]</span></a> 'Wassermans Braut,' Meinert, p. 77; 'Die unglückliche +Braut,' Hoffmann u. Richter, Schlesische V. L., p. 6, No. 2; 'Königs +Töchterlein,' Erk u. Irmer, vi, 6, No 4; 'Der Wassermann,' Erk's Liederhort, p. 50, No 17. ('Die Nixenbraut,' "Norddeutschland," Zuccalmaglio, p. 192, No 92, seems to be Meinert's copy written over.)</p></div> @@ -7785,8 +7745,8 @@ contact between stanza 19, </p> <div class="poem"><div class="stanza"> -<span class="i0">'Heiemo tenkte me sjave seg:<br /></span> -<span class="i0">Tru mine sm <i>knivar</i> 'ki hjelper meg?'<br /></span> +<span class="i0">'Heiemo tenkte með sjave seg:<br /></span> +<span class="i0">Tru mine smá <i>knivar</i> 'ki hjelper meg?'<br /></span> </div></div> <p> @@ -7794,8 +7754,8 @@ and Norwegian <b>F</b>, stanza 9, cited by Grundtvig, <span class="smcap">IV</sp </p> <div class="poem"><div class="stanza"> -<span class="i0">Lengji st Gullbjr, h tenkte m seg:<br /></span> -<span class="i0">'Kann inkje m' <i>rninne</i> hjelpe meg?'<br /></span> +<span class="i0">Lengji stó Gullbjör, hó tenkte mæ seg:<br /></span> +<span class="i0">'Kann inkje mí' <i>rúninne</i> hjelpe meg?'<br /></span> </div></div> <p> @@ -7901,7 +7861,7 @@ by Talvj as a spurious appendage.</p></div> <div class="poem"><div class="stanza"> <span class="i0">'De achte de soll Helena sin,<br /></span> -<span class="i0">De achte de most he slwer sin.'<br /></span> +<span class="i0">De achte de most he sölwer sin.'<br /></span> </div></div> <p class="source">German <b>A b</b> 13.</p> @@ -7912,31 +7872,31 @@ by Talvj as a spurious appendage.</p></div> <div class="footnote"> <p><a name="Footnote_1_68" id="Footnote_1_68"></a><a href="#FNanchor_1_68"><span class="label">[68]</span></a> Another version of this double ballad, but much corrupted -in the second part, was known to Grard de Nerval. See Les Filles du -Feu, Œuvres compltes, <span class="smcap">V</span>, 132.</p></div> +in the second part, was known to Gérard de Nerval. See Les Filles du +Feu, Œuvres complètes, <span class="smcap">V</span>, 132.</p></div> <div class="footnote"> <p><a name="Footnote_1_69" id="Footnote_1_69"></a><a href="#FNanchor_1_69"><span class="label">[69]</span></a> So far there is agreement in 'La Fille du Prince,' -Paymaigre, No 32, p. 106; Posies pop. de la France, MS., <span class="smcap">III</span>, +Paymaigre, No 32, p. 106; Poésies pop. de la France, MS., <span class="smcap">III</span>, fol. 133.</p></div> <div class="footnote"> <p><a name="Footnote_1_70" id="Footnote_1_70"></a><a href="#FNanchor_1_70"><span class="label">[70]</span></a> The Asturian romance communicated in two copies by Amador -de los Rios to Jahrbuch fr rom. u. eng. Literatur, <span class="smcap">III</span>, 285, +de los Rios to Jahrbuch für rom. u. eng. Literatur, <span class="smcap">III</span>, 285, No 2, and the Portuguese 'Romance de Romeirinha,' Braga, Romanceiro, No 9, p. 24, 'A Romeira,' Almeida-Garrett, <span class="smcap">III</span>, 11, are not parallels, though they have been cited as such.</p></div> <div class="footnote"> -<p><a name="Footnote_1_71" id="Footnote_1_71"></a><a href="#FNanchor_1_71"><span class="label">[71]</span></a> Magyar Npkltsi Gyjtemny. Uj Folyam, szerkesztik -s kiadjk Arany Lszl s Gyulai Pl. Collection of Magyar Popular +<p><a name="Footnote_1_71" id="Footnote_1_71"></a><a href="#FNanchor_1_71"><span class="label">[71]</span></a> Magyar Népköltési Gyüjtemény. Uj Folyam, szerkesztik +és kiadják Arany László és Gyulai Pál. Collection of Magyar Popular Poetry, New Series, Pest, 1872, 2 vols. Aigner, has blended Nos 4 and 3 (<b>C</b>, <b>A</b>) in 'Martin und Aennchen,' Ungarische Volksdichtungen, p. 170, and has translated No 1 (<b>E</b>), at p. 120, -'Molnr Anna,' in each case obscuring or omitting one or two traits +'Molnár Anna,' in each case obscuring or omitting one or two traits which are important for a comparative view.</p></div> <div class="footnote"> @@ -7994,7 +7954,7 @@ the previous victims are said to have been <i>hanged</i>.</p></div> <div class="footnote"> -<p><a name="Footnote_1_79" id="Footnote_1_79"></a><a href="#FNanchor_1_79"><span class="label">[79]</span></a> The saga in Bjrner's Nordiska Kmpadater, c. 5-7.</p></div> +<p><a name="Footnote_1_79" id="Footnote_1_79"></a><a href="#FNanchor_1_79"><span class="label">[79]</span></a> The saga in Björner's Nordiska Kämpadater, c. 5-7.</p></div> <div class="footnote"> @@ -8016,7 +7976,7 @@ akin to the other John and Katie ballads.</p></div> <p><a name="Footnote_1_82" id="Footnote_1_82"></a><a href="#FNanchor_1_82"><span class="label">[82]</span></a> It is well known that in the Middle Ages the blood of children or of virgins was reputed a specific for leprosy (see, e.g., -Cassel in the Weimar Jahrbcher, <span class="smcap">I</span>, 408.) Some have thought to +Cassel in the Weimar Jahrbücher, <span class="smcap">I</span>, 408.) Some have thought to find in this fact an explanation of the murders in these ballads and in the Bluebeard stories, and, according to Rochholz, this theory has been adopted into popular tradition in the Aargau. So far as this cycle @@ -8032,8 +7992,8 @@ nordiske Balladedigtnings Historie, p. 75 ff.</p></div> <div class="footnote"> -<p><a name="Footnote_1_84" id="Footnote_1_84"></a><a href="#FNanchor_1_84"><span class="label">[84]</span></a> Bugge cites the Old German Judith, Mllenhoff u. Scherer, -Denkmler, 2d ed., No 37, p. 105, to show how the Bible story became +<p><a name="Footnote_1_84" id="Footnote_1_84"></a><a href="#FNanchor_1_84"><span class="label">[84]</span></a> Bugge cites the Old German Judith, Müllenhoff u. Scherer, +Denkmäler, 2d ed., No 37, p. 105, to show how the Bible story became modified under a popular treatment.</p></div> <div class="footnote"> @@ -8083,10 +8043,10 @@ only be explained by the ballad having come from Germany.</p></div> <p><a name="Footnote_1_90" id="Footnote_1_90"></a><a href="#FNanchor_1_90"><span class="label">[90]</span></a> This toilet derives importance solely from the agreement with Judith x, 3: for the rest it is entirely in the ballad style. Compare the toilets in 'Hafsfrun,' Afzelius, No 92, <span class="smcap">III</span>, 148, -Arwidsson, No 150, <span class="smcap">II</span>, 320, Wigstrm, Folkdiktning, No 2, p. +Arwidsson, No 150, <span class="smcap">II</span>, 320, Wigström, Folkdiktning, No 2, p. 11, Landstad, No 55, p. 494: 'Guldsmedens Datter,' Grundtvig, No. 245, -<span class="smcap">IV</span>, 481 ff, Wigstrm, ib., No 18, p. 37, Landstad, No 43, -p. 437: Torkilds Riim, Lyngbye, Friske Qvder, 534, 535, Afzelius, +<span class="smcap">IV</span>, 481 ff, Wigström, ib., No 18, p. 37, Landstad, No 43, +p. 437: Torkilds Riim, Lyngbye, Færøiske Qvæder, 534, 535, Afzelius, <span class="smcap">III</span>, 202: 'Stolts Karin,' Arwidsson, No 63, <span class="smcap">I</span>, 388: 'Liti Kerstis hevn,' Landstad, No 67, p. 559 == 'Lord Thomas and Fair Annet': in many of which there is a gold crown. There is a man's toilet @@ -8105,7 +8065,7 @@ in "Roland die op zijn bedde lag," <b>C</b> 39.</p></div> <p><a name="Footnote_1_92" id="Footnote_1_92"></a><a href="#FNanchor_1_92"><span class="label">[92]</span></a> Judith xiv, 1: "Suspendite caput hoc super muros nostros." The cutting off and bringing home of the head, as need hardly be said, is not of itself remarkable, being found everywhere from David -to Bewulf, and from Bewulf to 'Sir Andrew Barton.'</p></div> +to Beówulf, and from Beówulf to 'Sir Andrew Barton.'</p></div> <div class="footnote"> @@ -8245,7 +8205,7 @@ ballad was known.</p> Afzelius: <b>A</b>, 'Riddar Olle' in 50 two-line stanzas, <span class="smcap">II</span>, 217; <b>B</b>, 19 two-line stanzas, <span class="smcap">II</span>, 59; <b>C</b>, 19 two-line stanzas, <span class="smcap">II</span>, 56: No 33, <span class="smcap">I</span>, 175-182 of -Bergstrm's edition. Besides these, there are two fragments in +Bergström's edition. Besides these, there are two fragments in Cavallius and Stephens's unprinted collection: <b>D</b>, 6 stanzas; <b>E</b>, 7 stanzas, the latter printed in Grundtvig, <span class="smcap">V</span>, 307.<a name="FNanchor_1_96" id="FNanchor_1_96"></a><a href="#Footnote_1_96" class="fnanchor">[96]</a> All<span class="pagenum"><a name="Pg_1-64" id="Pg_1-64">[Pg 64]</a></span> these were obtained from recitation in the present @@ -8293,7 +8253,7 @@ the substitution of the waiting-woman for the bride and the magical coverlet. <b>D</b> has also lost these important features of the original story; <b>E</b> has retained them.</p> -<p><b>Danish.</b> 'Brud ikke M,' Grundtvig, No 274, <span class="smcap">V</span>, 304. +<p><b>Danish.</b> 'Brud ikke Mø,' Grundtvig, No 274, <span class="smcap">V</span>, 304. There are two old versions (more properly only one, so close is the agreement), and a third from recent tradition. This last, Grundtvig's <b>C</b>, from Jutland, 1856, seems to be of Swedish origin, and, like @@ -8306,17 +8266,17 @@ No 194, translated in Jamieson's Illustrations, p. 340, and by Prior, <span class="smcap">III</span>, 347. A later form of <b>B</b>, from recent recitation, 1868, is given in Kristensen's Jydske Folkeviser, <span class="smcap">I</span>, No 53.</p> -<p>The story in <b>A</b> runs thus: Slverlad and Vendelrod [Ingefred and -Gudrune] were sitting together, and Vendelrod wept sorely. Slverlad +<p>The story in <b>A</b> runs thus: Sølverlad and Vendelrod [Ingefred and +Gudrune] were sitting together, and Vendelrod wept sorely. Sølverlad asked her sister the reason, and was told there was cause. Would she be bride one night? Vendelrod would give her wedding clothes and all -her outfit. But Slverlad asked for bridegroom too, and Vendelrod +her outfit. But Sølverlad asked for bridegroom too, and Vendelrod would not give up her bridegroom, happen what might. She went to church and was married to Samsing. On the way from church they met a spaeman [<b>B</b>, shepherd], who warned Vendelrod that Samsing had some nightingales that could tell him whether he had married a maid or no. The sisters turned aside<span class="pagenum"><a name="Pg_1-65" id="Pg_1-65">[Pg 65]</a></span> and changed clothes, but could not -change cheeks! Slverlad was conducted to Samsing's house and placed +change cheeks! Sølverlad was conducted to Samsing's house and placed on the bride bench. An unlucky jester called out, "Methinks this is not Vendelrod!" but a gold ring adroitly thrown into his bosom opened his eyes still wider, and made him pretend he had meant nothing. The @@ -8333,7 +8293,7 @@ Vendelrod's agony is over.</p> knife, are found in the later <b>C</b>. Danish <b>D</b> is but a single initial stanza.</p> -<p>Besides Slverlad and Vendelrod, there is a considerable number of +<p>Besides Sølverlad and Vendelrod, there is a considerable number of Danish ballads characterized by the feature that a bride is not a maid, and most or all of these have similarities to 'Gil Brenton.' 'Hr. Find og Vendelrod,' Grundtvig, No 275, has even the talking blanket @@ -8364,8 +8324,8 @@ the bower that was forced by eight swains and a knight in <b>A</b>, <b>C</b>, <b>D</b>, <b>F</b>; the gifts in <b>A</b>, <b>B</b>, <b>F</b>; and an express acknowledgment of the act of violence by the bridegroom in <b>A</b>, <b>B</b>, <b>D</b>. We find all of these traits -except the first in the corresponding Swedish ballad 'Herr ster och -Frken Sissa,' Afzelius, No 38, new ed., No 32,<sup>1</sup>; the saddle and +except the first in the corresponding Swedish ballad 'Herr Äster och +Fröken Sissa,' Afzelius, No 38, new ed., No 32,<sup>1</sup>; the saddle and broken bower in Swedish <b>D</b>, Grundtvig, No 277, Bilag 1; only the saddle in Swedish <b>F</b>, Grundtvig, No. 277, Bilag 3, and <b>C</b>, Arwidsson, No 132; the saddle and gifts in Icelandic <b>A</b>, @@ -8391,13 +8351,13 @@ the date 1572 (the oldest Danish version is also from a manuscript of<span class the 16th century), is 'Riddar Lage och Stolts Elensborg,' Arwidsson, No 56.</p> -<p>'Iver Hr. Jonsn,' Grundtvig, No 280, in five versions, the oldest of +<p>'Iver Hr. Jonsøn,' Grundtvig, No 280, in five versions, the oldest of the 16th century, exhibits a lady as fearing the arrival of her lover's ship, and sending her mother to meet him, while she takes to her bed. Immediately upon her betrothed's entering her chamber, she abruptly discloses the cause of her trouble. Eight men had broken into her bower on the strand, and the ninth deprived her of her honor. Iver Hr. -Jonsn, with as little delay, confesses that he was the culprit, and +Jonsøn, with as little delay, confesses that he was the culprit, and makes prompt arrangements for the wedding.</p> <p>There is another series of ballads, represented by 'Leesome Brand' in @@ -8405,11 +8365,11 @@ English, and by 'Redselille og Medelvold' in Danish, which describe a young woman, who is on the point of becoming a mother, as compelled to go off on horseback with her lover, and suffering from the ride. We find the question, whether the saddle is too narrow or the way -too long, in the Danish 'Bolde Hr. Nilaus' Ln,' Grundtvig, 270, +too long, in the Danish 'Bolde Hr. Nilaus' Løn,' Grundtvig, 270, 'Redselille og Medelvold,' Grundtvig, 271 <b>C</b>, <b>D</b>, <b>E</b>, <b>I</b>, <b>K</b>, <b>L</b>, <b>M</b>, <b>P</b>, <b>Q</b>, <b>V</b>, <b>Y</b>, and the Norwegian versions, <b>A</b>, <b>D</b>, <b>E</b>, -<b>F</b>, of 'Snnens Sorg,' Grundtvig, 272, Bilag 1, 4, 5, 6.<a name="FNanchor_1_98" id="FNanchor_1_98"></a><a href="#Footnote_1_98" class="fnanchor">[98]</a> The +<b>F</b>, of 'Sønnens Sorg,' Grundtvig, 272, Bilag 1, 4, 5, 6.<a name="FNanchor_1_98" id="FNanchor_1_98"></a><a href="#Footnote_1_98" class="fnanchor">[98]</a> The gifts also occur in Grundtvig's 271 <b>A</b>, <b>Z</b>, and Norwegian <b>D</b>, Bilag 9.</p> @@ -8421,9 +8381,9 @@ many ballads besides those belonging to the groups here spoken of: as 'Hildebrand og Hilde,' <b>E</b>, <b>I</b>, Grundtvig, No 83, and Norwegian <b>A</b>, <span class="smcap">III</span>, 857; 'Guldsmedens Datter,' Grundtvig, 245, and its Swedish counterpart at p. 481 of the preface to the same, -and in Eva Wigstrm's Folkdiktning, p. 37, No 18; 'Liden Kirstins +and in Eva Wigström's Folkdiktning, p. 37, No 18; 'Liden Kirstins Dans,' Grundtvig, 263 (translated by Prior, 112), and Norwegian -<b>B</b>, <b>C</b>, Bilag 2, 3; 'Jomfruens Harpeslt,' Grundtvig, 265 +<b>B</b>, <b>C</b>, Bilag 2, 3; 'Jomfruens Harpeslæt,' Grundtvig, 265 (translated by Jamieson, 'Illustrations,' p. 382, Prior, 123, Buchanan, p. 6), and Swedish <b>D</b>, Bilag 2, Swedish <b>A</b>, Afzelius, 81. So Landstad, 42, 45; Arwidsson, 141; Grundtvig, 37 <b>G</b>; 38 @@ -8431,7 +8391,7 @@ p. 6), and Swedish <b>D</b>, Bilag 2, Swedish <b>A</b>, Afzelius, <b>A</b>, <b>C</b>.</p> <p>A very pretty Norwegian tale has for the talisman a stepping-stone at -the side of the bed: Asbjrnsen og Moe, No 29, 'Vesle Aase Gaasepige,' +the side of the bed: Asbjørnsen og Moe, No 29, 'Vesle Aase Gaasepige,' Dasent, 2d ed., p. 478. An English prince had pictures taken of all the handsomest princesses, to pick his bride by. When the chosen one arrived, Aase the goose-girl informed her that the stone at the bedside @@ -8489,19 +8449,19 @@ passage cited by Grimm from Voet: "De illis quos nostrates appellant <i>beeldwit et blinde belien</i>, a quibus nocturna visa videri atque ex iis arcana revelari putant."<a name="FNanchor_1_100" id="FNanchor_1_100"></a><a href="#Footnote_1_100" class="fnanchor">[100]</a> Though the etymology of these words is not unencumbered with difficulty, <i>bil</i> seems to point to a just and -kindly-tempered being. Bilvs, in the seventh book of Saxo Grammaticus, +kindly-tempered being. Bilvís, in the seventh book of Saxo Grammaticus, is an aged counsellor whose bent is to make peace, while his brother -Blvs, a blind man, is a strife-breeder and mischief-maker.<a name="FNanchor_1_101" id="FNanchor_1_101"></a><a href="#Footnote_1_101" class="fnanchor">[101]</a> -The same opposition of Bil and Bl apparently occurs in the Edda, -Grmnisml, 47<sup>4</sup>, where Bil-eygr and Bl-eygr (Bal-eygr) are -appellatives of Odin, which may signify mild-eyed and evil-eyed. Blvs -is found again in the Hrmund's saga, under the description of 'Blind -the Bad,' and 'the Carl Blind whose name was Bavs.' But much of this +Bölvís, a blind man, is a strife-breeder and mischief-maker.<a name="FNanchor_1_101" id="FNanchor_1_101"></a><a href="#Footnote_1_101" class="fnanchor">[101]</a> +The same opposition of Bil and Böl apparently occurs in the Edda, +Grímnismál, 47<sup>4</sup>, where Bil-eygr and Böl-eygr (Bal-eygr) are +appellatives of Odin, which may signify mild-eyed and evil-eyed. Bölvís +is found again in the Hrômund's saga, under the description of 'Blind +the Bad,' and 'the Carl Blind whose name was Bavís.' But much of this saga is taken from the story of Helgi Hundingslayer; and Blind the Bad -in the saga is only Smund's Blindr inn blvsi,—the blind man whose +in the saga is only Sæmund's Blindr inn bölvísi,—the blind man whose baleful wit sees through the disguise of Helgi, and all but betrays the rash hero to his enemies; that is, Odin in his malicious mood -(Blverkr), who will presently be seen in the ballad of <a href="#Ballad_7">'Earl Brand'</a> +(Bölverkr), who will presently be seen in the ballad of <a href="#Ballad_7">'Earl Brand'</a> masking as Old Carl Hood, "aye for ill and never for good." Originally and properly, perhaps, only the bad member of this mythical pair is blind; but it would not be at all strange that later tradition, which @@ -8509,7 +8469,7 @@ confuses and degrades so much in the old mythology, should transfer blindness to the good-natured one, and give rise to the anomalous Billie Blind. See Grimm, Deutsche Mythologie, 1879, <span class="smcap">I</span>, 391 ff; Uhland, Zur Geschichte der Dichtung u. Sage, <span class="smcap">III</span>, 132 ff, -<span class="smcap">VII</span>, 229; Schmeller, Bayerisches Wrterbuch, <span class="smcap">II</span>, 1037 +<span class="smcap">VII</span>, 229; Schmeller, Bayerisches Wörterbuch, <span class="smcap">II</span>, 1037 ff, ed. 1877; Van den Bergh, Woordenboek der nederlandsche Mythologie, 12.</p> @@ -10493,10 +10453,10 @@ Queries, 5th S., x, 443.</p></div> <div class="footnote"> -<p><a name="Footnote_1_96" id="Footnote_1_96"></a><a href="#FNanchor_1_96"><span class="label">[96]</span></a> A fragment in Rancken's 'Ngra Prof af Folksng,' p. 14 -f, belongs not to 'Riddar Olle,' as there said, but to 'Herr ster och -Frken Sissa,' though the burden is 'Riddar Olof.' Other verses, at p. -16, might belong to either. 'Riddar Ola,' E. Wigstrm's Folkdiktning, +<p><a name="Footnote_1_96" id="Footnote_1_96"></a><a href="#FNanchor_1_96"><span class="label">[96]</span></a> A fragment in Rancken's 'Några Prof af Folksång,' p. 14 +f, belongs not to 'Riddar Olle,' as there said, but to 'Herr Äster och +Fröken Sissa,' though the burden is 'Riddar Olof.' Other verses, at p. +16, might belong to either. 'Riddar Ola,' E. Wigström's Folkdiktning, p. 37, No 18, belongs with the Danish 'Guldsmedens Datter,' Grundtvig No 245.</p></div> @@ -10504,8 +10464,8 @@ No 245.</p></div> <p><a name="Footnote_1_97" id="Footnote_1_97"></a><a href="#FNanchor_1_97"><span class="label">[97]</span></a> The inquiry seems to refer to the morning gift. "Die Morgengabe ist ein Geschenk des Mannes als Zeichen der Liebe (in -signum amoris), fr die Uebergabe der vollen Schnheit (in honore -pulchritudinis) und der Jungfrulichkeit (pretium virginitatis)." +signum amoris), für die Uebergabe der vollen Schönheit (in honore +pulchritudinis) und der Jungfräulichkeit (pretium virginitatis)." Weinhold, Die deutschen Frauen in dem Mittelalter, S. 270.</p></div> <div class="footnote"> @@ -10524,14 +10484,14 @@ or Billie Blin, is the Scotch name for the game of Blindman's-buff.</p></div> <div class="footnote"> <p><a name="Footnote_1_100" id="Footnote_1_100"></a><a href="#FNanchor_1_100"><span class="label">[100]</span></a> Gisbertus Voetius, De Miraculis, Disput., <span class="smcap">II</span>, -1018. Cited also by Schmeller, Bayerisches Wrterbuch, from J. -Prtorius's Alectryomantia, p. 3.</p></div> +1018. Cited also by Schmeller, Bayerisches Wörterbuch, from J. +Prætorius's Alectryomantia, p. 3.</p></div> <div class="footnote"> <p><a name="Footnote_1_101" id="Footnote_1_101"></a><a href="#FNanchor_1_101"><span class="label">[101]</span></a> Merlin, in Layamon, <span class="smcap">v</span>. 17130 ff (as pointed out by Grundtvig, <span class="smcap">I</span>, 274), says that his mind is balewise, "mi -gst is bliwis," and that he is not disposed to gladness, mirth, or +gæst is bæliwis," and that he is not disposed to gladness, mirth, or good words.</p></div></div> @@ -10715,7 +10675,7 @@ rowan chest stood." (Grundtvig, <span class="smcap">III</span>, 858, No 84 <b>b< <p>Three Swedish versions of the ballad have been printed. <b>A</b>, <b>B</b>, from tradition of this<span class="pagenum"><a name="Pg_1-84" id="Pg_1-84">[Pg 84]</a></span> century, are given by Arwidsson, -<span class="smcap">II</span>, 252 ff, 'Liten Kerstins Frtrollning,' No 134. These +<span class="smcap">II</span>, 252 ff, 'Liten Kerstins Förtrollning,' No 134. These resemble the Danish ballads of the second class closely. Liten Kerstin goes to her mother's house, gives birth to two children, and dies. In <b>A</b> the children are a son and daughter. The son stands up, combs @@ -10726,7 +10686,7 @@ be put on two wheels." The other draws his sword, and says, "Our mother is dead, our grandmother to blame. I hope our mother is with God. Our grandmother shall be laid on seven wheels." The other copy, <b>C</b>, mentioned by Grundtvig as being in Cavallius and Stephens' manuscript -collection, has been printed in the Svenska Fornminnesfreningens +collection, has been printed in the Svenska Fornminnesföreningens Tidskrift, vol. ii, p. 72 ff, 1873-74. It dates from the close of the sixteenth century, and resembles the mixed ballads of the Danish first class, combining the flitting to the father's house with the artifice @@ -10739,7 +10699,7 @@ brushes his hair, and says he has come to his eighth year.</p> <p>Three stanzas and some of the incidents of a <b>Norwegian</b> version of this ballad have been communicated to Grundtvig, <span class="smcap">III</span>, 858 f, No 84 c, by Professor Sophus Bugge. The only place which was -unaffected by a spell was where Signelti's bride-chest stood, and the +unaffected by a spell was where Signelíti's bride-chest stood, and the chest being removed, the birth took place. The witch was a step-mother, as in Danish <b>A</b>.</p> @@ -10774,7 +10734,7 @@ joy; she is lighter, and has her wish." Lucina jumped up and unclasped her hands, and the birth followed instantly. Pausanias, ix, 11, tells a similar but briefer story, in which Historis, daughter of Tiresias, takes the place of Galanthis. See, for the whole matter, 'Ilithyia oder -die Hexe,' in C. A. Bttiger's Kleine Schriften, <span class="smcap">I</span>, 76 ff.</p> +die Hexe,' in C. A. Böttiger's Kleine Schriften, <span class="smcap">I</span>, 76 ff.</p> <p>Apuleius, in his Metamorphoses, mentions a case of suspended childbirth, which, curiously enough, had lasted eight years,<a name="FNanchor_1_105" id="FNanchor_1_105"></a><a href="#Footnote_1_105" class="fnanchor">[105]</a> as @@ -10808,14 +10768,14 @@ and 15, we have the spell of folded hands placed between the knees to prevent birth, and in No 54 hands raised to the head.<a name="FNanchor_1_106" id="FNanchor_1_106"></a><a href="#Footnote_1_106" class="fnanchor">[106]</a> In all these examples the spell is finally broken by telling the witch a piece of false news, which causes her to forget herself and take away her hands. -(Sicilianische Mrchen aus dem Volksmund gesammelt, Leipzig, 1870.)</p> +(Sicilianische Märchen aus dem Volksmund gesammelt, Leipzig, 1870.)</p> <p>We find in a <b>Roumanian</b> tale, contributed to Das Ausland for 1857, p. 1029, by F. Obert, and epitomized by Grundtvig, <span class="smcap">III</span>, 859, No 84 d, a wife condemned by her offended husband to go with child till he lays his hand upon her. It is twenty years before she obtains grace, and the son whom she then bears immediately slays his father. A -<b>Wallachian</b> form of this story (Walachische Mrchen von Arthur u. +<b>Wallachian</b> form of this story (Walachische Märchen von Arthur u. Albert Schott, No 23) omits the revenge by the new-born child, and ends happily.</p> @@ -11210,8 +11170,8 @@ Still, so large a discrepancy is hard to explain.</p></div> <div class="footnote"> <p><a name="Footnote_1_105" id="Footnote_1_105"></a><a href="#FNanchor_1_105"><span class="label">[105]</span></a> Eadem amatoris sui uxorem, quod in eam dicacule probrum -dixerat, jam in sarcina prgnationis, obspto utero et repigrato fetu, -perpetua prgnatione damuavit, et, ut cuncti numerant, jam octo annorum +dixerat, jam in sarcina prægnationis, obsæpto utero et repigrato fetu, +perpetua prægnatione damuavit, et, ut cuncti numerant, jam octo annorum onere misella illa velut elephantum paritura distenditur. <span class="smcap">I</span>, 9.</p></div> @@ -11389,13 +11349,13 @@ disappears from the recited copies, except <b>K</b>, <b>M</b>. It certainly did not originally belong to 'Ribold and Guldborg,' or to another Danish ballad in which it occurs ('Den trofaste Jomfru,' Grundtvig, 249 <b>A</b>), but rather to ballads like 'Kvindemorderen,' -Grundtvig, 183 <b>A</b>, or 'Lti Kersti,' Landstad, 44, where a +Grundtvig, 183 <b>A</b>, or 'Líti Kersti,' Landstad, 44, where a supernatural being, a demon or a hillman, seeks to entice away a mortal maid. See No 4, p. 27. In 82 <b>L</b>, <b>N</b>, <b>U</b>, <b>V</b>, -<b>Y</b>, <b></b>, <b></b>, and Kristensen's copies, the lovers are +<b>Y</b>, <b>Æ</b>, <b>Ø</b>, and Kristensen's copies, the lovers are not encountered by anybody who reports their flight. Most of the later versions, <b>K</b>, <b>L</b>, <b>M</b>, <b>N</b>, <b>P</b>, <b>U</b>, -<b>V</b>, <b>Y</b>, <b></b>, <b></b>, and Kristensen's three, make +<b>V</b>, <b>Y</b>, <b>Æ</b>, <b>Ø</b>, and Kristensen's three, make them halt in a wood, where Ribold goes to sleep in Guldborg's lap, and is roused by her when she perceives that they are pursued. So Norwegian <b>B</b>, Swedish <b>A</b>, <b>B</b>, <b>C</b>, and 'Hildebrand and @@ -11431,18 +11391,18 @@ avows that she is consoled. <b>I</b> agrees with <b>E</b> so far as it goes, but is a short fragment.</p> <p>There are three <b>Icelandic</b> versions of this ballad, 'Ribbalds -kvi,' slenzk Fornkvi, No 16, all of the seventeenth century. +kvæði,' Íslenzk Fornkvæði, No 16, all of the seventeenth century. They all come reasonably close to the Danish as to the story, and -particularly <b>A</b>. Ribbald, with no prologue, invites Gullbrn "to +particularly <b>A</b>. Ribbald, with no prologue, invites Gullbrún "to ride." He sets her on a white horse; of all women she rode best. They have gone but a little way, when they see a pilgrim riding towards them, who hails Ribbald with, Welcome, with thy stolen maid! Ribbald pretends that the maid is his sister, but the pilgrim knows very well -it is Gullbrn. She offers her cloak to him not to tell her father, but +it is Gullbrún. She offers her cloak to him not to tell her father, but the pilgrim goes straight to the king, and says, Thy daughter is off! The king orders his harp to be brought, for no purpose but to dash it on the floor once and twice, and break out the strings. He then orders -his horse. Gullbrn sees her father come riding under a hill-side, then +his horse. Gullbrún sees her father come riding under a hill-side, then her eleven brothers, then seven brothers-in-law. She begs Ribbald to spare her youngest brother's life, that he may carry the news to her mother. He replies, I will tie my horse by the reins; you take up your @@ -11450,21 +11410,21 @@ sewing! then three times forbids her to name him during the fight. He slew her father first, next the eleven brothers, then the other seven, all which filled her with compunction, and she cried out, Ribbald, still thy brand! On the instant Ribbald received many wounds. He wiped -his bloody sword, saying, This is what you deserve, Gullbrn, but love +his bloody sword, saying, This is what you deserve, Gullbrún, but love is your shield; then set her on her horse, and rode to his brother's -door. He called out, Here is a wife for you! But Gullbrn said, Never +door. He called out, Here is a wife for you! But Gullbrún said, Never will I be given to two brothers. Soon after Ribbald gave up the ghost. There was more mourning than mirth; three bodies went to the grave in one coffin, Ribbald, his lady, and his mother, who died of grief.</p> <p><b>B</b> and <b>C</b> have lost something at the beginning, <b>C</b> starting at the same point as our 'Douglas Tragedy.' The king pursues -Ribbald by water. Gullbrn (<b>B</b>) stands in a tower and sees him -land. Ribbald gives Gullbrn to his brother, as in <b>A</b>: she lives +Ribbald by water. Gullbrún (<b>B</b>) stands in a tower and sees him +land. Ribbald gives Gullbrún to his brother, as in <b>A</b>: she lives in sorrow, and dies a maid.</p> <p><b>Norwegian.</b> ('Ribold and Guldborg.') <b>A</b>, 'Rikeball og -stolt Gubjrg,' Landstad, 33; <b>B</b>, 'Veneros og stolt lleber,' +stolt Guðbjörg,' Landstad, 33; <b>B</b>, 'Veneros og stolt Ölleber,' Landstad, 34; <b>C</b>, <b>D</b>, <b>E</b>, <b>F</b>, in part described and cited, with six other copies, Grundtvig, <span class="smcap">III</span>, p. 853 f. The last half of Landstad No 23, stanzas 17-34, and stanzas 18-25 of @@ -11475,10 +11435,10 @@ her father, he puts her up in an oak-tree for safety. He warns her not to call him by name, and she says she will rather die first; but her firmness is not put to the test in this ballad, some verses having dropped out just at this point. Veneros is advised to surrender, but -dispatches his assailants by eighteen thousands (like Lille brr, in -Landstad, 23), and by way of conclusion hews the false Pl greive, who -had reported his elopement to lleber's father, into as many pieces. -He then takes lleber on his horse, they ride away and are married. +dispatches his assailants by eighteen thousands (like Lille brór, in +Landstad, 23), and by way of conclusion hews the false Pál greive, who +had reported his elopement to Ölleber's father, into as many pieces. +He then takes Ölleber on his horse, they ride away and are married. Such peculiarities in the other copies as are important to us will be noticed further on.</p> @@ -11495,19 +11455,19 @@ Danish <b>E</b>, and ends with marriage.</p> 3</span>; <b>D</b>, 'Ribbolt,' Arwidsson, No 78; <b>E</b>, 'Herr Redebold' <b>F</b>, 'Herting Liljebrand,' and <b>G</b>, 'Herr Balder,' in Cavallius and Stephens' manuscript collection; <b>H</b>, 'Kung -Walmon,' E. Wigstrm's Folkdiktning, No 15, p. 33. <b>A</b>, <b>B</b>, +Walmon,' E. Wigström's Folkdiktning, No 15, p. 33. <b>A</b>, <b>B</b>, <b>C</b>, <b>H</b>, are not markedly different from the ordinary Danish ballad, and this is true also, says Grundtvig, of the unprinted versions, <b>E</b>, <b>F</b>, <b>G</b>. <b>D</b> and <b>G</b> are of the seventeenth century, the others from recent tradition. Ribold is pictured in <b>D</b> as a bold prince, equally versed in runes and arts -as in manly exercises. He visits Githa by night: they slumber sweet, +as in manly exercises. He visits Giötha by night: they slumber sweet, but wake in blood. She binds up his wounds with rich kerchiefs. He rides home to his father's, and sits down on a bench. The king bids his servants see what is the matter, and adds, Be he sick or be he hurt, -he got it at Githa-Lilla's. They report the prince stabbed with sharp +he got it at Giötha-Lilla's. They report the prince stabbed with sharp pikes within, and bound with silk kerchiefs without. Ribold bids them -bury him in the mould, and not blame Githa-Lilla; "for my horse was +bury him in the mould, and not blame Giötha-Lilla; "for my horse was fleet, and I was late, and he hurtled me 'gainst an apple-tree" (so Hillebrand in <b>A</b>). <b>E</b> represents the heroine as surviving her lover, and united to a young king, but always grieving for Redebold.</p> @@ -11538,7 +11498,7 @@ The name Earl Brand, to begin with, is in all probability a modification of the Hildebrand found in Danish 82 <b>N</b>, <b>O</b>, <b>P</b>, <b>V</b>, <b>C*</b>, in all versions of Danish 83, and in the corresponding Swedish <b>A</b>. Ell, too, in Percy's fragment, which -may have been Ell earlier, points to Hilde, or something like it, and +may have been Ellë earlier, points to Hilde, or something like it, and Erl-inton might easily be corrupted from such a form as the Alibrand of Norwegian <b>B</b> (Grundtvig, <span class="smcap">III</span>, 858). Hildebrand is the son of the king of England in Danish 83 <b>A-E</b>, and the lady @@ -11548,12 +11508,12 @@ property of 'Earl Brand.' Something very similar is met with in 'Leesome Brand,' and is not much in place there. For 'old Carl Hood,' of whom more presently, Danish 82 <b>X</b> and Norwegian <b>A</b>, <b>C</b> have an old man, Danish <b>C</b> a crafty man, <b>T</b> a -false younker, and Norwegian <b>B</b> and three others "false Pl +false younker, and Norwegian <b>B</b> and three others "false Pál greive." The lady's urging Earl Brand to slay the old carl, and the answer, that it would be sair to kill a gray-haired man, sts 8, 9, are almost literally repeated in Norwegian <b>A</b>, Landstad, No 33. The knight does slay the old man in Danish <b>X</b> and Norwegian <b>C</b>, -and slays the court page in Danish <b>Z</b>, and false Pl greive in +and slays the court page in Danish <b>Z</b>, and false Pál greive in Norwegian <b>B</b>,—in this last <i>after</i> the battle. The question, "Where have ye stolen this lady away?" in st. 11, occurs in Danish 82 <b>A</b>, <b>D</b>, <b>E</b>, <b>K</b>, <b>P</b>, <b>R</b>, <b>S</b>, @@ -11578,7 +11538,7 @@ the same seems to be meant in st. 10 by "I'll gie him a pound." St. 17 is fairly paralleled by Danish <b>S</b>, 18, 19: "Where is Guldborg, thy daughter? Walking in the garden, gathering roses;" and st. 18, by Norwegian <b>B</b>, 15: "You may search without and search within, and -see whether lleber you can find." The announcement in st. 19 is made +see whether Ölleber you can find." The announcement in st. 19 is made in almost all the Scandinavian ballads, in words equivalent to "Ribold is off with thy daughter," and then follows the arming for the pursuit. The lady looks over her shoulder and sees her father coming, as in st. @@ -11589,7 +11549,7 @@ The lady looks over her shoulder and sees her father coming, as in st. than in 'Earl Brand,' though none of these have the cardinal incident of the death-naming. All the Scottish versions, <b>B-F</b>, and also 'Erlinton,' <b>A</b>, <b>B</b>, make the lady hold the knight's -horse: so Danish 82 <b>B</b>, <b>C</b>, <b>E</b>, <b>I</b>, <b></b>, +horse: so Danish 82 <b>B</b>, <b>C</b>, <b>E</b>, <b>I</b>, <b>Æ</b>, <b>D*</b>, Icelandic <b>C</b>, Norwegian and Swedish <b>A</b>, and Danish 83 <b>D</b>. Of the knight's injunction, "Name me not to death, though thou see me bleed," which, as has been noted, is kept by nearly @@ -11604,8 +11564,8 @@ ballads, and she adds, "that he may carry the tidings to my mother," in Danish 82 <b>A</b>, <b>B</b>, <b>C</b>, <b>E</b>, <b>F</b>, <b>G</b>, <b>H</b>, <b>M</b>, <b>X</b>, 83 <b>B</b>, <b>C</b>, <b>D</b>. Grief for her father's death is the impulse in Danish 82 <b>I</b>, <b>N</b>, -<b>O</b>, <b>Q</b>, <b>R</b>, <b>S</b>, <b>Y</b>, <b>Z</b>, <b></b>, -<b></b>, <b>A*</b>, <b>C*</b>, <b>D*</b>, <b>E*</b>, Swedish <b>A</b>, +<b>O</b>, <b>Q</b>, <b>R</b>, <b>S</b>, <b>Y</b>, <b>Z</b>, <b>Æ</b>, +<b>Ø</b>, <b>A*</b>, <b>C*</b>, <b>D*</b>, <b>E*</b>, Swedish <b>A</b>, <b>B</b>, <b>C</b>, <b>H</b>. English <b>A</b> says nothing of father or brother; but in <b>B</b>, <b>C</b>, <b>D</b>, <b>E</b>, it is the father's death that causes the exclamation. All the assailants are @@ -11621,18 +11581,18 @@ Norwegian <b>A</b>.</p> <p>The question, "Will you go with me or return to your mother?" which we find in English <b>B</b>, <b>C</b>, <b>D</b>, is met with also in many Danish versions, 82 <b>B</b>, <b>H</b>, <b>K</b>, <b>L</b>, <b>M</b>, -<b>N</b>, <b>P</b>, <b>U</b>, <b>Z</b>, <b></b>, <b></b>, <b>C*</b>, +<b>N</b>, <b>P</b>, <b>U</b>, <b>Z</b>, <b>Æ</b>, <b>Ø</b>, <b>C*</b>, and Swedish <b>A</b>, <b>B</b>, <b>C</b>. The dying man asks to have his bed made in English <b>B</b>, <b>C</b>, as in Danish 82 <b>B</b>, -<b>C</b>, <b>K</b>, <b>L</b>, <b>N</b>, <b>U</b>, <b>N</b>, <b></b>, -<b></b>, <b>C*</b>, <b>D*</b>, Norwegian <b>A</b>, Swedish <b>A</b>, +<b>C</b>, <b>K</b>, <b>L</b>, <b>N</b>, <b>U</b>, <b>N</b>, <b>Æ</b>, +<b>Ø</b>, <b>C*</b>, <b>D*</b>, Norwegian <b>A</b>, Swedish <b>A</b>, <b>B</b>, <b>C</b>, <b>H</b>, and desires that the lady may marry his brother in English <b>A</b>, as in nearly all the Danish versions, Icelandic <b>A</b>, <b>B</b>, <b>C</b>, Norwegian <b>C</b>, <b>D</b>, <b>E</b>, Swedish <b>C</b>. He declares her a maiden true in 'Earl Brand,' <b>A c</b> 33, and affirms the same with more particularity in Danish 82 <b>B</b>, <b>C</b>, <b>E</b>, <b>F</b>, <b>G</b>, <b>M</b>, -<b></b>, Icelandic <b>B</b>, <b>C</b>, Norwegian <b>A</b>, <b>C</b>, +<b>Ø</b>, Icelandic <b>B</b>, <b>C</b>, Norwegian <b>A</b>, <b>C</b>, <b>E</b>, Swedish <b>C</b>. The growth of the rose and brier [bush and brier] from the lovers' grave in English <b>B</b>, <b>C</b>, is not met with in any version of 'Ribold and Guldborg' proper, but 'Den farlige @@ -11665,16 +11625,16 @@ Florence, 1866, lib. ii., canto viii.)</p> <p>These ballads would seem to belong among the numerous ramifications of the Hilde saga. Of these, the second lay of Helgi Hundingslayer, -in Smund's Edda, and 'Waltharius,' the beautiful poem of Ekkehard, +in Sæmund's Edda, and 'Waltharius,' the beautiful poem of Ekkehard, are most like the ballads.<a name="FNanchor_1_112" id="FNanchor_1_112"></a><a href="#Footnote_1_112" class="fnanchor">[112]</a> Leaving 'Waltharius' till we come -to 'Erlinton,' we may notice that Sigrn, in the Helgi lay, though -promised by her father to another man, Hdbrodd, son of Granmar, +to 'Erlinton,' we may notice that Sigrún, in the Helgi lay, though +promised by her father to another man, Hödbrodd, son of Granmar, preferred Helgi. She sought him out, and told him frankly her predicament: she feared, she said, the wrath of her friends, for breaking her father's promise. Helgi accepted her affection, and bade her not care for the displeasure of her relatives. A great battle ensued between Helgi and the sons of Granmar, who were -aided by Sigrn's father and brothers. All her kinsmen were slain +aided by Sigrún's father and brothers. All her kinsmen were slain except one brother, Dag. He bound himself to peace with Helgi, but, notwithstanding, made sacrifices to Odin to obtain the loan of his spear, and with it slew Helgi. We have, therefore, in so much of the @@ -11682,10 +11642,10 @@ lay of Helgi Hundingslayer, the groundwork of the story of the ballads: a woman, who, as in many of the Ribold ballads, has been betrothed to a man she does not care for, gives herself to another; there is a fight, in which a great number of her kinsmen fall; one brother survives, who -is the death of the man she loves. The lay of Helgi Hirvard's son, +is the death of the man she loves. The lay of Helgi Hiörvard's son, whose story has much in common with that of his namesake, affords two resemblances of detail not found in the lay of the Hundingslayer. Helgi -Hirvard's son, while his life-blood is ebbing, expresses himself in +Hiörvard's son, while his life-blood is ebbing, expresses himself in almost the words of the dying Ribold: "The sword has come very near my heart." He then, like Ribold and Earl Brand, declares his wish that his wife should marry his brother, and she, like Guldborg, declines a @@ -11702,24 +11662,24 @@ there disguised as a son of Hagal, Helgi's foster-father. Hunding sent men to take him, and Helgi, to escape them, was forced to assume woman's clothes and grind at the mill. While Hunding's men are making search, a mysterious blind man, surnamed the bale-wise, or evil-witted -(Blindr inn blvsi), calls out, Sharp are the eyes of Hagal's maid; +(Blindr inn bölvísi), calls out, Sharp are the eyes of Hagal's maid; it is no churl's blood that stands at the mill; the stones are riving, the meal-trough is springing; a hard lot has befallen a war-king when a chieftain must grind strange barley; fitter for that hand is the sword-hilt than the mill-handle. Hagal pretends that the fierce-eyed maid is a virago whom Helgi had taken captive, and in the end Helgi -escapes. This malicious personage reappears in the Hrmund saga as -"Blind the Bad" and "the Carl Blind, surnamed Bavs," and is found +escapes. This malicious personage reappears in the Hrômund saga as +"Blind the Bad" and "the Carl Blind, surnamed Bavís," and is found elsewhere. His likeness to "old Carl Hood," who "comes for ill, but never for good," and who gives information of Earl Brand's flight with the king's daughter, does not require to be insisted on. Both are identical, we can scarcely doubt, with the blind [one-eyed] old man of many tales, who goes about in various disguises, sometimes as beggar, with his hood or hat slouched over his face,—that is Odin, -the Shttr or Deep-hood of Smund, who in the saga of Hlf and +the Síðhöttr or Deep-hood of Sæmund, who in the saga of Hálf and his champions is called simple Hood, as here, and expressly said to be Odin.<a name="FNanchor_1_114" id="FNanchor_1_114"></a><a href="#Footnote_1_114" class="fnanchor">[114]</a> Odin, though not a thoroughly malignant divinity, had -his dark side, and one of his titles in Smund's Edda is Blverkr, +his dark side, and one of his titles in Sæmund's Edda is Bölverkr, <i>maleficus</i>. He first caused war by casting his spear among men, and Dag, after he has killed Helgi, says Odin was the author of all the mischief, for he brought strife among kinsmen.<a name="FNanchor_1_115" id="FNanchor_1_115"></a><a href="#Footnote_1_115" class="fnanchor">[115]</a></p> @@ -11742,7 +11702,7 @@ called out to him,</p> <p>and the troll, thus called by his name, lost his strength, fell off, and was dashed into a hundred pieces, all flint stones. (Iduna, Part 3, -p. 60 f, note. Other forms of the same story in Afzelius, Sago-Hfder, +p. 60 f, note. Other forms of the same story in Afzelius, Sago-Häfder, <span class="smcap">III</span>, 100 f; Faye, Norske Folke-Sagn, p. 14, 2d ed.; Hofberg, Nerikes Gamla Minnen, p. 234.)</p> @@ -11751,7 +11711,7 @@ order to carry some one off, it will be his death if the selected victim recognizes him and names him, and in this way a woman escaped in a ballad. She called out, So you are the Nix, that pestilent beast, and the nix "disappeared in red<span class="pagenum"><a name="Pg_1-96" id="Pg_1-96">[Pg 96]</a></span> blood." (Faye, as above, p. 49, note.) A -nix is baffled in the same way in a Froe and an Icelandic ballad cited +nix is baffled in the same way in a Færoe and an Icelandic ballad cited by Grundtvig, <span class="smcap">II</span>, 57.</p> <p>The marvellous horse Blak agrees to carry Waldemar [Hildebrand] over @@ -11767,16 +11727,16 @@ Grundtvig, 62; Afzelius, 59, preface; Kristensen, <span class="smcap">I</span>, <p>Klaufi, a berserker, while under the operation of his peculiar fury, loses his strength, and can no longer wield the weapon he was fighting -with, upon Grss's crying out, "Klaufi, Klaufi, be not so mad!" -(Svarfdla Saga, p. 147, and again p. 156 f.) So the blood-thirst of -the avenger's sword in the magnificent Danish ballad 'Hvnersvrdet' is +with, upon Gríss's crying out, "Klaufi, Klaufi, be not so mad!" +(Svarfdæla Saga, p. 147, and again p. 156 f.) So the blood-thirst of +the avenger's sword in the magnificent Danish ballad 'Hævnersværdet' is restrained by naming. (Grundtvig, No 25, st. 35.) Again, men engaged in <i>hamfarir</i>, that is in roving about in the shape of beasts, their proper bodies remaining lifeless the while, must not be called by name, for this might compel them to return at once to their own shape, or possibly prevent their ever doing so. (Kristni Saga, ed. 1773, p. 149. R.T. King, in Notes and Queries, 2d Ser., <span class="smcap">II</span>, 506.) Grundtvig -remarks that this belief is akin to what is related in Ffnisml (prose +remarks that this belief is akin to what is related in Fáfnismál (prose interpolation after st. 1), that Sigurd concealed his name by reason of a belief in old times that a dying man's word had great power, if he cursed his foe by name. (D.g.F., <span class="smcap">II</span>, 340.)</p> @@ -11806,7 +11766,7 @@ brier and a birk.</p> <p><b>Swedish.</b> Arwidsson, No 73: the graves are made east and west of the church, a linden grows from each, the trees meet over the -church roof. So E. Wigstrm, Folkdiktning, No 20, p. 42. Arwidsson 74 +church roof. So E. Wigström, Folkdiktning, No 20, p. 42. Arwidsson 74 <b>A</b>: Rosea Lilla and the duke are buried south and north in the church-yard. A rose from her grave covers his with its leaves. The duke is then laid in her grave, from which a linden springs. 74 <b>B</b>: @@ -11832,7 +11792,7 @@ Grundtvig, 184 <b>G</b>, 271 <b>N</b>, a linden; Danske Folkeminder, together, and there grow from<span class="pagenum"><a name="Pg_1-97" id="Pg_1-97">[Pg 97]</a></span> their grave (1) three pinks, (2) three lilies, (3) two lilies. Wunderhorn, 1857, <span class="smcap">I</span>, 53, Mittler, No 91: the maid is buried in the churchyard, the knight under the gallows. -A lily grows from his grave, with an inscription, Beid wren beisammen +A lily grows from his grave, with an inscription, Beid wären beisammen im Himmel. Ditfurth, <span class="smcap">II</span>, 7: two lilies spring from her (or their) grave, bearing a similar inscription. In Haupt and Schmaler, Volkslieder der Wenden, <span class="smcap">I</span>, 136, from the German, rue is @@ -11843,7 +11803,7 @@ knight, and the same inscription appears on one of the leaves.</p> 108, Erk's Liederhort, 15 <b>a</b>: Graf Friedrich's bride is by accident mortally wounded while he is bringing her home. Her father kills him, and he is dragged at a horse's heels. Three lilies spring -from his grave, with an inscription, Er wr bei Gott geblieben. He is +from his grave, with an inscription, Er wär bei Gott geblieben. He is then buried with his bride, the transfer being attended with other miraculous manifestations. Other versions, Hoffmann u. Richter, 19, ==Mittler, 112, ==Liederhort, 15; Mittler, 113, 114; also Meinert, 23, @@ -11854,8 +11814,8 @@ miraculous manifestations. Other versions, Hoffmann u. Richter, 19, ==Mittler, 128, 'Alle bei Gott die sich lieben;' Mittler, 130; Ditfurth, <span class="smcap">II</span>, 4, 9; Scherer, Jungbrunnen, 9 <b>A</b>, 25; Pogatschnigg und Hermann, 1458. Three lilies from a maid's grave: -'Die schwazbraune Hexe' ('Es blies ein Jger'), Nicolai, <span class="smcap">I</span>, -8; Wunderhorn, <span class="smcap">I</span>, 36; Grter's Bragur, <span class="smcap">I</span>, 280; +'Die schwazbraune Hexe' ('Es blies ein Jäger'), Nicolai, <span class="smcap">I</span>, +8; Wunderhorn, <span class="smcap">I</span>, 36; Gräter's Bragur, <span class="smcap">I</span>, 280; Uhland, 103; Liederhort, 9; Simrock, 93; Fiedler, p. 158; Ditfurth, <span class="smcap">II</span>, 33, 34; Reifferscheid, 15, etc. Three roses, Hoffmann u. Richter, 171, p. 194; three pinks, <i>ib.</i>, 172; rose, pink, lily, @@ -11863,14 +11823,14 @@ Alemannia, <span class="smcap">IV</span>, 35. Three lilies from a man's grave: ' Todwunde:' Schade, Bergreien, 10, ==Uhland, 93 <b>A</b>, ==Liederhort, 34 <b>g</b>, ==Mittler, 47, etc.</p> -<p><b>Portuguese.</b> 'Conde Nillo,' 'Conde Nio,' Almeida-Garrett, +<p><b>Portuguese.</b> 'Conde Nillo,' 'Conde Niño,' Almeida-Garrett, <span class="smcap">III</span>, No 18, at p. 21; Braga, Rom. Geral., No 14, at p. 38,==Hartung, <span class="smcap">I</span>, 17: the infanta is buried at the foot of the high altar, Conde Nillo near the church door; a cypress and an orange [pines]. Almeida-Garrett, <span class="smcap">III</span>, No 20, at p. 38: a sombre clump of pines over the knight, reeds from the princess's grave, which, though cut down, shoot again, and are heard sighing in the night. -Braga, Archip. Aor., 'Filba Maria,' 'Dom Doardos,' 'A Ermida no Mar,' +Braga, Archip. Açor., 'Filba Maria,' 'Dom Doardos,' 'A Ermida no Mar,' Nos 32, 33, 34, Hartung, <span class="smcap">I</span>, 220-224; Estacio da Veiga, 'Dom Diniz,' p. 64-67, ==Hartung, <span class="smcap">I</span>, 217, 2: tree and pines, olive and pines, clove-tree and pine, roses and canes: in all, new miracles @@ -11880,7 +11840,7 @@ follow the cutting down. So also Almeida-Garrett, No 6, <span class="smcap">I</s Handkerchief,' translated by Stanley, p. 193, Murray, p. 56: a fir and a vine, which meet over the church.</p> -<p><b>French.</b> Beaurepaire, Posie pop. en Normandie, p. 51: a thorn +<p><b>French.</b> Beaurepaire, Poésie pop. en Normandie, p. 51: a thorn and an olive are <i>planted</i> over the graves; the thorn embraces the olive.</p> @@ -11888,7 +11848,7 @@ olive.</p> 41; Tommaseo, Canti Popolari, <span class="smcap">III</span>, 135; Chasiotis, p. 103, No 22: a cypress from the man's grave, a reed from the maid's (or from a common tomb); reversed in Passow, Nos 418, 470, and Schmidt, -Griechische Mrchen, u.s.w., No 59, p. 203. Sakellarios, p. 25, No +Griechische Märchen, u.s.w., No 59, p. 203. Sakellarios, p. 25, No 9, cypress and apple-tree; p. 38, No 13, cypress and lemon-tree. (F. Liebrecht, Zur Volkskunde, pp. 166, 168, 182, 183.)</p> @@ -11925,10 +11885,10 @@ through all parts of the country," Elphinstone's Account of the Kingdom of Caubul, 1815, p. 185 f: two trees spring from their remains, and the branches mingle over their tomb. First cited by Talvj, Versuch, p. 140.</p> -<p><b>Kurd.</b> Mem and Zin, a poem of Ahmd X[/-a]ni, died 1652-3: two +<p><b>Kurd.</b> Mem and Zin, a poem of Ahméd X[/-a]ni, died 1652-3: two rose bushes spring from their graves and interlock. Bulletin de la -classe des sciences historiques, etc., de l'acad. impr. des sciences -de St. Pt., tome <span class="smcap">XV</span>, No 11, p. 170.</p> +classe des sciences historiques, etc., de l'acad. impér. des sciences +de St. Pét., tome <span class="smcap">XV</span>, No 11, p. 170.</p> <p>The idea of the love-animated plants has been thought to be derived from the romance of Tristan, where it also occurs; agreeably to a @@ -11936,7 +11896,7 @@ general principle, somewhat hastily assumed, that when romances and popular ballads have anything in common, priority belongs to the romances. The question as to precedence in this instance is an open one, for the fundamental conception is not less a favorite with ancient -Greek than with medival imagination.</p> +Greek than with mediæval imagination.</p> <p>Tristan and Isolde had unwittingly drunk of a magical potion which had the power to induce an indestructible and ever-increasing love. Tristan @@ -11950,8 +11910,8 @@ three several times, but the morning after it was as flourishing as before.<a name="FNanchor_1_116" id="FNanchor_1_116"></a><a href="#Footnote_1_116" class="fnanchor">[116]</a></p> <p>Eilhart von Oberge, vv. 9509-21 (ed. Lichtenstein, Quellen u. -Forschungen, xix, 429) and the German prose romance (Bsching u. von -der Hagen, Buch der Liebe, c. 60), Ulrich von Thrheim, vv. 3546-50, +Forschungen, xix, 429) and the German prose romance (Büsching u. von +der Hagen, Buch der Liebe, c. 60), Ulrich von Thürheim, vv. 3546-50, and Heinrich von Freiberg, vv. 6819-41 (in von der Hagen's ed. of G.v. Strassburg's Tristan) make King Marc <i>plant</i>, the first two a grape-vine over Tristan and a rose over Isolde, the others, wrongly, @@ -11961,10 +11921,10 @@ while their branches embraced above. Icelandic ballads and an Icelandic saga represent Tristan's wife as forbidding the lovers to be buried in the same grave, and ordering them to be buried on opposite sides of the church. Trees spring from their bodies and meet over the church roof, -(slenzk Fornkvi, 23 <b>A</b>, <b>B</b>, <b>C</b>, <b>D</b>; Saga -af Tristram ok snd, Brynjulfson, p. 199; Tristrams Saga ok sondar, -Klbing, p. 112). The later Titurel imitates the conclusion of Tristan. -(Der jngere Titurel, ed. Hahn, sts 5789, 5790.)</p> +(Íslenzk Fornkvæði, 23 <b>A</b>, <b>B</b>, <b>C</b>, <b>D</b>; Saga +af Tristram ok Ísönd, Brynjulfson, p. 199; Tristrams Saga ok Ísondar, +Kölbing, p. 112). The later Titurel imitates the conclusion of Tristan. +(Der jüngere Titurel, ed. Hahn, sts 5789, 5790.)</p> <p>Among the miracles of the Virgin there are several which are closely akin to the prodigies already noted. A lily is found growing from @@ -11983,12 +11943,12 @@ Libro de Exenplos, Romania, 1878, p. 509, 43, 44; etc., etc.</p> <p>No one can fail to be reminded of the purple, lily-shaped flower, inscribed with the mournful AI AI, that rose from the blood of Hyacinthus, and of the other from the blood of Ajax, with the same -letters, "his name and eke his plaint," hc nominis, illa querell. +letters, "his name and eke his plaint," hæc nominis, illa querellæ. (Ovid, Met. <span class="smcap">X</span>, 210 ff; xiii, 394 ff.) The northern lindens have their counterpart in the elms from the grave of Protesilaus, and in the trees into which Philemon and Baucis were transformed. See, upon the whole subject, the essay of Koberstein in the Weimar Jahrbuch, -<span class="smcap">I</span>, 73 ff, with Khler's supplement, p. 479 ff; Grimm, Deutsche +<span class="smcap">I</span>, 73 ff, with Köhler's supplement, p. 479 ff; Grimm, Deutsche Mythologie, <span class="smcap">II</span>, 689 f, and <span class="smcap">III</span>, 246.</p> <p>"The ballad of the 'Douglas Tragedy,'" says Scott, "is one of the @@ -12013,7 +11973,7 @@ Atlas Danicus, 1677. See Grundtvig, <span class="smcap">II</span>, 342 f.</p> <p><b>B</b>, Scott's 'Douglas Tragedy,' is translated by Grundtvig, Engelske og skotske Folkeviser, No 11; Afzelius, <span class="smcap">III</span>, 86; Schubart, p. 159; Talvj, p. 565; Wolff, Halle, <span class="smcap">I</span>, 76; -Hausschatz, p. 201; Rosa Warrens, No 23; Gerhard, p. 28; Love Veimars, +Hausschatz, p. 201; Rosa Warrens, No 23; Gerhard, p. 28; Loève Veimars, p. 292.</p> <p>'Ribold og Guldborg,' Danish <b>B</b>, is translated by Buchanan, @@ -12869,7 +12829,7 @@ Knight and Shepherd's Daughter:'</p></div> <div class="blockquot"> -<p>12<sup>3</sup>. <i>MS.</i> scd.</p></div> +<p>12<sup>3</sup>. <i>MS.</i> scâd.</p></div> <p><b><a href="#Version_7_D">D</a>.</b></p> @@ -12947,65 +12907,65 @@ will not ride to them, I will not fight with them [i. e., begin the fight], but I will stand by my love, sword in hand," with Norwegian <b>A</b>, 29, 30: "Shall we ride to the wood, or shall we bide like men?" "We will not ride to the wood, but we will bide like men." And -also with Danish <b></b>, sts 14, 15.</p></div> +also with Danish <b>Æ</b>, sts 14, 15.</p></div> <div class="footnote"> <p><a name="Footnote_1_112" id="Footnote_1_112"></a><a href="#FNanchor_1_112"><span class="label">[112]</span></a> The chief branches, besides the Helgi lay and Walter, -are the saga in Snorri's Edda, Skldskaparmal, 50; that in Saxo -Grammaticus, Stephanius, ed. 1644, pp. 88-90; Srla ttr, in Fornaldar -Sgur, <span class="smcap">I</span>, 391 ff; the Shetland ballad printed in Low's Tour +are the saga in Snorri's Edda, Skáldskaparmal, § 50; that in Saxo +Grammaticus, Stephanius, ed. 1644, pp. 88-90; Sörla þáttr, in Fornaldar +Sögur, <span class="smcap">I</span>, 391 ff; the Shetland ballad printed in Low's Tour through the Islands of Orkney and Shetland, 108 ff, and in Barry's History of the Orkney Islands, 2d ed., 489 ff, and paraphrased in Hibbert's Description of the Shetland Islands, 561 ff; the Thidrik -saga, 233-239, Unger; Gudrun, v-viii. The names of father, daughter, -and lover in these are: (1) Hgni, ——, Hgni, Hgin-, Hgni, ——, -[Artus], Hagen; (2) [Sigrn], Hilde-gunde, Hildr, Hilda, Hildr, +saga, §§ 233-239, Unger; Gudrun, v-viii. The names of father, daughter, +and lover in these are: (1) Hügni, ——, Högni, Högin-, Högni, ——, +[Artus], Hagen; (2) [Sigrún], Hilde-gunde, Hildr, Hilda, Hildr, Hildina, Hildr, Hilde; (3) Helgi, [Walter], Hedin, Hithin-, Hedin, ----, [Herburt], Hetel. Hagan, in 'Waltharius,' may be said to take the place of the father, who is wanting; and this is in a measure true also -of Hedin, Helgi's half-brother, in the lay of Helgi Hirvard's son. See +of Hedin, Helgi's half-brother, in the lay of Helgi Hiörvard's son. See the excellent discussion of the saga by Klee, Zur Hildesage, Leipzig, 1873. </p> <p> The Swedish ballad, 'Herr Hjelmer,' <b>A</b>, Arwidsson, <span class="smcap">I</span>, 155, No 21; <b>B</b>, <b>C</b>, Afzelius, <span class="smcap">II</span>, 178, 226, No -74 (Helmer); <b>D</b>, <b>E</b>. Wigstrm, Folkdiktning, p. 25, No +74 (Helmer); <b>D</b>, <b>E</b>. Wigström, Folkdiktning, p. 25, No 10 (Hjelman), has several points of agreement with Ribold and the Hilde saga. The hero kills six of seven brothers [also the father, in <b>A</b>], spares the seventh on oath of fidelity, and is treacherously slain by him. The youngest brother carries her lover's head to his sister, is invited to drink by her (in three of the four copies), and slain while so engaged; reminding us of Hildina in the Shetland ballad. -Danish 'Herr Hjlm,' Grundtvig, Danske Folkeminder, 1861, p. 81, agrees +Danish 'Herr Hjælm,' Grundtvig, Danske Folkeminder, 1861, p. 81, agrees with the Swedish, except that there are only three brothers.</p></div> <div class="footnote"> -<p><a name="Footnote_1_113" id="Footnote_1_113"></a><a href="#FNanchor_1_113"><span class="label">[113]</span></a> Helgakvia Hjrvarssonar, ed. Grundtvig, 42-44, Ribold +<p><a name="Footnote_1_113" id="Footnote_1_113"></a><a href="#FNanchor_1_113"><span class="label">[113]</span></a> Helgakviða Hjörvarðssonar, ed. Grundtvig, 42-44, Ribold og Guldborg, <b>A</b> 33, 34, <b>B</b> 46, <b>D</b> 46, 47, <b>E</b> 42, <b>Q</b> 24. The observation is Professor Bugge's.</p></div> <div class="footnote"> -<p><a name="Footnote_1_114" id="Footnote_1_114"></a><a href="#FNanchor_1_114"><span class="label">[114]</span></a> Httr, er inn var reyndar, Hood, who was Odin really, -Fornaldar Sgur, <span class="smcap">II</span>, p. 25. Klee observes, p. 10 f, that -Hgni [Hagen] is the evil genius of the Hildesage. Sometimes he is the +<p><a name="Footnote_1_114" id="Footnote_1_114"></a><a href="#FNanchor_1_114"><span class="label">[114]</span></a> Höttr, er Óðinn var reyndar, Hood, who was Odin really, +Fornaldar Sögur, <span class="smcap">II</span>, p. 25. Klee observes, p. 10 f, that +Högni [Hagen] is the evil genius of the Hildesage. Sometimes he is the heroine's father; in 'Waltharius,' strangely enough, the hero's old friend (and even there a one-eyed man.) Klee treats the introduction of a rival lover (as in the Shetland ballad and Gudrun) as a departure from the older story. But we have the rival in Helgi Hundingslayer. The proper marplot in this lay is Blind the Ill-witted (Odin), whose part is sustained in 'Earl Brand' by the malicious Hood, in several -Norwegian ballads by a very enigmatical "false Pl greive," in two +Norwegian ballads by a very enigmatical "false Pál greive," in two other Norwegian ballads and one Danish by an old man, and, what is most remarkable, in the Shetland ballad by the rejected lover of Hildina -(the Sir Nilaus of Danish <b>D</b>, Hertug Nilssn of some Norwegian +(the Sir Nilaus of Danish <b>D</b>, Hertug Nilssón of some Norwegian copies), who bears the name Hiluge, interpreted with great probability by Conrad Hofmann (Munich Sitzungsberichte, 1867, <span class="smcap">II</span>, 209, -note), Illhugi, der Bssinnige, evil-minded (Icelandic llhugar, -lluigr.)</p></div> +note), Illhugi, der Bössinnige, evil-minded (Icelandic íllhugaðr, +ílluðigr.)</p></div> <div class="footnote"> @@ -13019,10 +12979,10 @@ might now be objected to.</p></div> <p><a name="Footnote_1_116" id="Footnote_1_116"></a><a href="#FNanchor_1_116"><span class="label">[116]</span></a> Et de la tombe de monseigneur Tristan yssoit une ronce belle et verte et bien feuilleue, qui alloit par dessus la chapelle, et descendoit le bout de la ronce sur la tombe de la royne Yseult, et -entroit dedans. La virent les gens du pays et la comptrent au roy +entroit dedans. La virent les gens du pays et la comptèrent au roy Marc. Le roy la fist couper par troys foys, et quant il l'avoit le jour fait couper, le lendemain estoit aussi belle comme avoit aultre fois -est. Fol. cxxiv as cited by Braga, Rom. Ger., p. 185.</p></div></div> +esté. Fol. cxxiv as cited by Braga, Rom. Ger., p. 185.</p></div></div> <hr class="chap" /> @@ -13675,7 +13635,7 @@ that others may be satisfied.</i></p> p. 19, cannot have belonged originally to the Hildegunde saga. No sufficient motive is furnished for introducing him. In the Polish version of the story there is only one pursuer, Arinoldus, whom Walter -slays. Rischka, Verhltniss der polnischen Sage von Walgierz Wdaly zu +slays. Rischka, Verhältniss der polnischen Sage von Walgierz Wdaly zu den deutschen Sagen von W. v. Aquitanien, p. 8 ff.</p></div> <div class="footnote"> @@ -13752,7 +13712,7 @@ romance of 'The Nutbrown Maid:' <b>Danish</b>, 'Den Trofaste Jomfru,' Grundtvig, No 249, <span class="smcap">IV</span>, 494, nine copies, <b>A-I</b>, the first three from 16th or 17th century manuscripts, the others from tradition of this century, as are also the following: <b>K-M</b>, -'Den Fredlse,' Kristensen, <span class="smcap">II</span>, 191, No 57: Swedish, 'De sju +'Den Fredløse,' Kristensen, <span class="smcap">II</span>, 191, No 57: Swedish, 'De sju Gullbergen,' <b>A</b>, Afzelius, No 79, <span class="smcap">III</span>, 71, new ed., No 64, <span class="smcap">I</span>, 322; <b>B</b>, <b>C</b>, Grundtvig, <span class="smcap">IV</span>, 507 f: <b>Norwegian</b> <b>A</b>, 'Herre Per og stolt Margit,' @@ -13803,7 +13763,7 @@ water, into which he throws her.<a name="FNanchor_1_125" id="FNanchor_1_125"></a <p>There is a <b>German</b> ballad which has some slight connection with all the foregoing, and a very slight story it is altogether: 'Stolz Heinrich,' Simrock, No 9, p. 23, 'Stolz Syburg,' Reiffenberg, No 16, -p. 32, No 17, p. 34, from the Lower Rhine and Mnster; made over, in +p. 32, No 17, p. 34, from the Lower Rhine and Münster; made over, in Kretzschmer, <span class="smcap">I</span>, 187, No 106. Heinrich, or Syburg, wooes a king's daughter in a distant land. He asks her to go with him, and says he has seven mills in his country. "Tell me what they grind," says @@ -14605,41 +14565,41 @@ in <span class="smcap">II</span>, 507 ff, the remainder, <b>H-K</b>, in <span cl tradition of this century.</p> <p>There are two <b>Icelandic</b> versions, <b>A</b> from the 17th, -<b>B</b> from the 19th, century, printed in slenzk Fornkvi, No 13, -'Hrpu kvi.'</p> +<b>B</b> from the 19th, century, printed in Íslenzk Fornkvæði, No 13, +'Hörpu kvæði.'</p> <p>Of twelve <b>Norwegian</b> versions, <b>A</b>, by Moe, "is printed in Norske Universitets og Skole-Annaler for 1850, p. 287," and in -Moe's Samlede Skrifter, <span class="smcap">II</span>, 118, 'D bur ein Mann hr utm +Moe's Samlede Skrifter, <span class="smcap">II</span>, 118, 'Dæ bur ein Mann hær utmæ Aa;' <b>B</b>, by Lindeman, Annaler, as before, "p. 496," and in his Norske Fjeldmelodier, vol. <span class="smcap">I</span>, Tekst-Bilag, p. 4, No 14, 'Dei -tv Systa;' <b>C</b>, by Landstad, 'Dei tvo systar,' No 53, p. 480; +tvæ Systa;' <b>C</b>, by Landstad, 'Dei tvo systar,' No 53, p. 480; <b>D-L</b> are described by Professor Bugge in Grundtvig, <span class="smcap">III</span>, 877 f; <b>M</b> "is printed in Illustreret Nyhedsblads Nytaarsgave for 1860, p. 77, Christiania."</p> -<p>Four <b>Fre</b> versions are known: <b>A</b>, 'Hrpurma,' "in +<p>Four <b>Färöe</b> versions are known: <b>A</b>, 'Hörpuríma,' "in Svabo's MS., No 16, <span class="smcap">I</span>, 291," incorrectly printed by Afzelius, <span class="smcap">I</span>, 86, and accurately, from a copy furnished by Grundtvig, in -Bergstrm's edition of Afzelius, <span class="smcap">II</span>, 69; <b>B</b>, a compound -of two versions taken down by Pastor Lyngbye and by Pastor Schrter, -in Nyeste Skilderie af Kjbenhavn, 1821, col. 997 ff; <b>C</b>, a +Bergström's edition of Afzelius, <span class="smcap">II</span>, 69; <b>B</b>, a compound +of two versions taken down by Pastor Lyngbye and by Pastor Schröter, +in Nyeste Skilderie af Kjøbenhavn, 1821, col. 997 ff; <b>C</b>, a transcript from recitation by Hammershaimb (Grundtvig); <b>D</b>, "in -Fugloyjarbk, No 31."</p> +Fugloyjarbók, No 31."</p> <p><b>Swedish</b> versions are: <b>A</b>, 'Den underbara Harpan,' Afzelius, No 17, <span class="smcap">I</span>, 81, new ed., No 16, 1, <span class="smcap">I</span>, 72: -<b>B</b>, 'De tv Systrarne,' Afzelius, No 69, <span class="smcap">III</span>, 16, +<b>B</b>, 'De två Systrarne,' Afzelius, No 69, <span class="smcap">III</span>, 16, new ed., No 16, 2, <span class="smcap">I</span>, 74: <b>C</b>, <b>D</b>, <b>E</b>, unprinted copies in Cavallius and Stephens's collection: <b>F</b>, -'De tv Systrarne,' Arwidsson, No 99, <span class="smcap">II</span>, 139: <b>G</b>, -'Systermordet,' E. Wigstrm, Sknska Visor, p. 4, and the same, -Folkdiktning, etc., No 7, p. 19: <b>H</b>,<span class="pagenum"><a name="Pg_1-120" id="Pg_1-120">[Pg 120]</a></span> Rancken, Ngra Prof af -Folksng, No 3, p. 10. Afzelius, moreover, gives variations from +'De två Systrarne,' Arwidsson, No 99, <span class="smcap">II</span>, 139: <b>G</b>, +'Systermordet,' E. Wigström, Skånska Visor, p. 4, and the same, +Folkdiktning, etc., No 7, p. 19: <b>H</b>,<span class="pagenum"><a name="Pg_1-120" id="Pg_1-120">[Pg 120]</a></span> Rancken, Några Prof af +Folksång, No 3, p. 10. Afzelius, moreover, gives variations from four other copies which he had collected, <span class="smcap">III</span>, 20 ff, new ed., <span class="smcap">II</span>, 74 ff; and Rancken from three others. Both of the editors of the new Afzelius have recently obtained excellent copies -from singers. The ballad has also been found in Finnish, Bergstrm's +from singers. The ballad has also been found in Finnish, Bergström's Afzelius, <span class="smcap">II</span>, 79.</p> <p>There is a remarkable agreement between the Norse and English ballads @@ -14660,14 +14620,14 @@ the earth, Icelandic <b>A</b>, Swedish <b>A</b>, <b>B</b>, <b>G</b>, Danish <b>A</b>, <b>D</b>, etc.; and this difference is often made the ground for very unhandsome taunts, which qualify our compassion for the younger; such as Wash all day, and you will be no whiter than God made -you, Wash as white as you please, you will never get a lover, Fre +you, Wash as white as you please, you will never get a lover, Färöe <b>A</b>, <b>B</b>, Norwegian <b>A</b>, <b>C</b>, etc. This contrast may possibly be implied in "the youngest was the fairest flower," English <b>F</b>, <b>G</b>, <b>Q</b> ["sweetest," <b>D</b>], but is expressed only in <b>M</b>, "Ye was fair and I was din" (dun), and in <b>P a</b>, "The old was black and the young are fair."</p> -<p>The scene of action is a seashore in Icelandic and Fre <b>A</b>, +<p>The scene of action is a seashore in Icelandic and Färöe <b>A</b>, <b>B</b>, Norwegian <b>A</b>, Swedish <b>A</b>, <b>B</b>, <b>G</b>, <b>H</b>, and in all the Danish complete copies: a seashore, or a place where ships come in, in English <b>A</b>, <b>B a</b>, <b>D-I</b>, @@ -14685,16 +14645,16 @@ water is in English <b>A-E</b>, <b>G</b>, <b>H</b>, <b>I</b>, <b>O</b>, to wash their silks;<a name="FNanchor_1_131" id="FNanchor_1_131"></a><a href="#Footnote_1_131" class="fnanchor">[131]</a> in most of the Norse ballads to wash themselves, so that, as the elder says, "we may be alike white," Danish <b>C-H</b>, Norwegian <b>A</b>, <b>C</b>, Swedish <b>F</b>, <b>G</b>, -Fre <b>A</b>, <b>B</b>. Malice prepense is attributed to the elder +Färöe <b>A</b>, <b>B</b>. Malice prepense is attributed to the elder in Swedish <b>B</b>, <b>F</b>, Norwegian C, Danish <b>E</b>, <b>F</b>, -<b>G</b>: but in Fre <b>A</b>, <b>B</b>, Norwegian <b>A</b>, +<b>G</b>: but in Färöe <b>A</b>, <b>B</b>, Norwegian <b>A</b>, <b>B</b>, and perhaps some other cases, a previous evil intent is not certain, and the provocations of the younger sister may excuse the elder so far.</p> <p>The younger is pushed from a stone upon which she sits, stands, or steps, in English <b>B</b>, <b>C</b>, <b>E-H</b>, <b>M</b>, <b>O</b>, -<b>Q</b>, Icelandic <b>A</b>, <b>B</b>, Fre <b>A</b>, <b>B</b>, +<b>Q</b>, Icelandic <b>A</b>, <b>B</b>, Färöe <b>A</b>, <b>B</b>, Norwegian <b>A</b>, <b>B</b>, <b>C</b>, Danish <b>A-E</b>, <b>H</b>, <b>L</b>, Swedish <b>G</b>, <b>H</b>, and Rancken's other copies.</p> @@ -14703,7 +14663,7 @@ point. The younger sister, to save her life, offers or consents to renounce her lover in the larger number, as English <b>B-E</b>, <b>G</b>, <b>H</b>, <b>I</b>, <b>M</b>, <b>P</b>, <b>Q</b>, Danish <b>A-D</b>, <b>F</b>, <b>G</b>, <b>I</b>, Swedish <b>A-D</b>, <b>G</b>, -<b>H</b>; and in Icelandic <b>B</b> and "all the Fre" ballads she +<b>H</b>; and in Icelandic <b>B</b> and "all the Färöe" ballads she finally yields, after first saying that her lover must dispose of himself. But Swedish <b>F</b>, with more spirit, makes the girl, after promising everything else, reply:</p> @@ -14728,7 +14688,7 @@ the water by the miller. In <b>L b</b>, which, however, is imperfect at the beginning, a harper finds the body. In the Icelandic ballads it is found on the seashore by the lover; in all the Norwegian but <b>M</b> by two fishermen, as also in Swedish <b>D</b> [fishermen in Swedish -<b>B</b>]; in all the Fre versions and Norwegian <b>M</b> by two +<b>B</b>]; in all the Färöe versions and Norwegian <b>M</b> by two "pilgrims;"<a name="FNanchor_1_132" id="FNanchor_1_132"></a><a href="#Footnote_1_132" class="fnanchor">[132]</a> in Danish <b>A-F</b>, <b>L</b>, and Swedish <b>C</b> by two musicians, Danish <b>H</b>, Swedish <b>A</b>, <b>G</b>, one. Danish <b>G</b>, which is corrupted at the close, has three musicians, @@ -14763,11 +14723,11 @@ the strings from the hair, Swedish <b>A</b>, <b>B</b>, <b>G</b>, Norwegian <b>A</b>, <b>C</b>, <b>M</b>. And so one thing and another is added, or substituted, as fiddle-bows of the arms or legs, Swedish <b>C</b>, <b>D</b>, Danish <b>H</b>, English <b>L a</b>; a harp-frame -from the arms, Norwegian <b>B</b>, Fre <b>A</b>; a fiddle-frame from +from the arms, Norwegian <b>B</b>, Färöe <b>A</b>; a fiddle-frame from the skull, Swedish <b>C</b>, or from the back-bone, English <b>L b</b>; -a <i>plectrum</i> from the arm, Fre <b>B</b>; strings from the veins, +a <i>plectrum</i> from the arm, Färöe <b>B</b>; strings from the veins, English <b>A</b>; a bridge from the nose, English <b>A</b>, <b>L a</b>; -"hrpnota" from the teeth, Norwegian <b>B</b>; till we end with the +"hørpønota" from the teeth, Norwegian <b>B</b>; till we end with the buffoonery of English <b>A</b> and <b>L a</b>.</p> <p>Swedish <b>H</b> has nothing about the finding of the body. Music is @@ -14799,7 +14759,7 @@ the three tets or links in English <b>D</b>, <b>E</b>, <b>F</b>, <b>I</b>, <b>P</b> were no doubt taken to make three strings originally. Corresponding to this are three enunciations of the instrument in English <b>A</b>, <b>B</b>, <b>C</b>, Icelandic <b>A</b>, -Fre <b>A</b>,<a name="FNanchor_1_136" id="FNanchor_1_136"></a><a href="#Footnote_1_136" class="fnanchor">[136]</a> <b>B</b>, Swedish <b>A</b>, <b>B</b>, <b>C</b>, +Färöe <b>A</b>,<a name="FNanchor_1_136" id="FNanchor_1_136"></a><a href="#Footnote_1_136" class="fnanchor">[136]</a> <b>B</b>, Swedish <b>A</b>, <b>B</b>, <b>C</b>, <b>E</b>, <b>G</b>, <b>H</b>, Danish <b>A</b>, <b>D</b>, <b>F</b>, <b>I</b>. These are reduced to two in Icelandic <b>B</b>, Danish <b>B</b>, <b>C</b>, <b>H</b>, <b>L</b>, Swedish <b>D</b>, and even @@ -14821,7 +14781,7 @@ sounds, The bride is our sister; the second, The bride is our murderer. In Danish <b>B</b> the first fiddle plays, The bride is my sister; the second, The bridegroom is my true-love; in <b>C</b>, <b>H</b>, the first strain is, The bride has drowned her sister, the second, -Thy sister is driven [blown] to land. Fre <b>A</b>, <b>B</b>, have: +Thy sister is driven [blown] to land. Färöe <b>A</b>, <b>B</b>, have: (1) The bride was my sister; (2) The bride was my murderer; (3) The bridegroom was my true-love. The bride then says that the harp disturbs her much, and that she lists to hear it no more. Most impressive of @@ -14848,7 +14808,7 @@ all, with its terse, short lines, is Icelandic <b>A</b>:</p> </div></div> <p>This is the wicked sister's end in both of the Icelandic ballads and in -Fre <b>A</b>, <b>B</b>. In Swedish <b>A</b>, <b>G</b>, at the first +Färöe <b>A</b>, <b>B</b>. In Swedish <b>A</b>, <b>G</b>, at the first stroke on the harp she laughs; at the second she grows pale [has to be undressed]; upon the third she lay dead in her bed [falls dead on the floor]. She is burned in Danish <b>A</b>, <b>B</b>, <b>C</b>, <b>F</b>, @@ -14950,7 +14910,7 @@ which he is hanged.<a name="FNanchor_1_140" id="FNanchor_1_140"></a><a href="#Fo </div></div> <p>which may raise a question whether the Scotch burden Binnorie -(pronounced Bnnorie, as well as Binnrie) is corrupted from it, or +(pronounced Bínnorie, as well as Binnórie) is corrupted from it, or the corruption is on the other side. Mr Campbell notices as quaint the reply in stanza 9:</p> @@ -14967,7 +14927,7 @@ the English, except <b>L b</b> and in part <b>L a</b>.</p> <p>Some of the traits of the English and Norse story are presented by an Esthonian ballad, 'The Harp,' Neus, Ehstnische Volkslieder, No 13, p. -56. Another version is given in Rosenplnter's Beitrge zur genauern +56. Another version is given in Rosenplänter's Beiträge zur genauern Kenntniss der ehstnischen Sprache, Heft 4, 142, and a third, says Neus, in Ch. H. J. Schlegel's Reisen in mehrere russische Gouvernements, <span class="smcap">V</span>, 140. A young woman, who tells her own story, is murdered by @@ -14979,9 +14939,9 @@ playing with tones of sorrow like those of the bride who leaves father and mother for the house of a husband.<a name="FNanchor_1_141" id="FNanchor_1_141"></a><a href="#Footnote_1_141" class="fnanchor">[141]</a></p> <p>A Slovak ballad often translated (Talvj, Historical View, etc., p. 392; -Wenzig's Slawische Volkslieder, p. 110, Westslawischer Mrchenschatz, +Wenzig's Slawische Volkslieder, p. 110, Westslawischer Märchenschatz, 273, and Bibliothek Slavischer Poesien, p. 134; Lewestam, Polnische -Volksagen und Mrchen, p. 151) comes nearer in some respects. A +Volksagen und Märchen, p. 151) comes nearer in some respects. A daughter is cursed by her mother for not succeeding in drawing water in frosty weather. Her bucket turns to stone, but she to a maple. Two fiddlers come by, and, seeing a remarkably fine tree, propose to make @@ -15058,24 +15018,24 @@ the fiddle's revelation, brought his daughter to confess her act.</p> as being afflicted with a severe malady, and as promising that whichever of his children, commonly three sons, should bring him something necessary for his cure or comfort should be his heir: (1) -'La Flor del Lilil,' Fernan Caballero, Lgrimas, cap. 4; (2) 'La caa -del riu de arenas,' Mil, Observaciones sobre la poesia popular, p. -178, No 3; (3) 'Es kommt doch einmal an den Tag,' Mllenhof, Sagen, +'La Flor del Lililá,' Fernan Caballero, Lágrimas, cap. 4; (2) 'La caña +del riu de arenas,' Milá, Observaciones sobre la poesia popular, p. +178, No 3; (3) 'Es kommt doch einmal an den Tag,' Müllenhof, Sagen, u. s. w., p. 495, No 49; (4) 'Vom singenden Dudelsack,' Gonzenbach, -Sicilianische Mrchen, <span class="smcap">I</span>, 329, No 51. Or the inheritance is +Sicilianische Märchen, <span class="smcap">I</span>, 329, No 51. Or the inheritance is promised to whichever of the children finds something lost, or rich and rare, a griffin's feather, a golden branch, a flower: (5) 'Die -Greifenfeder,' Schneller, Mrchen und Sagen aus Wlschtirol, p. 143, No -51; (6) 'La Flanuto,' Blad, Contes et proverbes populaires recueillis +Greifenfeder,' Schneller, Märchen und Sagen aus Wälschtirol, p. 143, No +51; (6) 'La Flanuto,' Bladé, Contes et proverbes populaires recueillis en Armagnac, p. 3, No 1; (7) Wackernagel, in Haupt's Zeitschrift, <span class="smcap">III</span>, 35, No 3, == 'Das Todtebeindli,' Colshorn, C. u. Th., -Mrchen u. Sagen, p. 193, No 71, == Sutermeister, Kinder-u.-Hausmrchen +Märchen u. Sagen, p. 193, No 71, == Sutermeister, Kinder-u.-Hausmärchen aus der Schweiz, p. 119, No 39. Or a king promises his daughter to the man who shall capture a dangerous wild beast, and the exploit is undertaken by three brothers [or two]: (8) 'Der singende Knochen,' -Grimms, K. u. H. mrchen, <span class="smcap">I</span>, 149, No 28 (1857); (9) 'Die drei -Brder,' Curtze, Volksberlieferungen aus dem Frstenthum Waldeck, p. -53, No 11; (10) 'Der Rohrstengel,' Haltrich, Deutsche Volksmrchen aus +Grimms, K. u. H. märchen, <span class="smcap">I</span>, 149, No 28 (1857); (9) 'Die drei +Brüder,' Curtze, Volksüberlieferungen aus dem Fürstenthum Waldeck, p. +53, No 11; (10) 'Der Rohrstengel,' Haltrich, Deutsche Volksmärchen aus dem Sachsenlande, u. s. w., p. 225, No 42. With these we may group, though divergent in some respects, (11) 'Der goldene Apfel,' Toeppen, Aberglauben aus Masuren, p. 139.<a name="FNanchor_1_142" id="FNanchor_1_142"></a><a href="#Footnote_1_142" class="fnanchor">[142]</a> In all these tales the youngest @@ -16050,14 +16010,14 @@ Murison. MS., p. 79.</p></div> <div class="poem"><div class="stanza"> <span class="i0"><span class="linenum">1</span><br /></span> <span class="i0">There lived twa sisters in yonder ha,<br /></span> -<span class="i2">Binrie O an Binrie<br /></span> +<span class="i2">Binórie O an Binórie<br /></span> <span class="i0">They hadna but ae lad atween them twa,<br /></span> -<span class="i2">He's the bonnie miller lad o Binrie.<br /></span> +<span class="i2">He's the bonnie miller lad o Binórie.<br /></span> </div><div class="stanza"> <span class="i0"><span class="linenum">2</span><br /></span> <span class="i0">It fell oot upon a day,<br /></span> <span class="i0">The auldest ane to the youngest did say,<br /></span> -<span class="i2">At the bonnie mill-dams o Binrie,<br /></span> +<span class="i2">At the bonnie mill-dams o Binórie,<br /></span> </div><div class="stanza"> <span class="i0"><span class="linenum">3</span><br /></span> <span class="i0">'O sister, O sister, will ye go to the dams,<br /></span> @@ -16975,7 +16935,7 @@ material here follows</i>:</p></div> <span class="i0">An ancient harper passing by<br /></span> <span class="i2">Found this poor lady's body,<br /></span> <span class="i0">To which his pains he did apply<br /></span> -<span class="i2">To make a sweet meldy.<br /></span> +<span class="i2">To make a sweet melódy.<br /></span> </div><div class="stanza"> <span class="i0"><span class="linenum">3</span><br /></span> <span class="i0">To cat-gut dried he her inside,<br /></span> @@ -17298,11 +17258,11 @@ the West Highlands</span>, <span class="smcap">IV</span>, 127.</i></p></div> <p><a name="Footnote_1_127" id="Footnote_1_127"></a><a href="#FNanchor_1_127"><span class="label">[127]</span></a> Jamieson, in his Popular Ballads, <span class="smcap">II</span>, 315, prints the ballad, with five inconsiderable variations from the -broadside, as from Musarum Delici, 2d edition, 1656. The careful -reprint of this book, and of the same edition, in "Faceti," etc., +broadside, as from Musarum Deliciæ, 2d edition, 1656. The careful +reprint of this book, and of the same edition, in "Facetiæ," etc., 1817, does not contain this piece, and the first edition, of 1655, differed in no respect as to contents, according to the editor of -"Faceti." Still it is hardly credible that Jamieson has blundered, and +"Facetiæ." Still it is hardly credible that Jamieson has blundered, and we may suppose that copies, ostensibly of the same edition, varied as to contents, a thing common enough with old books.</p></div> @@ -17342,7 +17302,7 @@ a</b>, walk on the bryn.</p></div> <p><a name="Footnote_1_131" id="Footnote_1_131"></a><a href="#FNanchor_1_131"><span class="label">[131]</span></a> Swedish <b>H</b> begins, "Dear sister, come follow me to the clapping-stone:" "Nay, I have no foul clothes." So <b>F</b> -6, 7, <b>G</b> 4, 5, Fre <b>A</b> 6, nearly; and then follows the +6, 7, <b>G</b> 4, 5, Färöe <b>A</b> 6, nearly; and then follows the suggestion that they should wash themselves. Another of Rancken's copies begins, "Two sisters went to the bucking-stone, to buck their clothes snow-white," <b>H</b>; and so Rancken's <b>S</b> nearly.</p></div> @@ -17351,7 +17311,7 @@ clothes snow-white," <b>H</b>; and so Rancken's <b>S</b> nearly.</p></div> <p><a name="Footnote_1_132" id="Footnote_1_132"></a><a href="#FNanchor_1_132"><span class="label">[132]</span></a> There are, besides the two fishermen, in Norwegian <b>A</b>, two "twaddere," i.e., landloupers, possibly (Bugge) a -corruption of the word rendered pilgrims, Fre vallarar, Swedish +corruption of the word rendered pilgrims, Färöe vallarar, Swedish vallare. The vallarar in these ballads are perhaps more respectable than those whose acquaintance we shall make through the Norse versions of 'Babylon,' and may be allowed to be harmless vagrants, but scarcely @@ -17360,7 +17320,7 @@ Love, cited by Cleasby and Vigfusson at 'vallari.'</p></div> <div class="footnote"> -<p><a name="Footnote_1_133" id="Footnote_1_133"></a><a href="#FNanchor_1_133"><span class="label">[133]</span></a> A harp in the Icelandic and Norwegian ballads, Fre +<p><a name="Footnote_1_133" id="Footnote_1_133"></a><a href="#FNanchor_1_133"><span class="label">[133]</span></a> A harp in the Icelandic and Norwegian ballads, Färöe <b>A</b>, <b>B</b>, <b>C</b>, Swedish <b>A</b>, <b>B</b>, <b>D</b>, <b>G</b>, <b>H</b>; a harp in English <b>B</b>, <b>C</b>, <b>G</b>, <b>J</b>. A harp is not named in any of the Danish versions, but a @@ -17386,7 +17346,7 @@ spring that he playd, <i>it</i> said," etc.</p></div> <div class="footnote"> -<p><a name="Footnote_1_136" id="Footnote_1_136"></a><a href="#FNanchor_1_136"><span class="label">[136]</span></a> The fourth string is <i>said</i> to speak in Fre <b>A</b> +<p><a name="Footnote_1_136" id="Footnote_1_136"></a><a href="#FNanchor_1_136"><span class="label">[136]</span></a> The fourth string is <i>said</i> to speak in Färöe <b>A</b> 30, but no utterance is recorded, and this is likely to be a mistake. In many of the versions, and in this, after the strings have spoken individually, they unite in a powerful but inarticulate concord.</p></div> @@ -17425,7 +17385,7 @@ with his sword.</p></div> <div class="footnote"> -<p><a name="Footnote_1_141" id="Footnote_1_141"></a><a href="#FNanchor_1_141"><span class="label">[141]</span></a> Neus also refers to an Esthonian saga of Rgutaja's +<p><a name="Footnote_1_141" id="Footnote_1_141"></a><a href="#FNanchor_1_141"><span class="label">[141]</span></a> Neus also refers to an Esthonian saga of Rögutaja's wife, and to 'Die Pfeiferin,' a tale, in Das Inland, 1846, No 48, Beilage, col. 1246 ff, 1851, No 14, col. 230 ff; and to a Slovenian ballad in Tielemann, Livona, ein historisch-poetisches Taschenbuch, @@ -17433,7 +17393,7 @@ ballad in Tielemann, Livona, ein historisch-poetisches Taschenbuch, <div class="footnote"> -<p><a name="Footnote_1_142" id="Footnote_1_142"></a><a href="#FNanchor_1_142"><span class="label">[142]</span></a> All these are cited in Khler's note, Gonzenbach, +<p><a name="Footnote_1_142" id="Footnote_1_142"></a><a href="#FNanchor_1_142"><span class="label">[142]</span></a> All these are cited in Köhler's note, Gonzenbach, <span class="smcap">II</span>, 235.</p></div></div> @@ -17537,7 +17497,7 @@ preliminary, and the sometimes fatal consequences of omitting it, are: 'Hr. Peder og Mettelille,' Grundtvig, No 78, <span class="smcap">II</span>, 325, sts 4, 6; 'Jomfruen i Skoven,' Danske Viser, <span class="smcap">III</span>, 99, st. 15; 'Jomfru Ellensborg og Hr. Olof,' ib., <span class="smcap">III</span>, 316, st. 16; 'Iver Lang og -hans Sster,' ib., <span class="smcap">IV</span>, 87, st. 116; 'Herr Helmer Blaa,' ib., +hans Søster,' ib., <span class="smcap">IV</span>, 87, st. 116; 'Herr Helmer Blaa,' ib., <span class="smcap">IV</span>, 251, st. 8; 'Jomfru Giselmaar,' ib., <span class="smcap">IV</span>, 309, st. 13. See Prior's Ancient Danish Ballads, <span class="smcap">III</span>, 112, 232 f, 416.</p> @@ -17565,21 +17525,21 @@ connection is not improbable.</p> general agreement as to all essentials. They are: <b>A</b>, a Nuremberg broadside "of about 1535," which has not been made accessible by a reprint. <b>B</b>, a Swiss broadside of 1647, without place, "printed -in Seckendorf's Musenalmanach fr 1808, p. 19;" Uhland, No 122, p. 277; +in Seckendorf's Musenalmanach für 1808, p. 19;" Uhland, No 122, p. 277; Mittler, No 108; Wunderhorn, <span class="smcap">II</span>, 293 (1857); Erk's Liederhort, -No 15<sup>a</sup>, p. 42; Bhme, No 79, p. 166: also, in Wunderhorn, 1808, +No 15<sup>a</sup>, p. 42; Böhme, No 79, p. 166: also, in Wunderhorn, 1808, <span class="smcap">II</span>, 289, with omission of five stanzas and with many changes; Simrock, No 11, p. 28, omitting four stanzas and with changes; as -written down by Goethe for Herder, Dntzer u. Herder, Briefe Goethes, +written down by Goethe for Herder, Düntzer u. Herder, Briefe Goethes, u.s.w., Aus Herder's Nachlass, <span class="smcap">I</span>, 167, with the omission of eight stanzas and with some variations. <b>C</b>, Wunderhorn (1857), <span class="smcap">II</span>, 299, from the Schwarzwald, == Erlach, <span class="smcap">IV</span>, 291, -Mittler, No 113. <b>D</b>, Taschenbuch fr Dichter, u.s.w., Theil +Mittler, No 113. <b>D</b>, Taschenbuch für Dichter, u.s.w., Theil <span class="smcap">VIII</span>, 122, from Upper Lusatia, == Erlach, <span class="smcap">III</span>, 448, -Talvj, Charakteristik, p. 421. <b>E</b>, from the Kuhlndchen, Meinert, +Talvj, Charakteristik, p. 421. <b>E</b>, from the Kuhländchen, Meinert, p. 23, == Mittler, No 109. <b>F</b>, Hoffmann u. Richter, Schlesische V. L., No 19, p. 35, == Mittler, No 112, Erk's Liederhort, No 15, p. 40. -<b>G</b>, Zingerle, in Wolf's Zeitschrift fr deutsche Mythologie, +<b>G</b>, Zingerle, in Wolf's Zeitschrift für deutsche Mythologie, <span class="smcap">I</span>, 341, from Meran. <b>H</b>, from Uckermark, Brandenburg, Mittler, No 114. <b>I</b>, Hesse, from oral tradition, Mittler, No 111. <b>J</b>, Erk u. Irmer, <span class="smcap">II</span>, 54, No 54, from the neighborhood @@ -17593,22 +17553,22 @@ her hand. To save her partner from blame, she represents to her father that she had cut herself with her brother's sword. This considerateness so touches the knight (who is, of course, her equal in rank) that he offers her his hand. The Danish story is found also in Norwegian and in -Fre ballads.</p> +Färöe ballads.</p> <p>The peculiar testament made by the bride in 'The Cruel Brother,' by which she bequeaths good things to her friends, but ill things to the author of her death, is highly characteristic of ballad poetry. It will be found again in 'Lord Ronald,' '<a href="#Ballad_13">Edward</a>,' and their analogues. -Still other ballads with this kind of testament are: 'Frillens Hvn,' +Still other ballads with this kind of testament are: 'Frillens Hævn,' Grundtvig, No 208 <b>C</b>, 16-18, <span class="smcap">IV</span>, 207; a young man, stabbed by his leman, whom he was about to give up in order to marry, leaves his lands to his father, his bride-bed to his sister, his gilded couch to his mother, and his knife to his leman, wishing it in her -body. 'Men paa Baalet,' Grundtvig, No 109 <b>A</b>, 1821, <span class="smcap">II</span>, +body. 'Møen paa Baalet,' Grundtvig, No 109 <b>A</b>, 1821, <span class="smcap">II</span>, 587; Ole, falsely accused by her brother, and condemned to be burned, gives her mother her silken sark, her sister her shoes, her father her horse, and her brother her knife, with the same wish. 'Kong Valdemar og -hans Sster,' Grundtvig, No 126, <span class="smcap">III</span>, 97, has a testament in +hans Søster,' Grundtvig, No 126, <span class="smcap">III</span>, 97, has a testament in <b>A-E</b> and <b>I</b>; in <b>I</b>, 14-19 (<span class="smcap">III</span>, 912), Liden Kirsten bequeaths her knife, with the same imprecation, to the queen, who, in the other copies, is her unrelenting foe: so Lillelin to Herr @@ -17618,7 +17578,7 @@ horse's heels in resentment of a taunt. 'Hustru og Mands Moder,' Grundtvig, No. 84, <span class="smcap">II</span>, 404, has a testament in <b>A</b>, <b>B</b>, <b>D</b>, <b>H</b>, and in the last<span class="pagenum"><a name="Pg_1-144" id="Pg_1-144">[Pg 144]</a></span> three a bequest of shoes or sark to a cruel mother-in-law or foster-mother, with the wish that -she may have no peace or much pain in the wearing. 'Catarina de Li,' +she may have no peace or much pain in the wearing. 'Catarina de Lió,' Briz y Candi, Cansons de la Terra, <span class="smcap">I</span>, 209, has been beaten by her mother-in-law while in a delicate state. When she is at the point of death, the mother-in-law asks what doctor she will have and what @@ -17628,13 +17588,13 @@ sister; give my working dress to the maid, my jewels to the Virgin." "And what will you leave to me?" "What I leave you will not please you much: my husband to be hanged, my mother-in-law to be quartered, and my sister-in-law to be burned." 'Le Testament de Marion,' another version -of this story from the south of France, Uchaud, Gard, Posies pop. de +of this story from the south of France, Uchaud, Gard, Poésies pop. de la France, MS., <span class="smcap">IV</span>, fol. 283, bequeaths "my laces to my sister Marioun, my prettiest gowns to my sister Jeanneton; to my rascal of a husband three fine cords, and, if that is not enough (to hang him), the hem of his shirt." The Portuguese ballad of 'Dona Helena' rather implies than expresses the imprecation: Braga, C.P. do Archipelago -Aoriano, p. 225, No 15, p. 227, No 16; Almeida-Garrett, <span class="smcap">III</span>, +Açoriano, p. 225, No 15, p. 227, No 16; Almeida-Garrett, <span class="smcap">III</span>, 56; Hartung, <span class="smcap">I</span>, 233-43, No 18. Helena leaves her husband's house when near childbirth, out of fear of his mother. Her husband, who does not know her reason, goes after her, and compels her to return on @@ -17645,7 +17605,7 @@ She leaves one thing to her oldest sister, another to her youngest. to yours," says the husband, "for I shall have to kill mine" (so Braga; Garrett differs somewhat). 'Die Frau zur Weissenburg' (<b>A</b>), Uhland, p. 287, No 123 <b>B</b>, Scherer's Jungbrunnen, p. 94, No 29; -'Das Lied von der Lwenburg' (<b>B</b>), Simrock, p. 65, No 27; 'Hans +'Das Lied von der Löwenburg' (<b>B</b>), Simrock, p. 65, No 27; 'Hans Steutlinger' (<b>C</b>), Wunderhorn, <span class="smcap">II</span>, 168 (1857), all one story, have a bitterly sarcastic testament. A lady instigates her paramour to kill her husband. The betrayed man is asked to whom he will @@ -17657,20 +17617,20 @@ flames."</p> <p>In some cases there is no trace of animosity towards the person who has caused the testator's death; as in 'El testamento de Amelia' (who has -been poisoned by her mother), Mil, Observaciones, p. 103, No 5, Briz -y Salt, Cansons de la Terra, <span class="smcap">II</span>, 197 (two copies); 'Herren -Bld,' Afzelius, <span class="smcap">I</span>, 76, No 16 (new ed. <span class="smcap">I</span>, 59, No 15); -a Swedish form of 'Frillens Hvn,' Grundtvig, <span class="smcap">IV</span>, 203; 'Rene +been poisoned by her mother), Milá, Observaciones, p. 103, No 5, Briz +y Saltó, Cansons de la Terra, <span class="smcap">II</span>, 197 (two copies); 'Herren +Båld,' Afzelius, <span class="smcap">I</span>, 76, No 16 (new ed. <span class="smcap">I</span>, 59, No 15); +a Swedish form of 'Frillens Hævn,' Grundtvig, <span class="smcap">IV</span>, 203; 'Renée le Glaz' and 'Ervoanik Le Lintier,' Luzel, C.P. de la Basse Bretagne, <span class="smcap">I</span>, 405, 539, 553. There are also simple testaments where there is no occasion for an ill remembrance, as in 'Ribold og Guldborg,' Grundtvig, No 82, <b>I</b>, <b>K</b>, <b>L</b>, <b>U</b>, <b>X</b>, -<b></b>, Kristensen, <span class="smcap">II</span>, No 84 B; 'Pontplancoat;' Luzel, +<b>Æ</b>, Kristensen, <span class="smcap">II</span>, No 84 B; 'Pontplancoat;' Luzel, <span class="smcap">I</span>, 383, 391. And, again, there are parodies of these wills. Thus the fox makes his will: Grundtvig, Gamle danske Minder, 1854, 'Mikkels Arvegods,' p. 24, and p. 25 a copy from a manuscript three hundred years old; Kristensen, Jyske Folkeviser, <span class="smcap">II</span>, 324, No -90; 'Reven og Bjnnen,' 'Reven og Nils fiskar,' Landstad, Nos 85, 86, +90; 'Reven og Bjönnen,' 'Reven og Nils fiskar,' Landstad, Nos 85, 86, p. 637, 639: and the robin, 'Robin's Tesment,' Buchan, <span class="smcap">I</span>, 273, Herd's MSS, <span class="smcap">I</span>, 154, and Scottish Songs (1776), <span class="smcap">II</span>, 166, Chambers' Popular Rhymes, p. 38, "new edition."</p> @@ -18690,7 +18650,7 @@ these are introduced by a summary of the story:</p> <div class="poem"><div class="stanza"> <span class="i0">"Io vo' finire con questa <i>d'un amante</i><br /></span> <span class="i0"><i>Tradito dall' amata.</i><br /></span> -<span class="i0">Oh che l' s garbata<br /></span> +<span class="i0">Oh che l'è sì garbata<br /></span> <span class="i0">A cantarla in ischiera:<br /></span> <span class="i0"><i>'Dov' andastu iersera,</i><br /></span> <span class="i0"><i>Figliuol mio ricco, savio e gentile?</i><br /></span> @@ -18710,7 +18670,7 @@ declares that he has been poisoned. He bids her send for the doctor to see him, for the curate to shrive him, for the notary to make his will. He leaves his mother his palace, his brothers his carriage and horses, his sisters a dowry, his servants a free passage to mass ("la -strada d'and a messa" == nothing), a hundred and fifty masses for his +strada d'andà a messa" == nothing), a hundred and fifty masses for his soul; for his mistress the gallows to hang her. <b>B</b>, <b>C</b>, 'L'Avvelenato,' Bernoni, Nuovi Canti popolari veneziani, 1874, No 1, p. 5, p. 3, have twelve and eighteen four-line stanzas, the questions and @@ -18732,7 +18692,7 @@ for two generations through Jamieson's translation. The several versions, all from oral tradition of this century, show the same resemblances and differences as the English.</p> -<p><b>A</b>, <b>B</b>, 'Schlangenkchin,' eight stanzas of six lines, +<p><b>A</b>, <b>B</b>, 'Schlangenköchin,' eight stanzas of six lines, four of which are burden, <b>A</b>, Liederhort, p. 6, No 2<sup>a</sup>, from the neighborhood of Wilsnack, Brandenburg, <b>B</b>, Peter, <span class="smcap">I</span>, 187, No 6, from Weidenau, Austrian Silesia, run thus: @@ -18741,7 +18701,7 @@ a-hunting); has had a speckled fish to eat, part of which was given to the dog [cat, <b>B</b>], which burst. Henry wishes his father and mother all blessings, and hell-pains to his love, <b>A</b> 6-8. His mother, <b>B</b> 8, asks where she shall make his bed: he replies, -In the church-yard. <b>C</b>, 'Grossmutter Schlangenkchin,' first +In the church-yard. <b>C</b>, 'Grossmutter Schlangenköchin,' first published in 1802, in Maria's (Clemens Brentano's) romance Godwi, <span class="smcap">II</span>, 113, afterward in the Wunderhorn, <span class="smcap">I</span>, 19 (ed. 1819, <span class="smcap">I</span>, 20, ed. 1857), has fourteen two-line stanzas, or @@ -18754,18 +18714,18 @@ his belly burst. The conclusion agrees with <b>B</b>, neither having the testament. <b>D</b>, 'Stiefmutter,' seven stanzas of four short lines, two being burden, Uhland, No 120, p. 272; excepting one slight variation, the same as Liederhort, p. 5, No 2, from the vicinity of -Bckeburg, Lippe-Schaumburg. A child has been at her mother's sister's +Bückeburg, Lippe-Schaumburg. A child has been at her mother's sister's house, where she has had a well-peppered broth and a glass of red wine. The dogs [and cats] had some broth too, and died on the spot. The child wishes its father a seat in heaven, for its mother one in hell. <b>E</b>,<span class="pagenum"><a name="Pg_1-154" id="Pg_1-154">[Pg 154]</a></span> 'Kind, wo bist du denn henne west?' Reiffenberg, p. 8, No -4, from Bkendorf, Westphalia, four stanzas of six lines, combining +4, from Bökendorf, Westphalia, four stanzas of six lines, combining question and answer, two of the six burden. A child has been at its step-aunt's, and has had a bit of a fish caught in the nettles along the wall. The child gives all its goods to its brother, its clothes to its sister, but three devils to its [step-]mother. <b>F</b>, 'Das vergiftete kind,' seven four-line stanzas, two burden, Schuster, -Siebenbrgisch-schsische V. L., p. 62, No 58, from Mhlbach. A child +Siebenbürgisch-sächsische V. L., p. 62, No 58, from Mühlbach. A child tells its father that its heart is bursting; it has eaten of a fish, given it by its mother, which the father declares to be an adder. The child wishes its father a seat in heaven, its mother one in hell.</p> @@ -18784,7 +18744,7 @@ mother.</p> <p><b>Swedish.</b> <b>A</b>, 'Den lillas Testamente,' ten five-line stanzas, three lines burden, Afzelius, <span class="smcap">III</span>, 13, No 68; -ed. Bergstrm, <span class="smcap">I</span>, 291, No 55. A girl, interrogated by her +ed. Bergström, <span class="smcap">I</span>, 291, No 55. A girl, interrogated by her step-mother, says she has been at her aunt's, and has eaten two wee striped fishes. The bones she gave the dog; the stanza which should describe the effect is wanting. She wishes heaven for her father and @@ -18907,12 +18867,12 @@ glass of honey before the son, a glass of poison before the bride. They exchange cups. The poison is swift. The young man leaves four horses to his brother, eight cows to his sister, his fine house to his wife. "And<span class="pagenum"><a name="Pg_1-156" id="Pg_1-156">[Pg 156]</a></span> what to me, my son?" asks the mother. A broad mill-stone -and the deep Moldau is the bequest to her. Waldau, Bhmische Granaten, +and the deep Moldau is the bequest to her. Waldau, Böhmische Granaten, <span class="smcap">II</span>, 109, cited by Reifferscheid, p. 137 f.</p> <p>The Catalan ballad seems to have been softened at the end. Here again a mother hates her daughter-in-law. She comes to the sick woman, "com -qui no 'n sabs res," and asks What is the matter? The daughter says, +qui no 'n sabès res," and asks What is the matter? The daughter says, You have poisoned me. The mother exhorts her to confess and receive the sacrament, and then make her will. She gives her castles in France to the poor and the pilgrims [and the friars], and to her brother @@ -18920,9 +18880,9 @@ Don Carlos [who, in one version is her husband]. Two of the versions remember the Virgin. "And to me?" "To you, my husband [my cloak, rosary], that when you go to mass you may remember me." In one version the mother asks the dying woman where she will be buried. She says At -Saint Mary's. Mil, Observaciones, p. 103 f, No 5, two versions: Briz -y Salt, <span class="smcap">II</span>, 197 f, two also, the first nearly the same as -Mil's first.</p> +Saint Mary's. Milà, Observaciones, p. 103 f, No 5, two versions: Briz +y Saltó, <span class="smcap">II</span>, 197 f, two also, the first nearly the same as +Milà's first.</p> <p>Poisoning by giving a snake as food, or by infusing the venom in drink, is an incident in several other popular ballads.</p> @@ -18940,8 +18900,8 @@ the husband returns from hunting. The husband, rendered suspicious by the look of the wine, or warned of his danger, forces his wife to drink first. So in a northern ballad, a mother who attempts to destroy her sons [step-sons] with a brewage of this description is obliged -to drink first, and bursts with the poison: 'Eiturbyrlunar kvi,' -slenzk Fornkv., <span class="smcap">II</span>, 79, No 43 A; 'Fru Gundela,' Arwidsson, +to drink first, and bursts with the poison: 'Eiturbyrlunar kvæði,' +Íslenzk Fornkv., <span class="smcap">II</span>, 79, No 43 A; 'Fru Gundela,' Arwidsson, <span class="smcap">II</span>, 92, No 89; 'Signelill aa hennes synir,' Bugge, p. 95, No <span class="smcap">XX</span>, the last half.</p> @@ -18951,16 +18911,16 @@ the instruction of the man she fancies, or of her own motion, by giving him a snake to eat, or the virus in drink. The object of her passion, on being informed of what she has done, casts her off, for fear of her doing the like to him. Bohemian: 'Sestra travička,' Erben, P. -n. w Čechch, 1842, <span class="smcap">I</span>, 9, No 2, Prostonrodni česk -P., 1864, p. 477, No 13; Swoboda, Sbrka č. n. P., p. 19; German -translations by Swoboda, by Wenzig, W. s. Mrchenschatz, p. 263, I. -v. Dringsfeld, Bhmische Rosen, p. 176, etc. Moravian: Sušil, p. -167, No 168. Slovak, Čelakowsky, Slowansk n. P., <span class="smcap">III</span>, 76. +n. w Čechách, 1842, <span class="smcap">I</span>, 9, No 2, Prostonárodni české +P., 1864, p. 477, No 13; Swoboda, Sbírka č. n. P., p. 19; German +translations by Swoboda, by Wenzig, W. s. Märchenschatz, p. 263, I. +v. Düringsfeld, Böhmische Rosen, p. 176, etc. Moravian: Sušil, p. +167, No 168. Slovak, Čelakowsky, Slowanské n. P., <span class="smcap">III</span>, 76. Polish: Kolberg, P. L. p., <span class="smcap">I</span>, 115, No 8, some twenty versions; Wojcicki, P. L. białochrobatow, etc., <span class="smcap">I</span>, 71, 73, 232, 289; Pauli, P. L. polskiego, p. 81, 82: Konopka, P. L. krakowskiego, p. 125. Servian: Vuk, <span class="smcap">I</span>, 215, No 302, translated by Talvj, -<span class="smcap">II</span>, 192, and by Kapper, Gesnge der Serben, <span class="smcap">II</span>, 177. +<span class="smcap">II</span>, 192, and by Kapper, Gesänge der Serben, <span class="smcap">II</span>, 177. Russian: Čelakowsky, as above, <span class="smcap">III</span>, 108. Etc. The attempt is made, but unsuccessfully, in Sacharof, P. russkago N., <span class="smcap">IV</span>, 7.</p> @@ -18980,9 +18940,9 @@ with the effects. "<a title="[Greek: Ta kaka petherika]">Τα κ^ No 456, nearly == Zambelios, p. 753, No 41; Passow, p. 337, No 457; Tommaseo, Canti popolari, <span class="smcap">III</span>, 135; Jeannaraki,<span class="pagenum"><a name="Pg_1-157" id="Pg_1-157">[Pg 157]</a></span> p. 127, No 130<a name="FNanchor_1_149" id="FNanchor_1_149"></a><a href="#Footnote_1_149" class="fnanchor">[149]</a>; Chasiotis (Epirote), p. 51, No 40, -<a title="[Greek: H bourgaropoula kai h kak pethera;]">"Ἡ βουργαροπουλα +<a title="[Greek: Hê bourgaropoula kai hê kakê pethera;]">"Ἡ βουργαροπουλα και ἡ κακη πεθερα;</a>" p. 103, No 22, -"<a title="[Greek: Ho Dionys kai h kak pethera]">Ὁ Διονυς και +"<a title="[Greek: Ho Dionys kai hê kakê pethera]">Ὁ Διονυς και ἡ κακἡ πεθερα</a>." (Liebrecht, Volkskunde, p. 214.)</p> <p>An Italian mother-in-law undertakes to poison her son's wife with @@ -19027,7 +18987,7 @@ Historiarum, ed. Haydon, <span class="smcap">III</span>, 109 f.</p> og skotske Folkeviser, p. 284, 286. <b>D</b>, by W. Grimm, 3 Altschottische Lieder, p. 3; by Schubart, p. 177; Arndt, p. 229; Doenniges, p. 79; Gerhardt, p. 83; Knortz, L. u. R. Alt-Englands, p. -174. <b>K a</b> by Fiedler, Geschichte der volksthmlichen schottischen +174. <b>K a</b> by Fiedler, Geschichte der volksthümlichen schottischen Liederdichtung, <span class="smcap">II</span>, 268. German <b>C</b> is translated by Jamieson, Illustrations, p. 320: Swedish <b>A</b> by W. and M. Howitt, Literature and Romance of Northern Europe, <span class="smcap">I</span>, 265.</p> @@ -19468,7 +19428,7 @@ girlhood. <b>g.</b> By Mrs A. Lowell, as derived from a friend.</p></div> <span class="i0"><span class="linenum">4</span><br /></span> <span class="i0">'What color were the eels, Tiranti, my son?<br /></span> <span class="i0">What color were the eels, my sweet little one?'<br /></span> -<span class="i0">'They were streakd and stripd; mother, make my bed soon,<br /></span> +<span class="i0">'They were streakëd and stripëd; mother, make my bed soon,<br /></span> <span class="i0">For I'm sick to my heart, and I'm faint to lie down.'<br /></span> </div><div class="stanza"> <span class="i0"><span class="linenum">5</span><br /></span> @@ -19827,7 +19787,7 @@ but is the last stanza in all others which have it.</i></p></div> <p>3 == <b>a</b> 4.</p> -<p> <sup>3</sup>. black stripd with yellow.</p> +<p> <sup>3</sup>. black stripëd with yellow.</p> <p>4 == <b>a</b> 7.</p> @@ -19982,7 +19942,7 @@ is of seven lines, including the repetitions.</i></p></div> <div class="footnote"> <p><a name="Footnote_1_144" id="Footnote_1_144"></a><a href="#FNanchor_1_144"><span class="label">[144]</span></a> Opera nuova, nella quale si contiene una incatenatura -di pi villanelle ed altre cose ridiculose.... Data in luce per me +di più villanelle ed altre cose ridiculose.... Data in luce per me Camillo, detto il Bianchino, cieco Florentino. Fliegendes Blatt von Verona, 1629. Egeria, p. 53; p. 260, note 31.—With the above (Egeria, p. 59) compare especially the beginning of Italian <b>B</b>, further @@ -19993,13 +19953,13 @@ on.</p></div> <p><a name="Footnote_1_145" id="Footnote_1_145"></a><a href="#FNanchor_1_145"><span class="label">[145]</span></a> It begins: </p> <div class="poem"><div class="stanza"> -<span class="i0">"Dve s st jersira,<br /></span> +<span class="i0">"Dôve sî stâ jersira,<br /></span> <span class="i2"><i>Figliuol mio caro, fiorito e gentil?</i><br /></span> -<span class="i2"><i>Dve s st jersira?"</i><br /></span> -<span class="i0">"Sn st dalla mia dama;<br /></span> -<span class="i2"><i>Signra Mama, mio core sta mal!</i><br /></span> -<span class="i2"><i>Son st dalla mia dama;</i><br /></span> -<span class="i2"><i>Ohim! ch'io moro, ohim!"</i><br /></span> +<span class="i2"><i>Dôve sî stâ jersira?"</i><br /></span> +<span class="i0">"Sôn stâ dalla mia dama;<br /></span> +<span class="i2"><i>Signóra Mama, mio core sta mal!</i><br /></span> +<span class="i2"><i>Son stâ dalla mia dama;</i><br /></span> +<span class="i2"><i>Ohimè! ch'io moro, ohimè!"</i><br /></span> </div></div> </div> @@ -20011,29 +19971,29 @@ on.</p></div> <div class="poem"><div class="stanza"> <span class="i0"><span class="footnum">1</span><br /></span> -<span class="i4">"E dove xestu st gieri sera,<br /></span> +<span class="i4">"E dove xestu stà gieri sera,<br /></span> <span class="i4">Figlio mio rico, sapio e gentil?<br /></span> -<span class="i4">E dove xestu st gieri sera,<br /></span> +<span class="i4">E dove xestu stà gieri sera,<br /></span> <span class="i4">Gentil mio cavalier?"<br /></span> </div> <div class="stanza"> <span class="i0"><span class="footnum">2</span><br /></span> <span class="i4">"E mi so' stato da la mia bela;<br /></span> -<span class="i4">Signora madre, el mio cuor st mal!<br /></span> +<span class="i4">Signora madre, el mio cuor stà mal!<br /></span> <span class="i4">E mi so' stato da la mia bela;<br /></span> -<span class="i4">Oh Dio, che moro, ohim!"<br /></span> +<span class="i4">Oh Dio, che moro, ohimè!"<br /></span> </div> <div class="stanza"> <span class="i0"><span class="footnum">3</span><br /></span> -<span class="i4">"E cossa t'la dato da ena,<br /></span> +<span class="i4">"E cossa t'àla dato da çena,<br /></span> <span class="i4">Figlio mio?" etc.<br /></span> </div> <div class="stanza"> <span class="i0"><span class="footnum">4</span><br /></span> -<span class="i4">"E la m' dato 'n'anguila rostita;<br /></span> +<span class="i4">"E la m'à dato 'n'anguila rostita;<br /></span> <span class="i4">Signora madre," etc.<br /></span> </div></div> </div> @@ -20109,15 +20069,15 @@ and two of '<a href="#Ballad_51">Lizie Wan</a>,' further on in this volume.</p> <p>This ballad has been familiarly known to have an exact counterpart in <b>Swedish</b>. There are four versions, differing only as to -length: 'Sven i Rosengrd,' <b>A</b>, Afzelius, No 67, <span class="smcap">III</span>, +length: 'Sven i Rosengård,' <b>A</b>, Afzelius, No 67, <span class="smcap">III</span>, 4, eleven two-line stanzas, with three more<span class="pagenum"><a name="Pg_1-168" id="Pg_1-168">[Pg 168]</a></span> lines of burden; -<b>B</b>, <span class="smcap">III</span>, 3, six stanzas (Bergstrm's ed., No 54, 1, +<b>B</b>, <span class="smcap">III</span>, 3, six stanzas (Bergström's ed., No 54, 1, 2); <b>C</b>, Arwidsson, No 87 <b>A</b>, <span class="smcap">II</span>, 83, eighteen stanzas; <b>D</b>, No 87 B, <span class="smcap">II</span>, 86, sixteen stanzas. The same in <b>Danish</b>: <b>A</b>, Grundtvig, Engelske og skotske Folkeviser, p. 175, nine stanzas; <b>B</b>, Boisen, Nye og gamle Viser, 10th ed., No 95, p. 185, 'Brodermordet.' And in <b>Finnish</b>, probably derived -from the Swedish, but with traits of its own: <b>A</b>, Schrter's +from the Swedish, but with traits of its own: <b>A</b>, Schröter's Finnische Runen, p. 124, 'Werinen Pojka,' The Bloodstained Son, fifteen two-line stanzas, with two lines of refrain; <b>B</b>, 'Velisurmaaja,' Brother-Murderer, Kanteletar, p. x, twenty stanzas.</p> @@ -20167,9 +20127,9 @@ substantially, == <b>B</b> 1; <b>A</b> 3, 4 == <b>B</b> 2; <b>A</b> 5, <p><b>A</b> is translated by Grundtvig, Engelske og skotske Folkeviser, No 26, p. 172; by Rosa Warrens, Schottische V. L., No 21, p. 96; by -Wolff, Halle des Vlker, <span class="smcap">I</span>, 22, and Hausschatz, p. 223. +Wolff, Halle des Völker, <span class="smcap">I</span>, 22, and Hausschatz, p. 223. <b>B</b>, in Afzelius, <span class="smcap">III</span>, 10; "often in Danish," Grundtvig; -by Herder, Volkslieder, <span class="smcap">II</span>, 207; by Dring, p. 217; Gerhard, +by Herder, Volkslieder, <span class="smcap">II</span>, 207; by Döring, p. 217; Gerhard, p. 88; Knortz, Schottische Balladen, No 27. Swedish <b>A</b>, by W. and M. Howitt, Literature and Romance of Northern Europe, <span class="smcap">I</span>, 263.<a name="FNanchor_1_155" id="FNanchor_1_155"></a><a href="#Footnote_1_155" class="fnanchor">[155]</a> </p> @@ -20496,9 +20456,9 @@ that he had killed his two brothers as well as his two sisters.</p> of the Scandinavian race.</p> <p><b>Danish.</b> There are many versions from oral tradition, as yet -unprinted, besides these two: <b>A</b>, 'Hr. Truels's Dttre,' Danske +unprinted, besides these two: <b>A</b>, 'Hr. Truels's Døttre,' Danske Viser, <span class="smcap">III</span>, 392, No 164, there reprinted from Sandvig, -Beskrivelse over en Men, 1776: <b>B</b>, 'Herr Thors Brn,' from +Beskrivelse over Øen Møen, 1776: <b>B</b>, 'Herr Thors Børn,' from recent tradition of North Sleswig, Berggreen, Danske Folke-Sange, 3d ed., p. 88, No 42.</p> @@ -20536,17 +20496,17 @@ They tell him their story, and their father offers them saddle and horse to make their best way off. They reply, "We will<span class="pagenum"><a name="Pg_1-172" id="Pg_1-172">[Pg 172]</a></span> give blood for blood," spread their cloaks on the floor, and let their blood run.</p> -<p><b>Swedish.</b> 'Pehr Tyrsons Dttrar i Wnge.' <b>A</b>, Arwidsson, +<p><b>Swedish.</b> 'Pehr Tyrsons Döttrar i Wänge.' <b>A</b>, Arwidsson, <span class="smcap">II</span>, 413, No 166. <b>B</b>, Afzelius, <span class="smcap">III</span>, 193, No -98: ed. Bergstrm, <span class="smcap">I</span>, 380, No 84, 1. <b>C</b>, Afzelius, -<span class="smcap">III</span>, 197: ed. Bergstrm, <span class="smcap">I</span>, 382, No 84, 2, as old +98: ed. Bergström, <span class="smcap">I</span>, 380, No 84, 1. <b>C</b>, Afzelius, +<span class="smcap">III</span>, 197: ed. Bergström, <span class="smcap">I</span>, 382, No 84, 2, as old as the last half of the seventeenth century. <b>D</b>, Afzelius, -<span class="smcap">III</span>, 202: ed. Bergstrm, <span class="smcap">I</span>, 384, No 84, 3. <b>E</b>, -"C. J. Wessn, De paroecia Krna (an academical dissertation), Upsala, +<span class="smcap">III</span>, 202: ed. Bergström, <span class="smcap">I</span>, 384, No 84, 3. <b>E</b>, +"C. J. Wessén, De paroecia Kärna (an academical dissertation), Upsala, 1836," Arwidsson, as above, who mentions another unprinted copy in the Royal Library.</p> -<p><b>A.</b> Herr Tres' daughters overslept matins, dressed themselves +<p><b>A.</b> Herr Töres' daughters overslept matins, dressed themselves handsomely, and set off for mass. All on the heath they were met by three wood-robbers, who demanded, Will ye be our wives, or lose your lives? The first answered: God save us from trying either! the second, @@ -20557,7 +20517,7 @@ Rather let us range the world! the third, Better death with honor! But</p> <span class="i0">And after that they lost their young lives.<br /></span> </div></div> -<p>The robbers strip them; then go and ask to be taken in by Herr Tres. +<p>The robbers strip them; then go and ask to be taken in by Herr Töres. He serves them with mead and wine, but presently begins to wish his daughters were at home. His wife sees him to bed; then returns to her guests, who offer her a silken sark to pass the night with them. "Give @@ -20565,7 +20525,7 @@ me a sight of the silken sark," she cries, with prophetic soul: "God have mercy on my daughters!" She rouses her husband, and tells him that the robbers have slain his bairns. He puts on his armor and kills two of them: the third begs to be spared till he can say who were his -kin; his father's name is Tres! Father and mother resolve to build a +kin; his father's name is Töres! Father and mother resolve to build a church for penance, and it shall be called Kerna. <b>B</b>, <b>C</b>, <b>D</b>. The girls meet three "vallare," strolling men, and none of them good (<b>C</b>). The robbers cut off the girls' heads on the @@ -20585,8 +20545,8 @@ sons, goes to the smith, and has an iron band fastened round his middle. The parents vow to build a church as an expiation, and it shall be called Kerna (<b>B</b>, <b>C</b>).</p> -<p><b>Fre.</b> 'Torkilds Riim, eller St. Catharin Vise, 'Lyngbye, -Friske Qvder, p. 534/p. 535. In this form of the story, as in the +<p><b>Färöe.</b> 'Torkilds Riim, eller St. Catharinæ Vise, 'Lyngbye, +Færøiske Qvæder, p. 534/p. 535. In this form of the story, as in the Icelandic versions which follow, the robbers are not the brothers of the maids. Torkild's two daughters sleep till the sun shines on their beds. Their father wakens them, and tells Katrine she is waited for at @@ -20603,7 +20563,7 @@ saddle her own horse.</p> <p>First she came upon three strollers (vadlarar<a name="FNanchor_1_156" id="FNanchor_1_156"></a><a href="#Footnote_1_156" class="fnanchor">[156]</a>), then two, then one, and the last asked her whether she would pass the night with him -(vera qvldar vujv) or die. He cut off her head, and wherever her +(vera qvöldar vujv) or die. He cut off her head, and wherever her blood ran a light kindled; where her head fell a spring welled forth: where her body lay a church was [afterwards] built. The rover came to Torkild's house, and the father asked if he had seen Katrine. He said @@ -20619,10 +20579,10 @@ swains to light a pile in the wood: early the next morning they burned the murderer on it.</p> <p><b>Icelandic.</b> Five Icelandic versions, and the first stanza of -two more, are given in slenzk Fornkvi, <span class="smcap">I</span>, 108 ff, No 15, -'Vallara kvi.'</p> +two more, are given in Íslenzk Fornkvæði, <span class="smcap">I</span>, 108 ff, No 15, +'Vallara kvæði.'</p> -<p>The story is nearly the same as in the Fre ballad. Two of Thorkell's +<p>The story is nearly the same as in the Färöe ballad. Two of Thorkell's daughters sleep till after the sun is up (<b>B</b>, <b>C</b>). They wash and dress; they set out for church (<b>C</b>). On the heath they encounter a strolling man, <b>A</b>; a tall, large man, <b>C</b>, @@ -20657,10 +20617,10 @@ says Aytoun (<span class="smcap">I</span>, 159), "lie about six miles to the eas of Dunkeld." Tradition has connected the story with half a dozen localities in Sweden, and, as Professor Grundtvig informs me, with at least eight places in the different provinces of Denmark. The Kerna -church of the Swedish ballads, not far from Linkping (Afzelius), +church of the Swedish ballads, not far from Linköping (Afzelius), has been popularly supposed to derive its name from a Catharina, Karin, or Karna, killed by her own brother, a wood-robber, near its -site. See Afzelius, ed. Bergstrm, <span class="smcap">II</span>, 329 ff: Danske Viser, +site. See Afzelius, ed. Bergström, <span class="smcap">II</span>, 329 ff: Danske Viser, <span class="smcap">III</span>, 444 f.</p> <hr class="tb" /> @@ -21311,13 +21271,13 @@ probably a simple corruption.</p> <p>The ballad which 'Leesome Brand' represents is preserved among the Scandinavian races under four forms.</p> -<p><b>Danish.</b> I. 'Bolde Hr. Nilaus' Ln,' a<span class="pagenum"><a name="Pg_1-179" id="Pg_1-179">[Pg 179]</a></span> single copy from a +<p><b>Danish.</b> I. 'Bolde Hr. Nilaus' Lön,' a<span class="pagenum"><a name="Pg_1-179" id="Pg_1-179">[Pg 179]</a></span> single copy from a manuscript of the beginning of the 17th century: Grundtvig, <span class="smcap">V</span>, 231, No 270. II. 'Redselille og Medelvold,' in an all but unexampled number of versions, of which some sixty are collated, and some twenty-five printed, by Grundtvig, most of them recently obtained from tradition, and the oldest a broadside of about the year 1770: -Grundtvig, <span class="smcap">V</span>, 234, No 271. III. 'Snnens Sorg,' Grundtvig, +Grundtvig, <span class="smcap">V</span>, 234, No 271. III. 'Sönnens Sorg,' Grundtvig, <span class="smcap">V</span>, 289, No 272, two versions only: <b>A</b> from the middle of the 16th century; <b>B</b> three hundred years later, previously printed in Berggreen's Danske Folkesange, <span class="smcap">I</span>, No 83 (3d ed.). @@ -21332,7 +21292,7 @@ Redevall,' Afzelius, <span class="smcap">II</span>, 189, No 58, new ed. No 51. < 'Krist' Lilla och Herr Tideman,' Arwidsson, <span class="smcap">I</span>, 352, No 54 A. <b>D</b>, <b>E</b>, <b>F</b>, <b>G</b>, from Cavallius and Stephens' manuscript collection, first printed by Grundtvig, No 271, V, 282 ff, -Bilag 2-5. <b>H</b>, 'Rosa lilla,' Eva Wigstrm, Folkvisor frn Skne, +Bilag 2-5. <b>H</b>, 'Rosa lilla,' Eva Wigström, Folkvisor från Skåne, in Ur de nordiska Folkens Lif, af Artur Hazelius, p. 133, No 8. III. A single version, of date about 1650, 'Moder och Son,' Arwidsson, <span class="smcap">II</span>, 15, No 70.</p> @@ -21344,7 +21304,7 @@ Fjeldmelodier, No 121. III. Six versions from recent tradition, <b>A-F</b>, first printed by Grundtvig, No 272, <span class="smcap">V</span>, 297 ff, Bilag I-6.</p> -<p><b>Icelandic.</b> III. 'Sonar harmur,' slenzk Fornkvi, <span class="smcap">I</span>, +<p><b>Icelandic.</b> III. 'Sonar harmur,' Íslenzk Fornkvæði, <span class="smcap">I</span>, 140 ff, No 17, three versions, <b>A</b>, <b>B</b>, <b>C</b>, the last, which is the oldest, being from late in the 17th century; also the first stanza of a fourth, <b>D</b>.</p> @@ -21372,7 +21332,7 @@ prompt now, and bids her get her gold together while he saddles his horse. They ride away, with [or without] precautions against discovery, and come to a wood. Four Norwegian versions, <b>A</b>, <b>B</b>, <b>C</b>, <b>G</b>, and also two Icelandic versions, -<b>A</b>, <b>B</b>, of 'Snnens Sorg,' interpose a piece of water, +<b>A</b>, <b>B</b>, of 'Sønnens Sorg,' interpose a piece of water, and a difficulty in crossing, owing to the ferryman's refusing help or the want of oars; but this passage is clearly an infiltration from a different story. Arriving at the wood, the maid desires to rest a @@ -21388,7 +21348,7 @@ die than that man should know of woman's pangs. So Swedish <b>H</b>, nearly. Partly to secure privacy, and partly from thirst, she expresses a wish for water, and her lover goes in search of some.<span class="pagenum"><a name="Pg_1-180" id="Pg_1-180">[Pg 180]</a></span> (This in nearly all the Danish ballads, and many of the others. But in four of -the Norwegian versions of 'Snnens Sorg' the lover is told to go and +the Norwegian versions of 'Sønnens Sorg' the lover is told to go and amuse himself, much as in our ballads.) When he comes to the spring or the brook, there sits a nightingale and sings. <i>Two</i> nightingales, a small bird, a voice from heaven, a small dwarf, an old man, replace @@ -21409,7 +21369,7 @@ would hardly be raised but for what follows. In Danish <b>D</b>, <b>P</b> and Swedish <b>F</b>, it is expressly mentioned that the children are <i>alive</i>, and in <b>Q</b>, <b>R</b>, <b>S</b>, <b>T</b>, <b>U</b>, six copies of <b>V</b>, and <b>Y</b>, and also in 'Bolde -Hr. Nilaus' Ln,' and in 'Snnens Sorg,' Danish <b>A</b>, Norwegian +Hr. Nilaus' Løn,' and in 'Sønnens Sorg,' Danish <b>A</b>, Norwegian <b>A</b>, <b>C</b>, <b>D</b>, <b>E</b>, the children are heard, or seem to be heard, shrieking from under the ground. Nearly all the versions make the knight run himself through with his sword, either immediately @@ -21422,7 +21382,7 @@ likely to be slurred over or omitted at a later day than to be added.</p> <p>We may pass over in silence the less important variations in the very numerous versions of 'Redselille and Medelvold,' nor need we be detained long by the other three Scandinavian forms of the ballad. -'Snnens Sorg' stands in the same relation to 'Redselille and +'Sønnens Sorg' stands in the same relation to 'Redselille and Medelvold' as 'Hildebrand and Hilde,' does to 'Ribold and Guldborg' (see p. 89 of this volume); that is, the story is told in the first person instead of the third. A father asks his son why he is so sad, @@ -21446,10 +21406,10 @@ childbirth, no burial. The superfluous boat of some Norwegian versions of 'Redselille' reappears in these, and also in Icelandic <b>A</b>, <b>B</b>; it is overturned in a storm, and the lady is drowned.</p> -<p>'Stalbroders Kvide' differs from 'Snnens Sorg' only in this: that the +<p>'Stalbroders Kvide' differs from 'Sønnens Sorg' only in this: that the story is related to a comrade instead of father or mother.</p> -<p>'Bolde Hr. Nilaus' Ln,' which exists but in a single copy, has a +<p>'Bolde Hr. Nilaus' Løn,' which exists but in a single copy, has a peculiar beginning. Sir Nilaus has served eight years in the king's court without recompense. He has, however, gained the favor of the king's daughter, who tells him that she is suffering much on his @@ -21462,7 +21422,7 @@ immediately bids Nilaus saddle his horse while she collects her gold, and from this point we have the story of Redselille.</p> <p><b>Dutch.</b> Willems, Oude vlaemsche Liederen, p. 482, No 231, 'De -Ruiter en Mooi Elsje;' Hoffmann v. Fallersleben, Niederlndische +Ruiter en Mooi Elsje;' Hoffmann v. Fallersleben, Niederländische Volkslieder, 2d ed., p. 170, No 75: broadside of the date 1780.</p> <p>A mother inquires into her daughter's condition, and learns that she @@ -21487,8 +21447,8 @@ and he is asked to go aside, and answer when called. If there should be no call, she will be dead. There was no call, and she was found to be dead, with two sons in her bosom. The trooper wrapped the children in her apron, and dug her grave with his sword. <b>B</b>, -Reifferscheid, Westflische Volkslieder, p. 106, 'Ach Wunder ber -Wunder,' from Bkendorf: much the same as to the story. <b>C</b>, +Reifferscheid, Westfälische Volkslieder, p. 106, 'Ach Wunder über +Wunder,' from Bökendorf: much the same as to the story. <b>C</b>, Mittler, No 195, p. 175, 'Von Farbe so bleich,' a fragment of a copy from Hesse; Zuccalmaglio, p. 187, No 90, 'Die Waisen,' an entire copy, ostensibly from the Lower Rhine, but clearly owing its last fourteen @@ -21512,7 +21472,7 @@ at the beginning and the end, but still preserves very well the chief points of the story. A lover has promised his mistress that after returning from a long absence he would take her to see his country. While traversing a wood she is seized with her pains. The aid of her -companion is declined: "Cela n'est point votre mtier." She begs for +companion is declined: "Cela n'est point votre métier." She begs for water. The lover goes for some, and meets a lark, who tells him that he will find his love dead, with a child in her arms. Two stanzas follow which are to no purpose. <b>B</b>. The other copy of this ballad has @@ -21529,7 +21489,7 @@ love.</p> <p>The names in the Scandinavian ballads, it<span class="pagenum"><a name="Pg_1-182" id="Pg_1-182">[Pg 182]</a></span> is remarked by Grundtvig, <span class="smcap">V</span>, 242, 291, are not Norse, but probably of German derivation, and, if such, would indicate a like origin for the story. The man's -name, for instance, in the Danish 'Snnens Sorg,' <b>A</b>, Gysellannd, +name, for instance, in the Danish 'Sønnens Sorg,' <b>A</b>, Gysellannd, seems to point to Gisalbrand or Gisalbald, German names of the 8th or 9th century. There is some doubt whether this Gysellannd is not due to a corruption arising in the course of tradition (see Grundtvig, @@ -21556,8 +21516,8 @@ brings in his helmet, but only to find the woman dead, with a lifeless child at her breast. He wraps mother and child in his mantle, carries them to a chapel, and lays them on the altar; then digs a grave with his sword, goes for the body of the man, and buries all three in the -grave he has made. Grimm, Altdnische Heldenlieder, p. 508; Holtzmann, -Der grosse Wolfdietrich, st. 1587-1611; Amelung u. Jnicke,<a name="FNanchor_1_158" id="FNanchor_1_158"></a><a href="#Footnote_1_158" class="fnanchor">[158]</a> +grave he has made. Grimm, Altdänische Heldenlieder, p. 508; Holtzmann, +Der grosse Wolfdietrich, st. 1587-1611; Amelung u. Jänicke,<a name="FNanchor_1_158" id="FNanchor_1_158"></a><a href="#Footnote_1_158" class="fnanchor">[158]</a> Ortnit u. die Wolfdietriche, <span class="smcap">II</span>, 146, <b>D</b>, st. 51-75; with differences, <span class="smcap">I</span>, 289, B, st. 842-848; mother and child surviving, <span class="smcap">I</span>, 146, <b>A</b>, st. 562-578; Weber's abstract of @@ -21970,7 +21930,7 @@ this volume, and the two which follow it.</p> <hr class="tb" /> <p>Translated in Grundtvig's E. og s. Folkeviser, No 49, p. 308; Wolff's -Halle der Vlker, <span class="smcap">I</span>, 64.</p> +Halle der Völker, <span class="smcap">I</span>, 64.</p> <hr class="tb" /> @@ -22287,10 +22247,10 @@ three manuscripts: the oldest regarded as of the second half of the 13th century, or older; the others put at 1300 and a little later. All three have been printed: (1.) By Michel, Horn et Rimenhild, p. 259 ff, Bannatyne Club, 1845; J. R. Lumby, Early English Text Society, 1866; -and in editions founded on Lumby's text, by Mtzner, Altenglische +and in editions founded on Lumby's text, by Mätzner, Altenglische Sprachproben, p. 270 ff, and later by Wissmann, Quellen u. Forschungen, -No 45. (2.) By Horstmann, Archiv fr das Studium der neueren Sprachen, -1872, <span class="smcap">L</span>, 39 ff. (3.) By Ritson, A.E. Metrical Romances, +No 45. (2.) By Horstmann, Archiv für das Studium der neueren Sprachen, +1872, <span class="smcap">L</span>, 39 ff. (3.) By Ritson, A.E. Metrical Romanceës, <span class="smcap">II</span>, 91 ff.</p> <p>II. 'Horn et Rymenhild,' a romance in about 5250 heroic verses, @@ -22299,7 +22259,7 @@ of the University of Cambridge, and of the 14th century.</p> <p>III. 'Horn Childe and Maiden Rimnild,' from a manuscript of the 14th century, in not quite 100 twelve-line stanzas: Ritson, Metrical -Romances, <span class="smcap">III</span>, 282 ff; Michel, p. 341 ff.</p> +Romanceës, <span class="smcap">III</span>, 282 ff; Michel, p. 341 ff.</p> <p>Horn, in the old English <i>gest</i>, is son of Murry [Allof], king of Suddenne. He is a youth of extraordinary beauty, and has twelve @@ -22606,7 +22566,7 @@ at least suggested by the romances of Horn.</p> 263, translated by Prior, <span class="smcap">III</span>, 151. Of this there are two traditional versions: <b>A</b> from a manuscript of the sixteenth century, <b>B</b> from one of the seventeenth. They agree in story. In -<b>A</b>, Tor asks Slffuermord how long she will wait for him. Nine +<b>A</b>, Tor asks Sølffuermord how long she will wait for him. Nine years, she answers, if she can do so without angering her friends. He will be satisfied with eight. Eight have passed: a family council is held, and it is decided that she shall not have Young Tor, but a @@ -22619,7 +22579,7 @@ has waited eight years, and is even now drinking her bridal, but with tears. Tor takes his harp and chess-board, and plays outside the bridal hall till the bride hears and knows him. He then enters the hall, and asks if there is anybody that can win a game of chess. The father -replies, Nobody but Slffuermord, and she sits a bride at the board. +replies, Nobody but Sølffuermord, and she sits a bride at the board. The mother indulgently suggests that the midsummer day is long, and the bride might well try a game. The bride seeks an express sanction of her father, who lessons her the livelong day, being suspicious of Tor, @@ -22668,11 +22628,11 @@ have been published. <b>A</b>, 'Herr Lagman och Herr Thor,' from a manuscript of the end of the sixteenth century, Arwidsson, <span class="smcap">I</span>, 165, No 24; <b>B</b>, from a manuscript, <i>ib.</i>, p. 168; <b>C</b>, from oral tradition, p. 171; <b>D</b>, 'Lageman och hans Brud,' Eva -Wigstrm, Folkdiktning samlad och upptecknad i Skne, p. 29, No 12; -<b>E</b>, 'Stolt Ingrid,' Folkvisor fru Skne, upptecknade af E. -Wigstrm, in Hazelius, Ur de nordiska Folkens Lif, p. 121, No 3; +Wigström, Folkdiktning samlad och upptecknad i Skåne, p. 29, No 12; +<b>E</b>, 'Stolt Ingrid,' Folkvisor fråu Skåne, upptecknade af E. +Wigström, in Hazelius, Ur de nordiska Folkens Lif, p. 121, No 3; <b>F</b>, 'Deielill och Lageman,' Fagerlund, Anteckningar om Korpo och -Houtskrs Socknar, p. 192, No 3. In <b>A</b>, <b>D</b> the bride goes +Houtskärs Socknar, p. 192, No 3. In <b>A</b>, <b>D</b> the bride goes off in her lover's ship; in <b>C</b> he carries her off on his horse, when the dancing is at its best, and subsequently, upon the king's requisition, settles matters with his rival by killing him in single @@ -22743,7 +22703,7 @@ drank off the wine that was left, a half ring lay in the glass.</p> <p>(3.) A Flemish broadside, which may originally have been of the 15th century, relates the adventures of the Duke of Brunswick in sixty-five stanzas of four long lines: reprinted in von der Hagen's Germania, -<span class="smcap">VIII</span>, 359, and Hoffmann's Niederlndische Volkslieder, No 2, +<span class="smcap">VIII</span>, 359, and Hoffmann's Niederländische Volkslieder, No 2, p. 6; Coussemaker, No 47, p. 152; abridged and made over, in Willems, O. v. L., p. 251, No 107. The duke, going to war, tells his wife to marry again if he stays away seven years. She gives him half of her @@ -22763,14 +22723,14 @@ one in the cup, and the two adhere firmly.</p> <p>(4.) A German poem of the 15th century, by Michel Wyssenhere, in ninety-eight stanzas of seven lines, first printed by Massmann, -Denkmler deutscher Sprache und Literatur, p. 122, and afterwards by +Denkmæler deutscher Sprache und Literatur, p. 122, and afterwards by Erlach, <span class="smcap">II</span>, 290, and elsewhere. The Lord of Brunswick receives an impression in a dream that he ought to go to the Holy Sepulchre. He cuts a ring in two, and gives his wife one half for a souvenir, but fixes no time for his absence, and so naturally says nothing about her taking another husband. He has the adventures which are usual in other versions of the story, and at last finds himself among the Wild Hunt -(das wden her), and obliges one of the company, by conjurations, to +(das wöden her), and obliges one of the company, by conjurations, to tell him how it is with his wife and children. The spirit informs him that his wife is about to marry another man. He then constrains the spirit to transport him and his lion to his castle. This is done on the @@ -22781,9 +22741,9 @@ finds it like her half, and cries out that she has recovered her dear husband and lord.</p> <p>(5.) Henry the Lion, a chap-book printed in the 16th century, in one -hundred and four stanzas of eight short verses; reprinted in Bsching's -Volkssagen, Mrchen und Legenden, p. 213 ff, and (modernized) by -Sim<span class="pagenum"><a name="Pg_1-196" id="Pg_1-196">[Pg 196]</a></span>rock in the first volume of Die deutschen Volksbcher. The hero +hundred and four stanzas of eight short verses; reprinted in Büsching's +Volkssagen, Märchen und Legenden, p. 213 ff, and (modernized) by +Sim<span class="pagenum"><a name="Pg_1-196" id="Pg_1-196">[Pg 196]</a></span>rock in the first volume of Die deutschen Volksbücher. The hero goes out simply in quest of adventures, and, having lost his ship and all his companions, is floating on a raft with his lion, when the devil comes to him and tells him that his wife is to remarry. A compact is @@ -22794,7 +22754,7 @@ husband if he did not come back in that time. The duke sends a servant to beg a drink of wine of his wife, and returns the cup, as in (3), (4).</p> <p>(6.) A ballad in nine seven-line stanzas, supposed to be by a -Meistersinger, preserved in broadsides of about 1550 and 1603, Bhme, +Meistersinger, preserved in broadsides of about 1550 and 1603, Böhme, No 5, p. 30, Erk's Wunderhorn, <span class="smcap">IV</span>, 111. (7.) Hans Sachs's 'Historia,' 1562, in two hundred and four verses, Works, ed. 1578, Buch iv, Theil ii, Blatt lvii<sup>b</sup>-lviii<sup>b</sup>.<a name="FNanchor_1_168" id="FNanchor_1_168"></a><a href="#Footnote_1_168" class="fnanchor">[168]</a> (8.) A Meistersingerlied of @@ -22836,16 +22796,16 @@ Thomas, and the noble Moringer; is admitted to his wife's presence; sings a lay describing his own case, which moves the lady much; throws into a beaker of wine, which she sets before him, the ring by which she was married to him, sends the cup back to her, and is recognized. -Bhme, No 6, p. 32; Uhland, No 298, p. 773. (2.) In the older +Böhme, No 6, p. 32; Uhland, No 298, p. 773. (2.) In the older Hildebrandslied, which is of the 14th century, or earlier, the hero, returning after an absence of thirty-two years, drops his ring into a -cup of wine presented to him by his wife. Bhme, No 1, p. 1; Uhland, No +cup of wine presented to him by his wife. Böhme, No 1, p. 1; Uhland, No 132, p. 330. (3.) Wolfdietrich drops Ortnit's ring into a cup of wine sent him by Liebgart, who has been adjudged to the Graf von Biterne in consideration of his having, as he pretended, slain the dragon. The cup is returned to the empress, the ring identified, the pretension refuted, and<span class="pagenum"><a name="Pg_1-197" id="Pg_1-197">[Pg 197]</a></span> Liebgart given to Ortnit's avenger. Wolfdietrich B, ed. -Jnicke, <span class="smcap">I</span>, 280 ff, stanzas 767-785. (4.) King Rother (whose +Jänicke, <span class="smcap">I</span>, 280 ff, stanzas 767-785. (4.) King Rother (whose history has passages of the strongest resemblance to Horn's), coming to retrieve his wife, who has been kidnapped and carried back to her father, lands below Constantinople, at a woody and hilly place, and @@ -22860,7 +22820,7 @@ immediately recovers her spirits. Massmann, Deutsche Gedichte des zwœlften Jahrhunderts, Theil ii, p. 213, vv. 3687-3878.</p> <p>One of the best and oldest stories of the kind we are engaged with is -transmitted by Csarius of Heisterbach in his Dialogus Miraculorum, +transmitted by Cæsarius of Heisterbach in his Dialogus Miraculorum, of the first quarter of the 13th century. Gerard, a soldier living in Holenbach ("his grandchildren are still alive, and there is hardly a man in the town who does not know about this"), being, like Moringer, @@ -22878,7 +22838,7 @@ fitted it to the half which had been given her, rushed into his arms, and bade good-by to the new bridegroom. Ed. Strange, <span class="smcap">II</span>, 131.</p> <p>A tradition closely resembling this has been found in Switzerland, -Gerard and St Thomas being exchanged for Wernhart von Strttlingen and +Gerard and St Thomas being exchanged for Wernhart von Strättlingen and St Michael. Menzel's Odin, p. 96.</p> <p>Another of the most remarkable tales of this class is exquisitely @@ -22922,7 +22882,7 @@ the table in her ecstasy, threw herself into Torello's arms.</p> <p>Tales of this description still maintain themselves in popular tradition. 'Der Ring ehelicher Treue,' Gottschalk, Deutsche -Volksmrchen, <span class="smcap">II</span>, 135, relates how Kuno von Falkenstein, going +Volksmärchen, <span class="smcap">II</span>, 135, relates how Kuno von Falkenstein, going on a crusade, breaks his ring and gives one half to his wife, begging her to wait seven years before she marries again. He has the adventures of Henry of Brunswick, with differences, and, like Moringer, sings a @@ -22933,7 +22893,7 @@ deficiencies, in details, are afforded by 'Der getheilte Trauring,' Schmitz, Sagen u. Legenden des Eifler Volkes, p. 82; 'Bodman,' Uhland, in Pfeiffer's Germania, <span class="smcap">IV</span>, 73-76; 'Graf Hubert von Kalw,' Meier, Deutsche Sagen, u.s.w., aus Schwaben, p. 332, No 369, Grimms, -Deutsche Sagen, No 524; 'Der Brenhuter,' Grimms, K.u.H. mrchen, No +Deutsche Sagen, No 524; 'Der Bärenhäuter,' Grimms, K.u.H. märchen, No 101; 'Berthold von Neuhaus,' in Kern's Schlesische Sagen-Chronik, p. 93.</p> <p>A story of the same kind is interwoven with an exceedingly impressive @@ -22941,17 +22901,17 @@ adventure related of Richard Sans-Peur in Les Chroniques de Normandie, Rouen, 1487, chap. lvii, cited in Michel, Chronique des Ducs de Normandie par Benoit, <span class="smcap">II</span>, 336 ff. A second is told of Guillaume Martel, seigneur de Bacqueville; still others of a seigneur -Gilbert de Lomblon, a comrade of St. Louis in his first crusade. Amlie +Gilbert de Lomblon, a comrade of St. Louis in his first crusade. Amélie de Bosquet, La Normandie romanesque et merveilleuse, pp. 465-68, 470.</p> <p>A Picard ballad, existing in two versions, partly cited by Rathery in -the Moniteur Universel for August 26, 1853, tells of a Sire de Crqui, +the Moniteur Universel for August 26, 1853, tells of a Sire de Créqui, who, going beyond seas with, his sovereign, breaks his ring and gives half to his young wife; is gone ten years, and made captive by the Turks, who condemn him to death on account of his adhesion to Christ; -and is transported to his chteau on the eve of the day of his doom. +and is transported to his château on the eve of the day of his doom. This very day his wife is to take another husband, sorely against her -will. Crqui appears in the rags of a beggar, and legitimates himself +will. Créqui appears in the rags of a beggar, and legitimates himself by producing his half of the ring (which, in a way not explained by Rathery, has been brought back by a swan).</p> @@ -22991,7 +22951,7 @@ in Vigo, Canti popolari siciliani, p. 342 ff, ed. 1857, p. 695 ff, ed. <p>With this belongs a ballad, very common in Greece, which, however, has for the most part lost even more of what was in all probability -the original catastrophe. '<a title="[Greek: Anagnrismos]">Αναγνωρισμος</a>,' Chasiotis, Popular +the original catastrophe. '<a title="[Greek: Anagnôrismos]">Αναγνωρισμος</a>,' Chasiotis, Popular Songs of Epirus, p. 88, No 27, comes nearer the common story than other versions.<a name="FNanchor_1_174" id="FNanchor_1_174"></a><a href="#Footnote_1_174" class="fnanchor">[174]</a> A man who had been twelve years a slave after being a bridegroom of three days, dreams that his wife is marrying, runs to @@ -23016,17 +22976,17 @@ come, the first crowned.</p> <p>In other cases we find the hero in prison. He was put in for thirty days; the keys are lost, and he stays thirty years. Legrand, p. 326, -No 145; <a title="[Greek: Neoellnika Analekta]">Νεοελληνικα +No 145; <a title="[Greek: Neoellênika Analekta]">Νεοελληνικα Αναλεκτα</a>, <span class="smcap">I</span>, 85, No 19. More frequently he is a galley slave: Zambelios, p. 678, No 103 == Passow, No 448; Tommaseo, <span class="smcap">III</span>, 152 == Passow, No 449; Sakellarios, <a title="[Greek: Kypriaka]">Κυπριακα</a>, <span class="smcap">III</span>, 37, No 13: -<a title="[Greek: Neoellnika Analekta]">Νεοελληνικα +<a title="[Greek: Neoellênika Analekta]">Νεοελληνικα Αναλεκτα</a>, <span class="smcap">I</span>, 86, No 20; Jeannaraki, -<a title="[Greek: Asmata krtika]">Ἁσματα κρητικα</a>, p. 203, No +<a title="[Greek: Asmata krêtika]">Ἁσματα κρητικα</a>, p. 203, No 265. His bad dream [a letter from home] makes him heave a sigh which shakes the prison, or stops [splits] the<span class="pagenum"><a name="Pg_1-200" id="Pg_1-200">[Pg 200]</a></span> galley.<a name="FNanchor_1_176" id="FNanchor_1_176"></a><a href="#Footnote_1_176" class="fnanchor">[176]</a> In Tommaseo, <span class="smcap">III</span>, 152, on reaching the church, he cries, "Stand aside, @@ -23037,8 +22997,8 @@ Then they both "go out like candles." In Sakellarios they embrace and fall dead, and when laid in the grave come up as a cypress and a citron tree. In the Cretan ballad John does not dismount, but takes the bride on to the horse and is off with her; so in the beautiful ballad in -Fauriel, <span class="smcap">II</span>, 140, No 11, '<a title="[Greek: H HArpag]">Ἡ Ἁρπαγη</a>,' "peut-tre -la plus distingue de ce recueil," which belongs with this group, but +Fauriel, <span class="smcap">II</span>, 140, No 11, '<a title="[Greek: HÊ HArpagê]">Ἡ Ἁρπαγη</a>,' "peut-être +la plus distinguée de ce recueil," which belongs with this group, but seems to be later at the beginning and the end. Even here the bride takes a cup to pour a draught for the horseman.</p> @@ -23056,22 +23016,22 @@ allowed to sit where he likes. He places himself opposite Nastasya, drops his ring in a cup, and asks her to drink to him. She finds the ring in the bottom, falls at his feet and implores pardon.<a name="FNanchor_1_177" id="FNanchor_1_177"></a><a href="#Footnote_1_177" class="fnanchor">[177]</a> Wollner, Volksepik der Grossrussen, p. 122 f; Rambaud, La Russie -pique, p. 86 f.</p> +Épique, p. 86 f.</p> <p>We have the ring employed somewhat after the fashion of these western -tales in Somadeva's story of Vidshaka. The Vidydhr Bhadr, having -to part for a while with Vidshaka, for whom she had conceived a -passion, gives him her ring. Subsequently, Vidshaka obliges a rakshas +tales in Somadeva's story of Vidúshaka. The Vidyúdhárí Bhadrá, having +to part for a while with Vidúshaka, for whom she had conceived a +passion, gives him her ring. Subsequently, Vidúshaka obliges a rakshas whom he has subdued to convey him to the foot of a mountain on which -Bhadr had taken refuge. Many beautiful girls come to fetch water in -golden pitchers from a lake, and, on inquiring, Vidshaka finds that -the water is for Bhadr. One of the girls asks him to lift her pitcher +Bhadrá had taken refuge. Many beautiful girls come to fetch water in +golden pitchers from a lake, and, on inquiring, Vidúshaka finds that +the water is for Bhadrá. One of the girls asks him to lift her pitcher on to her shoulder, and while doing this he drops into the pitcher -Bhadr's ring. When the water is poured on Bhadr's hands, the ring -falls out. Bhadr asks her maids if they have seen a stranger. They +Bhadrá's ring. When the water is poured on Bhadrá's hands, the ring +falls out. Bhadrá asks her maids if they have seen a stranger. They say they have seen a mortal, and that he had helped one of them with her pitcher. They are ordered to go for the youth at once, for he is -Bhadr's consort.<a name="FNanchor_1_178" id="FNanchor_1_178"></a><a href="#Footnote_1_178" class="fnanchor">[178]</a></p> +Bhadrá's consort.<a name="FNanchor_1_178" id="FNanchor_1_178"></a><a href="#Footnote_1_178" class="fnanchor">[178]</a></p> <p>According to the letter of the ballads, should the ring given Horn by his lady turn wan or blue, this would signify that she loved another @@ -23097,8 +23057,8 @@ the North of Scotland, <span class="smcap">I</span>, 169.</p> <p>In the Roumanian ballad, 'Ring and Handkerchief,' a prince going to war gives his wife a ring: if it should rust, he is dead. She gives him a gold-embroidered handkerchief: if the gold melts, she is dead. -Alecsandri, Poesiĭ pop. ale Romnilor, p. 20, No 7; Stanley, Rouman -Anthology, p. 16, p. 193. In Gonzenbach's Sicilianische Mrchen, +Alecsandri, Poesiĭ pop. ale Românilor, p. 20, No 7; Stanley, Rouman +Anthology, p. 16, p. 193. In Gonzenbach's Sicilianische Märchen, <span class="smcap">I</span>, 39, No 7, a prince, on parting with his sister, gives her a ring, saying, So long as the stone is clear, I am well: if it is dimmed, that is a sign that I am dead. So No 5, at p. 23. A young @@ -24094,15 +24054,15 @@ meet as they are on the way to the princess. The king, from certain passages between them, thinks the soldier a fool. The soldier takes leave of the king under pretence of looking after a net which he had laid in a certain place seven years before, rides on ahead, and slips -away with the princess. Gest. Rom., Oesterley, p. 597, No 193; Grsse, +away with the princess. Gest. Rom., Oesterley, p. 597, No 193; Grässe, <span class="smcap">II</span>, 159; Madden, p. 32; Swan, <span class="smcap">I</span>, p. lxv. A similar story in Campbell's Tales of the West Highlands, <span class="smcap">I</span>, 281, -'Baillie Lunnain.' (Simrock, Deutsche Mrchen, No 47, is apparently a +'Baillie Lunnain.' (Simrock, Deutsche Märchen, No 47, is apparently a translation from the Gesta.) The riddle of the hawk, slightly varied, is met with in the romance of Blonde of Oxford and Jehan of Dammartin, v. 2811 ff, 3143 ff, 3288 ff (ed. Le Roux de Lincy, pp. 98, 109, 114), and, still further modified, in Le Romant de Jehan de Paris, ed. -Montaiglon, pp. 55, 63, 111. (Le Roux de Lincy, Khler, Mussafia, G. +Montaiglon, pp. 55, 63, 111. (Le Roux de Lincy, Köhler, Mussafia, G. Paris). 'Horn et Rimenhild,' it will be observed, has both riddles, and that of the net is introduced under circumstances entirely like those in the Gesta Romanorum. The French romance is certainly independent of @@ -24134,10 +24094,10 @@ Grundtvig, No 114, <span class="smcap">II</span>, 608 ff.</p></div> <div class="footnote"> <p><a name="Footnote_1_166" id="Footnote_1_166"></a><a href="#FNanchor_1_166"><span class="label">[166]</span></a> It appears that these half rings are often dug up. -"Neuere Ausgrabungen haben vielfach auf solche Ringstcke gefhrt, die, -als Zeichen unverbrchlicher Treue, einst mit dem Geliebten gebrochen, +"Neuere Ausgrabungen haben vielfach auf solche Ringstücke geführt, die, +als Zeichen unverbrüchlicher Treue, einst mit dem Geliebten gebrochen, ja wie der Augenschein beweist, entzwei geschnitten, und so ins Grab -mitgenommen wurden, zum Zeichen dass die Liebe ber den Tod hinaus +mitgenommen wurden, zum Zeichen dass die Liebe über den Tod hinaus daure." Rochholz, Schweizersagen aus dem Aargau, <span class="smcap">II</span>, 116.</p></div> <div class="footnote"> @@ -24151,12 +24111,12 @@ by Prior, Ancient Danish Ballads, <span class="smcap">II</span>, 71.</p></div> <div class="footnote"> -<p><a name="Footnote_1_169" id="Footnote_1_169"></a><a href="#FNanchor_1_169"><span class="label">[169]</span></a> Gdeke, 'Reinfrt von Braunschweig,' p. 89, conjectures +<p><a name="Footnote_1_169" id="Footnote_1_169"></a><a href="#FNanchor_1_169"><span class="label">[169]</span></a> Gödeke, 'Reinfrît von Braunschweig,' p. 89, conjectures that the half ring was, or would have been, employed in the sequel by some impostor (the story may never have been finished) as evidence of Brunswick's death. A ring is so used in a Silesian tradition, of the general character of that of Henry the Lion, with the difference -that the knight is awakened by a cock's crowing: 'Die Hahnkrhe bei +that the knight is awakened by a cock's crowing: 'Die Hahnkrähe bei Breslau,' in Kern's Schlesische Sagen-Chronik, p. 151. There is a variation of this last, without the deception by means of the ring, in Goedsche's Schlesischer Sagenschatz, p. 37, No 16.</p></div> @@ -24171,9 +24131,9 @@ soldens, here attributed to Saladin.</p></div> <div class="footnote"> -<p><a name="Footnote_1_171" id="Footnote_1_171"></a><a href="#FNanchor_1_171"><span class="label">[171]</span></a> Without the conclusion, also in Binder's Schwbische -Volkssagen, <span class="smcap">II</span>, 173. These Volksmrchen, by the way, are -"erzhlt" by Gottschalk. It is not made quite so clear as could be +<p><a name="Footnote_1_171" id="Footnote_1_171"></a><a href="#FNanchor_1_171"><span class="label">[171]</span></a> Without the conclusion, also in Binder's Schwäbische +Volkssagen, <span class="smcap">II</span>, 173. These Volksmärchen, by the way, are +"erzählt" by Gottschalk. It is not made quite so clear as could be wished, whether they are merely re-told.</p></div> <div class="footnote"> @@ -24242,7 +24202,7 @@ being reported dead. Wolf and Hofmann, Primavera y Flor de Romances, <div class="footnote"> -<p><a name="Footnote_1_178" id="Footnote_1_178"></a><a href="#FNanchor_1_178"><span class="label">[178]</span></a> Kath Sarit Sgara (of the early part of the 12th +<p><a name="Footnote_1_178" id="Footnote_1_178"></a><a href="#FNanchor_1_178"><span class="label">[178]</span></a> Kathá Sarit Ságara (of the early part of the 12th century), Tawney's translation, <span class="smcap">I</span>, 136 ff. The story is cited by Rajna, in Romania, <span class="smcap">VI</span>, 359. Herr v. Bodman leaves his marriage ring in a wash-bowl! Meier, Deutsche V. m. aus Schwaben, 214 @@ -24268,12 +24228,12 @@ blood of any of his men who may be wounded: Motherwell's Minstrelsy, Introduction, p. lvii. Eglamore's ring, Percy MS., <span class="smcap">II</span>, 363, st. 51, will preserve his life on water or land. A ring given Wolfdietrich by the empress, <b>D</b> <span class="smcap">VIII</span>, st. 42, ed. -Jnicke, doubles his strength and makes him fire-proof in his fight +Jänicke, doubles his strength and makes him fire-proof in his fight with the dragon. The ring lent Ywaine by his lady will keep him from prison, sickness, loss of blood, or being made captive in battle, and give him superiority to all antagonists, so long as he is true in love: Ritson, Met. Rom. <span class="smcap">I</span>, 65, vv 1533 ff. But an Indian ring which -Reinfrt receives from his wife before he departs for the crusade, +Reinfrît receives from his wife before he departs for the crusade, 15,066 ff, has no equal, after all; for, besides doing as much as the best of these, it imparts perpetual good spirits. It is interesting to know that this matchless jewel had once been the property of a Scottish @@ -24292,7 +24252,7 @@ SIR LIONEL.</h2> <p><b><a href="#Version_18_A">A</a>.</b> 'Sir Lionell,' Percy MS., p. 32, Hales and Furnivall, <span class="smcap">I</span>, 75.</p> -<p><b><a href="#Version_18_B">B</a>.</b> 'Isaac-a-Bell and Hugh the Grme,' Christie, +<p><b><a href="#Version_18_B">B</a>.</b> 'Isaac-a-Bell and Hugh the Græme,' Christie, Traditional Ballad Airs, <span class="smcap">I</span>, 110.</p> <p><b><a href="#Version_18_C">C</a>. a.</b> 'The Jovial Hunter of Bromsgrove,' Allies, @@ -24386,7 +24346,7 @@ Thornton, 47).</p> Grime,' Percy MS., Hales and Furnivall, <span class="smcap">I</span>, 341; Laing, Early Metrical Tales, p. 1; 'Sir Eger, Sir Grahame, and Sir Gray-Steel,' Ellis's Specimens, p. 546. Sir Egrabell (Rackabello, Isaac-a-Bell), -Lionel's father, recalls Sir Eger, and Hugh the Grme in <b>B</b> is of +Lionel's father, recalls Sir Eger, and Hugh the Græme in <b>B</b> is of course the Grahame or Grime of the romance, the Hugh being derived from a later ballad. Gray-Steel, a man of proof, although not quite a giant, cuts off the little finger of Eger's right hand, as the giant proposes @@ -24946,7 +24906,7 @@ White's papers.</p></div> <div class="blockquot"> -<p>3<sup>1</sup>. <i>MS.</i> And as th.</p> +<p>3<sup>1</sup>. <i>MS.</i> And as thé.</p> <p>6<sup>2</sup>. <i>MS.</i> had bee.</p> @@ -25173,7 +25133,7 @@ the king in.</p> <p><span class="pagenum"><a name="Pg_1-216" id="Pg_1-216">[Pg 216]</a></span></p> <p>We have here in traditional song the story of the justly admired -medival romance of Orpheus, in which fairy-land supplants Tartarus, +mediæval romance of Orpheus, in which fairy-land supplants Tartarus, faithful love is rewarded, and Eurydice (Heurodis, Erodys, Eroudys) is retrieved. This tale has come down to us in three versions: <b><a href="#Version_19_A">A</a></b>, in the Auchinleck MS., dating from the beginning of the @@ -25183,7 +25143,7 @@ and Heurodis,' No 3; <b>B</b>, Ashmole MS., 61, Bodleian Library, of the first half of the fifteenth century, printed in Halliwell's Illustrations of Fairy Mythology, 'Kyng Orfew,' p. 37; <b>C</b>, Harleian MS., 3810, British Museum, printed by Ritson, Metrical -Romances, <span class="smcap">II</span>, 248, 'Sir Orpheo.' At the end of the Auchinleck +Romancëes, <span class="smcap">II</span>, 248, 'Sir Orpheo.' At the end of the Auchinleck copy we are told that harpers in Britain heard this marvel, and made a lay thereof, which they called, after the king, 'Lay Orfeo.' The other two copies also, but in verses which are a repetition of the @@ -25257,14 +25217,14 @@ singer than "Hey non nonny" is to us. The first line seems to be Unst for Danish</p> <div class="poem"><div class="stanza"> -<span class="i0">Skoven rle grn (Early green's the wood).<br /></span> +<span class="i0">Skoven årle grön (Early green's the wood).<br /></span> </div></div> <p>The sense of the other line is not so obvious. Professor Grundtvig has suggested to me,</p> <div class="poem"><div class="stanza"> -<span class="i0">Hvor hjorten han gr rlig (Where the hart goes yearly).<br /></span> +<span class="i0">Hvor hjorten han går årlig (Where the hart goes yearly).<br /></span> </div></div> <hr class="tb" /> @@ -25280,9 +25240,9 @@ Shetland, by Mr Biot Edmondston.</p></div> <div class="poem"><div class="stanza"> <span class="i0"><span class="linenum">1</span><br /></span> <span class="i0">Der lived a king inta da aste,<br /></span> -<span class="i2">Scowan rla grn<br /></span> +<span class="i2">Scowan ürla grün<br /></span> <span class="i0">Der lived a lady in da wast.<br /></span> -<span class="i2">Whar giorten han grn oarlac<br /></span> +<span class="i2">Whar giorten han grün oarlac<br /></span> </div><div class="stanza"> <span class="i0"><span class="linenum">2</span><br /></span> <span class="i0">Dis king he has a huntin gaen,<br /></span> @@ -25290,7 +25250,7 @@ Shetland, by Mr Biot Edmondston.</p></div> </div><div class="stanza"> <span class="i0"><span class="linenum">3</span><br /></span> <span class="i0">'Oh I wis ye'd never gaen away,<br /></span> -<span class="i0">For at your hame is dl an wae.<br /></span> +<span class="i0">For at your hame is döl an wae.<br /></span> </div><div class="stanza"> <span class="i0"><span class="linenum">4</span><br /></span> <span class="i0">'For da king o Ferrie we his daert,<br /></span> @@ -25304,14 +25264,14 @@ Shetland, by Mr Biot Edmondston.</p></div> </div><div class="stanza"> <span class="i0"><span class="linenum">6</span><br /></span> <span class="i0">Dan he took oot his pipes ta play,<br /></span> -<span class="i0">Bit sair his hert wi dl an wae.<br /></span> +<span class="i0">Bit sair his hert wi döl an wae.<br /></span> </div><div class="stanza"> <span class="i0"><span class="linenum">7</span><br /></span> <span class="i0">And first he played da notes o noy,<br /></span> <span class="i0">An dan he played da notes o joy.<br /></span> </div><div class="stanza"> <span class="i0"><span class="linenum">8</span><br /></span> -<span class="i0">An dan he played da gd gabber reel,<br /></span> +<span class="i0">An dan he played da göd gabber reel,<br /></span> <span class="i0">Dat meicht ha made a sick hert hale.<br /></span> </div><div class="stanza"> <span class="i0">  *   *   *   *   *<br /></span> @@ -25326,14 +25286,14 @@ Shetland, by Mr Biot Edmondston.</p></div> </div><div class="stanza"> <span class="i0"><span class="linenum">11</span><br /></span> <span class="i0">Dan he took out his pipes to play,<br /></span> -<span class="i0">Bit sair his hert wi dl an wae.<br /></span> +<span class="i0">Bit sair his hert wi döl an wae.<br /></span> </div><div class="stanza"> <span class="i0"><span class="linenum">12</span><br /></span> <span class="i0">An first he played da notes o noy,<br /></span> <span class="i0">An dan he played da notes o joy.<br /></span> </div><div class="stanza"> <span class="i0"><span class="linenum">13</span><br /></span> -<span class="i0">An dan he played da gd gabber reel,<br /></span> +<span class="i0">An dan he played da göd gabber reel,<br /></span> <span class="i0">Dat meicht ha made a sick hert hale.<br /></span> </div><div class="stanza"> <span class="i0"><span class="linenum">14</span><br /></span> @@ -25496,23 +25456,23 @@ abstract.</p> <p>A ballad is spread all over <b>Germany</b> which is probably a variation of 'The Cruel Mother,' though the resemblance is rather -in the general character than in the details. <b>A</b>, 'Hllisches +in the general character than in the details. <b>A</b>, 'Höllisches Recht,' Wunderhorn, <span class="smcap">II</span>, 202, ed. of 1808, <span class="smcap">II</span>, 205, ed. 1857. Mittler, No 489, p. 383, seems to be this regulated and filled out. <b>B</b>, Erlach, 'Die Rabenmutter,' <span class="smcap">IV</span>, 148; repeated, with the addition of one stanza, by Zuccalmaglio, p. -203, No 97. <b>C</b>, 'Die Kindsmrderinn,' Meinert, p. 164, from -the Kuhlndchen; turned into current German, Erk's Liederhort, p. +203, No 97. <b>C</b>, 'Die Kindsmörderinn,' Meinert, p. 164, from +the Kuhländchen; turned into current German, Erk's Liederhort, p. 144, No 41<sup>c</sup>. <b>D</b>, Simrock, p. 87, No 37<sup>a</sup>, from the Aargau. <b>E</b>, 'Das falsche Mutterherz,' Erk u. Irmer, Heft 5, No 7, and -'Die Kindesmrderin,' Erk's Liederhort, p. 140, No 41, Brandenburg. +'Die Kindesmörderin,' Erk's Liederhort, p. 140, No 41, Brandenburg. <b>F</b>, Liederhort, p. 142, No 41<sup>a</sup>, Silesia. <b>G</b>, Liederhort, p. 143, 41<sup>b</sup>, from the Rhein, very near to <b>B</b>. <b>H</b>, Hoffmann u. Richter, No 31, p. 54, and <b>I</b>, No 32, p. 57, Silesia. -<b>J</b>, Ditfurth, Frnkische V. 1., <span class="smcap">II</span>, 12, No 13. <b>K</b>, -'Die Rabenmutter,' Peter, Volksthmliches aus sterreichisch-Schlesien, -<span class="smcap">I</span>, 210, No 21. <b>L</b>, 'Der Teufel u. die Mllerstochter,' -Prhle, Weltliche u. geistliche V. 1., p. 15, No 9, Hanoverian Harz. +<b>J</b>, Ditfurth, Fränkische V. 1., <span class="smcap">II</span>, 12, No 13. <b>K</b>, +'Die Rabenmutter,' Peter, Volksthümliches aus Österreichisch-Schlesien, +<span class="smcap">I</span>, 210, No 21. <b>L</b>, 'Der Teufel u. die Müllerstochter,' +Pröhle, Weltliche u. geistliche V. 1., p. 15, No 9, Hanoverian Harz. Repetitions and compounded copies are not noticed.</p> <p>The story is nearly this in all. A herdsman, passing through a wood, @@ -25529,11 +25489,11 @@ word, Satan appears and takes her off; in <b>B</b>, <b>G</b>, <b>J</b>, with words like these:</p> <div class="poem"><div class="stanza"> -<span class="i0">'Komm her, komm her, meine schnste Braut,<br /></span> -<span class="i0">Dein Sessel ist dir in der Hlle gebaut.' <b>J</b> 9.<br /></span> +<span class="i0">'Komm her, komm her, meine schönste Braut,<br /></span> +<span class="i0">Dein Sessel ist dir in der Hölle gebaut.' <b>J</b> 9.<br /></span> </div></div> -<p>A <b>Wendish</b> version, 'Der Hllentanz,' in Haupt and Schmaler, +<p>A <b>Wendish</b> version, 'Der Höllentanz,' in Haupt and Schmaler, <span class="smcap">I</span>, 290, No 292, differs from the German ballads only in this, that the bride has already borne nine children, and is going with the tenth.</p> @@ -25541,7 +25501,7 @@ tenth.</p> <p>A combination of <b>B</b>, <b>C</b>, <b>D</b>, <b>F</b> is translated by Grundtvig, Engelske og skotske Folkeviser, No 43, p. 279, and <b>I</b>, from the eighth stanza on, p. 282. <b>C</b> is translated -by Wolff, Halle der Vlker, <span class="smcap">I</span>, 11, and Hauschatz, p. +by Wolff, Halle der Völker, <span class="smcap">I</span>, 11, and Hauschatz, p. 223; Allingham's version (nearly <b>B a</b>) by Knortz, L. u. R. Alt-Englands, p. 178, No 48.</p> @@ -26652,12 +26612,12 @@ half of the burden, of another version, <b>B</b>.</p> <p>There are three versions in <b>Danish</b>, no one of them very well preserved. <b>A</b>,'Maria Magdalena,' is a broadside of about 1700, existing in two identical editions: Grundtvig, No 98, <span class="smcap">II</span>, -530; <b>B</b>, <i>ib.</i>, was written down in the Fre isles in 1848, +530; <b>B</b>, <i>ib.</i>, was written down in the Färöe isles in 1848, by Hammershaimb; <b>C</b> was obtained from recitation by Kristensen in Jutland in 1869, Jydske Folkeviser, <span class="smcap">I</span>, 197, No 72, 'Synderinden.'</p> -<p>A <b>Fre</b> version, from the end of the last century or the +<p>A <b>Färöe</b> version, from the end of the last century or the beginning of this, is given in Grundtvig's notes, p. 533 ff.</p> <p>Versions recently obtained from recitation in <b>Norway</b> are: @@ -26672,16 +26632,16 @@ Danish than Norwegian.</p> <p>This is, according to Afzelius, one of the commonest of <b>Swedish</b> ballads. These versions are known: <b>A</b>, "a broadside of 1798 and -1802," Grundtvig, <span class="smcap">II</span>, 531, Bergstrm's Afzelius, <span class="smcap">I</span>, +1802," Grundtvig, <span class="smcap">II</span>, 531, Bergström's Afzelius, <span class="smcap">I</span>, 335; <b>B</b>, 'Magdalena,' Atterbom's Poetisk Kalender for 1816, p. 20; <b>C</b>, Afzelius, <span class="smcap">II</span>, 229; <b>D</b>, Arwidsson, -<span class="smcap">I</span>, 377, No 60; <b>E</b>, Dybeck's Svenska Visor, Hfte 2, No +<span class="smcap">I</span>, 377, No 60; <b>E</b>, Dybeck's Svenska Visor, Häfte 2, No 6, only two stanzas; <b>F</b>, <b>G</b>, "in Wiede's collection, in the Swedish Historical and Antiquarian Academy;" <b>H</b>, "in Cavallius and Stephens' collection, where also <b>A</b>, <b>F</b>, <b>G</b> are found;" <b>I</b>, Maximilian Axelson's Vesterdalarne, p. 171; <b>J</b>, -'Jungfru Adelin,' E. Wigstrm's Folkdiktning, No 38, p. 76; <b>K</b>, -'Jungfru Maja,' Album utgifvet af Nylndingar, <span class="smcap">VI</span>, 227. +'Jungfru Adelin,' E. Wigström's Folkdiktning, No 38, p. 76; <b>K</b>, +'Jungfru Maja,' Album utgifvet af Nyländingar, <span class="smcap">VI</span>, 227. <b>A-F</b> are printed in Grundtvig's notes, <span class="smcap">II</span>, 533 ff, and also some verses of <b>G</b>, <b>H</b>.</p> @@ -26693,7 +26653,7 @@ note d).</p> <p><b>Finnish</b>, 'Mataleenan vesimatka,' Kanteletar, ed. 1864, p. 240.</p> <p>The story of the woman of Samaria, John, iv, is in all these blended -with medival traditions concerning Mary Magdalen, who is assumed to +with mediæval traditions concerning Mary Magdalen, who is assumed to be the same with the woman "which was a sinner," in Luke, vii, 37, and also with Mary, sister of Lazarus. This is the view of the larger part of the Latin ecclesiastical writers, while most of the Greeks @@ -26722,7 +26682,7 @@ since every day at the canonical hours she was carried by angels to the skies, and heard, with ears of the flesh, the performances of the heavenly choirs, whereby she was so thoroughly refected that when the angels restored her to her cave she was in need of no bodily -aliment. (Golden Legend, Grsse, c. 96.) It is the practical Martha +aliment. (Golden Legend, Græsse, c. 96.) It is the practical Martha that performs real austerities, and those which are ascribed to her correspond too closely with the penance in the Scandinavian ballads not to be the original of it: "Nam in primis <i>septem</i> annis, glandibus @@ -26737,7 +26697,7 @@ drink. She says she has no vessel to serve him with. He replies that if she were pure, he would drink from her hands. She protests innocence with oaths, but is silenced by his telling her that she has had three children, one with her father, one with her brother, one with her -parish priest: Danish <b>A</b>, <b>B</b>, <b>C</b>; Fre; Swedish +parish priest: Danish <b>A</b>, <b>B</b>, <b>C</b>; Färöe; Swedish <b>C</b>, <b>D</b>, <b>F</b>, <b>I</b>, <b>J</b>, <b>K</b>; Norwegian <b>A</b>, <b>C</b>, <b>F</b>, <b>G</b>. She falls at his feet, and begs him to shrive her. Jesus appoints her a seven years' penance in @@ -26754,10 +26714,10 @@ music].<a name="FNanchor_1_183" id="FNanchor_1_183"></a><a href="#Footnote_1_183 heaven.</p> <p>The penance lasts eight years in Swedish <b>C</b>, <b>F</b>, <b>J</b>, -Norwegian <b>A</b>; nine in the Fre ballad; fifteen in Danish +Norwegian <b>A</b>; nine in the Färöe ballad; fifteen in Danish <b>B</b>; and six weeks in Danish <b>C</b>. It is to range the field in Danish <b>A</b>, Swedish <b>F</b>; to walk the snows barefoot in the -Fre ballad and Norwegian <b>B</b>; in Norwegian <b>D</b> to stand +Färöe ballad and Norwegian <b>B</b>; in Norwegian <b>D</b> to stand nine years in a rough stream and eight years naked in the church-paths.</p> <p>The names Maria, or Magdalena, Jesus, or Christ, are found in most of @@ -26845,7 +26805,7 @@ killed, chopt off their heads, and meanest to do the same for a tenth. She entreats their forgiveness, enters the church, sprinkles herself with holy water, kneels at the altar and crosses herself, then suddenly sinks into the ground, so that nothing is to be seen but her yellow -hair. <b>B</b>, 'Die Kindesmrderin,' <i>ib.</i>, <span class="smcap">II</span>, 149, No 197, +hair. <b>B</b>, 'Die Kindesmörderin,' <i>ib.</i>, <span class="smcap">II</span>, 149, No 197, begins like <b>A</b>. As the maid proceeds to the church, nine graves open before her, and nine souls follow her into the church. The oldest of her children springs upon her and breaks her neck, saying, "Mother, @@ -26853,8 +26813,8 @@ here is thy reward. Nine of us didst thou kill."</p> <p>There are two <b>Moravian</b> ballads of the same tenor: <b>A</b>, Deutsches Museum, 1855, <span class="smcap">I</span>, 282, translated by M. Klapp: -<b>B</b>, communicated to the Zeitschrift des bhmischen Museums, -1842, p. 401, by A.W. Šembera, as sung by the "mhrisch sprechenden +<b>B</b>, communicated to the Zeitschrift des böhmischen Museums, +1842, p. 401, by A.W. Šembera, as sung by the "mährisch sprechenden Slawen" in Prussian Silesia; the first seven stanzas translated in Haupt u. Schmaler, <span class="smcap">II</span>, 314, note to No 197. The Lord God goes out one Sunday morning, and meets a maid, whom he asks for water. She @@ -26869,7 +26829,7 @@ a pillar of salt.</p> <p>The popular ballads of some of the southern nations give us the legend of the Magdalen without mixture.</p> -<p><b>French.</b> <b>A</b>, Posies populaires de la France, <span class="smcap">I</span> +<p><b>French.</b> <b>A</b>, Poésies populaires de la France, <span class="smcap">I</span> (not paged), from Sermoyer, Ain, thirty lines, made stanzas by repetition. Mary goes from door to door seeking Jesus. He asks what she wants: she answers, To be shriven. Her sins have been such, she says, @@ -26883,10 +26843,10 @@ then, being thoroughly cured of her old vanities, she is told,</p> <div class="poem"><div class="stanza"> <span class="i0">'Marie Magdeleine, allez au paradis;<br /></span> -<span class="i0">La porte en est ouverte depuis hier midi.'<br /></span> +<span class="i0">La porte en est ouverte depuis hier à midi.'<br /></span> </div></div> -<p><b>B</b> is nearly the same legend in Provenal: Damase Arbaud, +<p><b>B</b> is nearly the same legend in Provençal: Damase Arbaud, <span class="smcap">I</span>, 64. The penance is seven years in a cave, at the end of which Jesus passes, and asks Mary what she has had to eat and drink. "Wild roots, and not always them; muddy water, and not always that." @@ -26909,7 +26869,7 @@ drink. But Mary is not reconciled:</p> <span class="i2">With the hair of my head.'<br /></span> </div></div> -<p><b>C</b>, Posies populaires de la Gascogne, Blad, 1881, p. 339; 'La +<p><b>C</b>, Poésies populaires de la Gascogne, Bladé, 1881, p. 339; 'La pauvre Madeleine,' seventeen stanzas of four short lines, resembles <b>B</b> till the close. When Jesus comes back after the second penance, and Mary says, as she had before, that she has lived like the @@ -26918,15 +26878,15 @@ from the rock. But Mary says, I want no water. I should have to go back to the cave for another seven years. She is conducted straightway to paradise.</p> -<p><b>D</b>, Blad, as before, p. 183, 'Marie-Madeleine,' six stanzas +<p><b>D</b>, Bladé, as before, p. 183, 'Marie-Madeleine,' six stanzas of five short lines. Mary is sent to the mountains for seven years' penance; at the end of that time washes her hands in a brook, and is guilty of admiring them; is sent back to the mountains for seven years, and is then taken to heaven.</p> <p>A <b>Catalan</b> ballad combines the legend of the Magdalen's penance -with that of her conversion: Mil, Observaciones, p. 128, No 27, 'Santa -Magdalena,' and Briz y Salt, Cansons de la Terra, <span class="smcap">II</span>, 99. +with that of her conversion: Milá, Observaciones, p. 128, No 27, 'Santa +Magdalena,' and Briz y Saltó, Cansons de la Terra, <span class="smcap">II</span>, 99. Martha, returning from church, asks Magdalen, who is combing her hair with a gold comb, if she has been at mass. Magdalen says no, nor had she thought of going. Martha advises her to go, for she certainly will @@ -27249,7 +27209,7 @@ recitation about 1870, eight four-line stanzas, 1-3 agreeing with verbal resemblance with the copy sung by the old beggar-woman more than a hundred and thirty years before is often close.</p> -<p>A <b>Fre</b> version, 'Rudisar vsa,' was communicated to the Dansk +<p>A <b>Färöe</b> version, 'Rudisar vísa,' was communicated to the Dansk Kirketidende for 1852, p. 293, by Hammershaimb, twenty-six two-line stanzas (Grundtvig, <span class="smcap">II</span>, 519). Stephen is in Herod's service. He goes out and sees the star in the east, whereby he knows that the @@ -27318,7 +27278,7 @@ variations, was (Afzelius, <span class="smcap">III</span>, 208, 210):</p> Danish <b>A</b> 6-8, but without any allusion to Stephen. It occurs as a broadside, in two copies, dated 1848, 1851, and was communicated by Professor Stephens to the Dansk Kirketidende, 1861, Nos 3, 4, and -is reprinted by Grundtvig, <span class="smcap">III</span>, 882 f, and in Bergstrm's +is reprinted by Grundtvig, <span class="smcap">III</span>, 882 f, and in Bergström's Afzelius, <span class="smcap">II</span>, 360 f. There are eleven four-line stanzas, of which the last six relate how Mary was saved from Herod by the miracle of the Sower (see 'The Carnal and the Crane,' stanzas 18-28). The first @@ -27388,17 +27348,17 @@ and he has been nourished, by God and the saints. The father tells the judge that his son is alive; the judge replies, I will believe that when this roast fowl crows. The bird crows: <b>A</b>, le poulet se mit a chanter sur la table; <b>B</b>, le poulet vole au ciel, trois fois -n'a battu l'aile; <b>C</b>, trois fois il a chant, trois fois l'a +n'a battu l'aile; <b>C</b>, trois fois il a chanté, trois fois l'a battu l'aile. The boy is taken down and the maid hanged.</p> -<p><b>Spanish.</b> <b>A</b>, Mil, Observaciones sobre la Poesia Popular, +<p><b>Spanish.</b> <b>A</b>, Milá, Observaciones sobre la Poesia Popular, p. 106, No 7, 'El Romero;' <b>B</b>, Briz, Cansons de la Terra, <span class="smcap">I</span>, 71, 'S. Jaume de Galicia,' two copies essentially agreeing. The course of the story is nearly as in the French. The son does not ask his father to come back. It is a touch of nature that the mother cannot be prevented from going back by all that her husband can say. The boy is more than well. St James has been sustaining his feet, the -Virgin his head. He directs his mother to go to the alcalde (Mil), +Virgin his head. He directs his mother to go to the alcalde (Milá), who will be dining on a cock and a hen, and to request him politely to release her son, who is still alive. The alcalde replies: "Off with you! Your son is as much alive as this cock and hen." The cock began to @@ -27450,7 +27410,7 @@ not believe till the roasted capon on the dish crows. The capon crows. Marguerite goes on her bare knees to St Anne and to Notre-Dame du Folgoat, and dies in the church of the latter (first version).</p> -<p>'Notre-Dame du Folgoat,' Villemarqu, Barzaz Breiz, p. 272, No 38, 6th +<p>'Notre-Dame du Folgoat,' Villemarqué, Barzaz Breiz, p. 272, No 38, 6th ed., is of a different tenor. Marie Fanchonik, wrongly condemned to be executed for child murder, though hanged, does not die. The executioner reports to the seneschal. "Burn her," says the seneschal. "Though @@ -27468,8 +27428,8 @@ The host, having an eye to the forfeiture of their effects, makes them drunk and hides a silver cup in their wallet. Son wishes to die for father, and father for son. The son is hanged, and St James interposes to preserve his life.<a name="FNanchor_1_190" id="FNanchor_1_190"></a><a href="#Footnote_1_190" class="fnanchor">[190]</a> With Vincent agree the author of the Golden -Legend, following Callixtus, Graesse, 2d ed., p. 426, c. 99 (94), -5,<a name="FNanchor_1_191" id="FNanchor_1_191"></a><a href="#Footnote_1_191" class="fnanchor">[191]</a> and Csarius Heisterbacensis, Dialogus Miraculorum, c. 58, +Legend, following Callixtus, Graesse, 2d ed., p. 426, c. 99 (94), § +5,<a name="FNanchor_1_191" id="FNanchor_1_191"></a><a href="#Footnote_1_191" class="fnanchor">[191]</a> and Cæsarius Heisterbacensis, Dialogus Miraculorum, c. 58, <span class="smcap">II</span>, 130, ed. Strange, who, however, does not profess to remember every particular, and omits to specify Toulouse as the place. Nicolas Bertrand, who published in 1515 a history of Toulouse, places @@ -27484,9 +27444,9 @@ become connected with the town of San Domingo de la Calzada, one of the stations on the way to Compostella,<a name="FNanchor_1_193" id="FNanchor_1_193"></a><a href="#Footnote_1_193" class="fnanchor">[193]</a> some hours east of Burgos. Roig, the Valencian poet, on arriving there in the course of his pilgrimage, tells the tale briefly, with two roasted fowls, cock and -hen: Lo Libre de les Dones e de Conells, 1460, as printed by Briz from +hen: Lo Libre de les Dones e de Conçells, 1460, as printed by Briz from the edition of 1735, p. 42, Book 2, vv. 135-183. Lucio Marineo, whose -work, De las cosas memorables de Espaa, appeared in 1530, had been at +work, De las cosas memorables de España, appeared in 1530, had been at San Domingo, and is able to make some addition to the miracle of the cock. Up to the revivification, his account agrees very well with the Spanish ballad. A roast cock and hen are lying before the mayor, and @@ -27508,14 +27468,14 @@ Furnivall.<a name="FNanchor_1_194" id="FNanchor_1_194"></a><a href="#Footnote_1_ two miracle-plays, for which it is very well adapted: Un miracolo di tre Pellegrini, printed at Florence early in the sixteenth century, D'Ancona, Sacre Rappresentazioni, <span class="smcap">III</span>, 465; Ludus Sancti -Jacobi, fragment de mystre provenale, Camille Arnaud, 1858.<a name="FNanchor_1_195" id="FNanchor_1_195"></a><a href="#Footnote_1_195" class="fnanchor">[195]</a></p> +Jacobi, fragment de mystère provençale, Camille Arnaud, 1858.<a name="FNanchor_1_195" id="FNanchor_1_195"></a><a href="#Footnote_1_195" class="fnanchor">[195]</a></p> <p>Nicolas Bertrand, before referred to, speaks of the miracle as depicted in churches and chapels of St James. It was, for example, painted by Pietro Antonio of Foligno, in the fifteenth century, in SS. Antonio e Jacopo at Assisi, and by Pisanello in the old church of the Tempio at Florence, and, in the next century, by Palmezzano in S. Biagio di -S. Girolamo at Forl, and by Lo Spagna in a small chapel or tribune +S. Girolamo at Forlì, and by Lo Spagna in a small chapel or tribune dedicated to St James, about four miles from Spoleto, on the way to Foligno. The same legend is painted on one of the lower windows of St Ouen, and again on a window of St Vincent, at Rouen. Many more cases @@ -27534,11 +27494,11 @@ the captive will some day be missing, rejoins, If you keep him as close as when I last saw him, he will as soon escape as this roast cock will fly and crow. It is obvious that this anecdote is a simple jumble of two miracles of St James,<span class="pagenum"><a name="Pg_1-239" id="Pg_1-239">[Pg 239]</a></span> the freeing of the captives, recounted in -Acta Sanctorum, <span class="smcap">VI</span> Julii, p. 47, 190f, and the saving the +Acta Sanctorum, <span class="smcap">VI</span> Julii, p. 47, § 190f, and the saving the life of the young pilgrim.<a name="FNanchor_1_198" id="FNanchor_1_198"></a><a href="#Footnote_1_198" class="fnanchor">[198]</a></p> <p>The restoration of a roasted fowl to life is also narrated in Acta -Sanctorum, <span class="smcap">I</span> Septembris, p. 529, 289, as occurring early in +Sanctorum, <span class="smcap">I</span> Septembris, p. 529, § 289, as occurring early in the eleventh century (the date assigned to the story of the pilgrims), at the table of St Stephen, the first king of Hungary. St Gunther was sitting with the king while he was dining. The king pressed Gunther to @@ -27559,9 +27519,9 @@ occasion to be the visit of the Wise Men to Herod. Herod will not believe what they say,</p> <div class="poem"><div class="stanza"> -<span class="i0">'Se cis capon que ci m'est en prsant<br /></span> +<span class="i0">'Se cis capon que ci m'est en présant<br /></span> <span class="i0">N'en est plumeus com il estoit devant,<br /></span> -<span class="i0">Et se redrece la perche en cantant.'<br /></span> +<span class="i0">Et se redrece à la perche en cantant.'<br /></span> </div></div> <p class="source">vv 11621-23.</p> @@ -27610,7 +27570,7 @@ shall this cock rise up that was scalded yesternight."</p> <p>A still different version existed among the Copts, who had their copies of the apocryphal writings, and among them the gospel of Nicodemus.</p> -<p>The Copts say, according to Thvenot, "that on the day of the Supper a +<p>The Copts say, according to Thévenot, "that on the day of the Supper a roasted cock was served to our Lord, and that when Judas went out to sell Jesus to the Jews, the Saviour commanded the cock to get up and follow him; which the cock did, and brought back his report to our Lord @@ -27643,22 +27603,22 @@ Hone's Every-Day Book, <span class="smcap">I</span>, col. 1600 f.</p> <p><span class="pagenum"><a name="Pg_1-241" id="Pg_1-241">[Pg 241]</a></span></p> -<p>So in Vieux Nols franais, in Les Nols Bressans, etc., par Philibert +<p>So in Vieux Noëls français, in Les Noëls Bressans, etc., par Philibert Le Duc, p. 145.</p> <p class="center">Joie des Bestes<br /> <br /> - la nouvelle de la naissance du Sauveur.</p> +à la nouvelle de la naissance du Sauveur.</p> <div class="poem"><div class="stanza"> <span class="i0">Comme les Bestes autrefois<br /></span> -<span class="i0">Parloient mieux latin que franois,<br /></span> +<span class="i0">Parloient mieux latin que françois,<br /></span> <span class="i0">Le Coq, de loin voyant le faict,<br /></span> -<span class="i0">S'cria: <i>Christus natus est</i>;<br /></span> -<span class="i0">Le Bœuf, d'un air tout baubi,<br /></span> +<span class="i0">S'écria: <i>Christus natus est</i>;<br /></span> +<span class="i0">Le Bœuf, d'un air tout ébaubi,<br /></span> <span class="i0">Demande: <i>Ubi, ubi, ubi</i>?<br /></span> -<span class="i0">La Chvre, se torchant le groin,<br /></span> -<span class="i0">Respond que c'est <i>Bethleem</i>;<br /></span> +<span class="i0">La Chèvre, se torchant le groin,<br /></span> +<span class="i0">Respond que c'est à <i>Bethleem</i>;<br /></span> <span class="i0">Maistre Baudet, <i>curiosus</i><br /></span> <span class="i0">De l'aller voir, dit: <i>Eamus</i>;<br /></span> <span class="i0">Et, droit sur ses pattes, le Veau<br /></span> @@ -27668,10 +27628,10 @@ Le Duc, p. 145.</p> <p>And again, in Italian, Bolza, Canzoni popolari comasche, p. 654, No 30:</p> <div class="poem"><div class="stanza"> -<span class="i0">Il Gallo. nato Ges!<br /></span> -<span class="i0">Il Bue. In dva?<br /></span> -<span class="i0">La Pecora. Betlm! Betlm!<br /></span> -<span class="i0">L'Asino. Andm! Andm! Andm!<br /></span> +<span class="i0">Il Gallo. È nato Gesù!<br /></span> +<span class="i0">Il Bue. In dôva?<br /></span> +<span class="i0">La Pecora. Betlèm! Betlèm!<br /></span> +<span class="i0">L'Asino. Andèm! Andèm! Andèm!<br /></span> </div></div> <p>A little Greek ballad, 'The Taking of Constantinople,' only seven lines @@ -27688,7 +27648,7 @@ compare a passage in some of the Greek ballads cited under No 17, p. 199.</p> <div class="poem"><div class="stanza"> -<span class="i0"><a title="[Greek: Sklabe, panas; sklabe, dipsas; m to psmi sou leipei;]"> +<span class="i0"><a title="[Greek: Sklabe, panas; sklabe, dipsas; mê to psômi sou leipei;]"> Σκλαβε, πανας; σκλαβε, διψας; μη το ψωμι σου λειρει;</a><br /></span> @@ -27696,13 +27656,13 @@ compare a passage in some of the Greek ballads cited under No 17, p. Σκλαβε, πανας; σκλαβε, διψας; σκλαβε, κρασιν σου λειπει;</a><br /></span> -<span class="i4">Lakkyt e eyer mete or drynk?<br /></span> -<span class="i0"><a title="[Greek: Mte pein, mte dips, mte psmi [krasin] mou leipei]"> +<span class="i4">Lakkyt þe eyþer mete or drynk?<br /></span> +<span class="i0"><a title="[Greek: Mête peinô, mête dipsô, mête psômi [krasin] mou leipei]"> Μητε πεινω, μητε διψω, μητε ψωμι [κρασιν] μου λειπει</a>.<br /></span> -<span class="i4">Lakit me neyer mete ne drynk.<br /></span> +<span class="i4">Lakit me neyþer mete ne drynk.<br /></span> </div></div> <p class="source">Jeannaraki, p. 203, No 265:<br /> @@ -27719,19 +27679,19 @@ Sakellarios, p. 37, No 13.</p> σκλαβε, διψας; σκλαβε μου ῥουχα θελεις;</a> <br /></span> -<span class="i4">Lakkyt e eyer gold or fe,<br /></span> +<span class="i4">Lakkyt þe eyþer gold or fe,<br /></span> <span class="i4">Or ony ryche wede?<br /></span> -<span class="i0"><a title="[Greek: Oute pein, oute dips, oute rhoga mou leipei.]"> +<span class="i0"><a title="[Greek: Oute peinô, oute dipsô, oute rhoga mou leipei.]"> Ουτε πεινω, ουτε διψω, ουτε ῥογα μου λειπει.</a> <br /></span> -<span class="i0"><a title="[Greek: Mte pein, mte dips, mte kai rhoucha thel]"> +<span class="i0"><a title="[Greek: Mête peinô, mête dipsô, mête kai rhoucha thelô]"> Μητε πεινω, μητε διψω, μητε και ῥουχα θελω.</a> <br /></span> -<span class="i4">Lakyt me neyer gold ne fe,<br /></span> +<span class="i4">Lakyt me neyþer gold ne fe,<br /></span> <span class="i4">Ne non ryche wede.<br /></span> </div></div> @@ -27751,51 +27711,51 @@ translated by Dr Prior, <span class="smcap">I</span>, 398.</p> <div class="poem"><div class="stanza"> <span class="i0"><span class="linenum">1</span><br /></span> <span class="i0">Sey<i>n</i>t Steuene was a clerk i<i>n</i> ky<i>n</i>g Herowd<i>e</i>s halle,<br /></span> -<span class="i0"><i>And</i> seruyd hi<i>m</i> of bred <i>and</i> clo, as euery ky<i>n</i>g befalle.<br /></span> +<span class="i0"><i>And</i> seruyd hi<i>m</i> of bred <i>and</i> cloþ, as euery ky<i>n</i>g befalle.<br /></span> </div><div class="stanza"> <span class="i0"><span class="linenum">2</span><br /></span> <span class="i0">Steuy<i>n</i> out of kechon<i>e</i> ca<i>m</i>, w<i>y</i>t<i>h</i> boris hed o<i>n</i> honde;<br /></span> <span class="i0">He saw a sterr<i>e</i> was fayr <i>and</i> bryȝt ou<i>er</i> Bedle<i>m</i> sto<i>n</i>de.<br /></span> </div><div class="stanza"> <span class="i0"><span class="linenum">3</span><br /></span> -<span class="i0">He kyst adoun e boris hed <i>and</i> went in to e halle:<br /></span> -<span class="i0">'I forsak e, ky<i>n</i>g Herowd<i>e</i>s, <i>and</i> i werk<i>e</i>s alle.<br /></span> +<span class="i0">He kyst adoun þe boris hed <i>and</i> went in to þe halle:<br /></span> +<span class="i0">'I forsak þe, ky<i>n</i>g Herowd<i>e</i>s, <i>and</i> þi werk<i>e</i>s alle.<br /></span> </div><div class="stanza"> <span class="i0"><span class="linenum">4</span><br /></span> -<span class="i0">'I forsak e, ky<i>n</i>g Herowd<i>es</i>, <i>and</i> i werk<i>e</i>s alle;<br /></span> -<span class="i0"><i>er</i> is a chyld in Bedle<i>m</i> born is bet<i>er</i> a<i>n</i> we alle.'<br /></span> +<span class="i0">'I forsak þe, ky<i>n</i>g Herowd<i>es</i>, <i>and</i> þi werk<i>e</i>s alle;<br /></span> +<span class="i0">Þ<i>er</i> is a chyld in Bedle<i>m</i> born is bet<i>er</i> þa<i>n</i> we alle.'<br /></span> </div><div class="stanza"> <span class="i0"><span class="linenum">5</span><br /></span> -<span class="i0">'Q<i>uat</i> eylyt e, Steuene? q<i>uat</i> is e befalle?<br /></span><span class="pagenum"><a name="Pg_1-242" id="Pg_1-242">[Pg 242]</a></span> -<span class="i0">Lakkyt e ey<i>er</i> mete or drynk in kyng Herowd<i>es</i> h<i>alle</i>?'<br /></span> +<span class="i0">'Q<i>uat</i> eylyt þe, Steuene? q<i>uat</i> is þe befalle?<br /></span><span class="pagenum"><a name="Pg_1-242" id="Pg_1-242">[Pg 242]</a></span> +<span class="i0">Lakkyt þe eyþ<i>er</i> mete or drynk in kyng Herowd<i>es</i> h<i>alle</i>?'<br /></span> </div><div class="stanza"> <span class="i0"><span class="linenum">6</span><br /></span> -<span class="i0">'Lakit me ney<i>er</i> mete ne drynk i<i>n</i> ky<i>n</i>g Herowd<i>es</i> halle;<br /></span> -<span class="i0"><i>er</i> is a chyld in Bedle<i>m</i> born is bet<i>er</i> a<i>n</i> we alle.'<br /></span> +<span class="i0">'Lakit me neyþ<i>er</i> mete ne drynk i<i>n</i> ky<i>n</i>g Herowd<i>es</i> halle;<br /></span> +<span class="i0">Þ<i>er</i> is a chyld in Bedle<i>m</i> born is bet<i>er</i> þa<i>n</i> we alle.'<br /></span> </div><div class="stanza"> <span class="i0"><span class="linenum">7</span><br /></span> -<span class="i0">Q<i>uat</i> eylyt e, Steuyn? art u wod, or u gy<i>n</i>nyst to brede?<br /></span> -<span class="i0">Lakkyt e ey<i>er</i> gold or fe, or ony ryche wede?'<br /></span> +<span class="i0">Q<i>uat</i> eylyt þe, Steuyn? art þu wod, or þu gy<i>n</i>nyst to brede?<br /></span> +<span class="i0">Lakkyt þe eyþ<i>er</i> gold or fe, or ony ryche wede?'<br /></span> </div><div class="stanza"> <span class="i0"><span class="linenum">8</span><br /></span> -<span class="i0">'Lakyt me ney<i>er</i> gold ne fe, ne no<i>n</i> ryche wede;<br /></span> -<span class="i0"><i>er</i> is a chyld in Bedle<i>m</i> born xal helpy<i>n</i> vs at <i>our</i> nede.'<br /></span> +<span class="i0">'Lakyt me neyþ<i>er</i> gold ne fe, ne no<i>n</i> ryche wede;<br /></span> +<span class="i0">Þ<i>er</i> is a chyld in Bedle<i>m</i> born xal helpy<i>n</i> vs at <i>our</i> nede.'<br /></span> </div><div class="stanza"> <span class="i0"><span class="linenum">9</span><br /></span> -<span class="i0">'<i>a</i>t is al so so, Steuy<i>n</i>, al so so, iwys,<br /></span> -<span class="i0">As is capou<i>n</i> crowe xal <i>a</i>t lyp her<i>e</i> in my<i>n</i> dysh.'<br /></span> +<span class="i0">'Þ<i>a</i>t is al so soþ, Steuy<i>n</i>, al so soþ, iwys,<br /></span> +<span class="i0">As þis capou<i>n</i> crowe xal þ<i>a</i>t lyp her<i>e</i> in my<i>n</i> dysh.'<br /></span> </div><div class="stanza"> <span class="i0"><span class="linenum">10</span><br /></span> -<span class="i0"><i>a</i>t word was not so sone seyd, <i>a</i>t word i<i>n</i> <i>a</i>t halle,<br /></span> -<span class="i0">e capou<i>n</i> crew C<i>ristus</i> nat<i>us</i> est! among e lord<i>es</i> alle.<br /></span> +<span class="i0">Þ<i>a</i>t word was not so sone seyd, þ<i>a</i>t word i<i>n</i> þ<i>a</i>t halle,<br /></span> +<span class="i0">Þe capou<i>n</i> crew C<i>ristus</i> nat<i>us</i> est! among þe lord<i>es</i> alle.<br /></span> </div><div class="stanza"> <span class="i0"><span class="linenum">11</span><br /></span> <span class="i0">Rysyt vp, my<i>n</i> turme<i>n</i>towr<i>es</i>, be to <i>and</i> al be on,<br /></span> -<span class="i0"><i>And</i> led<i>y</i>t Steuy<i>n</i> out of is town, <i>and</i> sto<i>n</i>yt hy<i>m</i> w<i>y</i>t<i>h</i> ston!'<br /></span> +<span class="i0"><i>And</i> led<i>y</i>t Steuy<i>n</i> out of þis town, <i>and</i> sto<i>n</i>yt hy<i>m</i> w<i>y</i>t<i>h</i> ston!'<br /></span> </div><div class="stanza"> <span class="i0"><span class="linenum">12</span><br /></span> <span class="i0">Toky<i>n</i> he Steuene, <i>and</i> stonyd hy<i>m</i> in the way,<br /></span> -<span class="i0"><i>And</i> <i>e</i>rfor<i>e</i> is his euy<i>n</i> on Cryst<i>es</i> owy<i>n</i> day.<br /></span> +<span class="i0"><i>And</i> þ<i>e</i>rfor<i>e</i> is his euy<i>n</i> on Cryst<i>es</i> owy<i>n</i> day.<br /></span> </div></div> <hr class="tb" /> @@ -27821,24 +27781,24 @@ line.</i></p> <div class="footnote"> -<p><a name="Footnote_1_184" id="Footnote_1_184"></a><a href="#FNanchor_1_184"><span class="label">[184]</span></a> Everriculum fermenti veteris, seu residu in Danico orbe -cum paganismi tum papismi reliqui in apricum prolat. "Rogata anus num -vera esse crederet qu canebat, respondit: Me illa in dubium vocaturam +<p><a name="Footnote_1_184" id="Footnote_1_184"></a><a href="#FNanchor_1_184"><span class="label">[184]</span></a> Everriculum fermenti veteris, seu residuæ in Danico orbe +cum paganismi tum papismi reliquiæ in apricum prolatæ. "Rogata anus num +vera esse crederet quæ canebat, respondit: Me illa in dubium vocaturam averruncet Deus!" Grundtvig, <span class="smcap">II</span>, 518.</p></div> <div class="footnote"> <p><a name="Footnote_1_185" id="Footnote_1_185"></a><a href="#FNanchor_1_185"><span class="label">[185]</span></a> "Staffans-skede, lusus, vel, ut rectius dicam, licentia puerorum agrestium, qui in Festo S. Stephani, equis vecti per villas -discurrunt, et cerevisiam in lagenis, ad hoc ipsum prparatis, +discurrunt, et cerevisiam in lagenis, ad hoc ipsum præparatis, mendicando ostiatim colligunt:" a dissertation, Upsala, 1734, cited -by Bergstrm in his edition of Afzelius, <span class="smcap">II</span>, 358, note 28. -Skede is gallop, or run, Icelandic skei (Bergstrm), Norwegian skeid, +by Bergström in his edition of Afzelius, <span class="smcap">II</span>, 358, note 28. +Skede is gallop, or run, Icelandic skeið (Bergström), Norwegian skeid, skjei. Many copies of the Staffansvisa have been collected: see -Bergstrm's Afzelius, <span class="smcap">II</span>, 356: and for a description of the +Bergström's Afzelius, <span class="smcap">II</span>, 356: and for a description of the custom as practised among Swedes in Finland, with links and lanterns, -but no foals, Fagerlund, Anteckningar om Korpo och Houtskrs Socknar, -p. 39 ff. Something very similar was known in Holstein: see Schtze, +but no foals, Fagerlund, Anteckningar om Korpo och Houtskärs Socknar, +p. 39 ff. Something very similar was known in Holstein: see Schütze, Holsteinsches Idioticon, <span class="smcap">III</span>, 200, as quoted by Grundtvig, <span class="smcap">II</span>, 521, note **. From Chambers' Book of Days, <span class="smcap">II</span>, 763 f, it appears that a custom, called a Stephening, was still @@ -27872,14 +27832,14 @@ the great Horse Day. J. W. Wolf, cited by Grundtvig, <span class="smcap">II</spa blutzeugen erinnert auch nur fern an pferde; trotzdem machte das volk ihn zum patron der pferde, und setzte ihn also an die stelle des Fro, dem im Norden, und nicht weniger bei uns, die pferde heilig waren." -Beitrge zur deutschen Mythologie, <span class="smcap">I</span>, 124.</p></div> +Beiträge zur deutschen Mythologie, <span class="smcap">I</span>, 124.</p></div> <div class="footnote"> -<p><a name="Footnote_1_188" id="Footnote_1_188"></a><a href="#FNanchor_1_188"><span class="label">[188]</span></a> Jean Baptiste Thiers, Trait des Superstitions, etc., 2d +<p><a name="Footnote_1_188" id="Footnote_1_188"></a><a href="#FNanchor_1_188"><span class="label">[188]</span></a> Jean Baptiste Thiers, Traité des Superstitions, etc., 2d ed., Paris, 1697, as cited by Liebrecht, Gervasius von Tilbury, Otia Imperialia, p. 233, No 169, condemns the belief, "qu'il vaut bien mieux -...saigner des chevaux le jour de la fte de S. Estienne qu' tout +...saigner des chevaux le jour de la fête de S. Estienne qu'à tout autre jour." This may be one of the practices which Thiers had learned of from his reading (see Liebrecht's preface, p. xvii f), but might also have migrated from the east or north into France. Superstitions, @@ -27889,7 +27849,7 @@ though they impose a servitude.</p></div> <div class="footnote"> <p><a name="Footnote_1_189" id="Footnote_1_189"></a><a href="#FNanchor_1_189"><span class="label">[189]</span></a> From a copy of this collection the story is given in -Acta Sanctorum, <span class="smcap">VI</span> Julii, p. 50, 202 ff.</p></div> +Acta Sanctorum, <span class="smcap">VI</span> Julii, p. 50, § 202 ff.</p></div> <div class="footnote"> @@ -27931,8 +27891,8 @@ Litt. de la France, xxi, 283.</p></div> <div class="footnote"> -<p><a name="Footnote_1_193" id="Footnote_1_193"></a><a href="#FNanchor_1_193"><span class="label">[193]</span></a> See 'La grande Chanson des Plerins de Saint-Jacques,' -in Socard, Nols et Cantiques, etc., p. 76, last stanza, p. 80, +<p><a name="Footnote_1_193" id="Footnote_1_193"></a><a href="#FNanchor_1_193"><span class="label">[193]</span></a> See 'La grande Chanson des Pélerins de Saint-Jacques,' +in Socard, Noëls et Cantiques, etc., p. 76, last stanza, p. 80, third stanza, p. 89, fifth stanza; the last == Romancero de Champagne, <span class="smcap">I</span>, 165, stanza 5.</p></div> @@ -27943,7 +27903,7 @@ Pilgrim to Compostella."</p></div> <div class="footnote"> -<p><a name="Footnote_1_195" id="Footnote_1_195"></a><a href="#FNanchor_1_195"><span class="label">[195]</span></a> "Auch eine deutsche Jesuitenkomdie, Peregrinus +<p><a name="Footnote_1_195" id="Footnote_1_195"></a><a href="#FNanchor_1_195"><span class="label">[195]</span></a> "Auch eine deutsche Jesuitenkomödie, Peregrinus Compostellanus, Innsbruck, 1624, behandelt diesen Stoff. F. Liebrecht, in Serapeum, 1864, S. 235."</p></div> @@ -27952,7 +27912,7 @@ in Serapeum, 1864, S. 235."</p></div> <p><a name="Footnote_1_196" id="Footnote_1_196"></a><a href="#FNanchor_1_196"><span class="label">[196]</span></a> Vasari, <span class="smcap">V</span>, 184, Milan, 1809; Crowe and Cavalcaselle, <span class="smcap">III</span>, 124, <span class="smcap">II</span>, 566 ff, ed. 1866; Mrs Jameson's Sacred and Legendary Art, <span class="smcap">I</span>, 241, ed. 1857. -Professor N. Hyen indicated to Grundtvig the picture of Pietro +Professor N. Høyen indicated to Grundtvig the picture of Pietro Antonio, and d'Ancona refers to Pisanello's.</p></div> <div class="footnote"> @@ -27962,7 +27922,7 @@ and adds that the very gallows on which the pilgrim was hanged is erected in the upper part of the church, where everybody can see it. It is diverting to find Grossenhain, in Saxony, claiming the miracle on the ground of a big cock in an altar picture in a chapel of St James: -Grsse, Sagenschatz des Knigreichs Sachsen, 2d ed., <span class="smcap">I</span>, 80, +Grässe, Sagenschatz des Königreichs Sachsen, 2d ed., <span class="smcap">I</span>, 80, No 82, from Chladenius, Materialien zu Grossenhayner Stadtchronik, <span class="smcap">I</span>, 2, Pirna, 1788; in verse by Ziehnert, Volkssagen, p. 99, No 14, ed. 1851.</p></div> @@ -27970,7 +27930,7 @@ No 82, from Chladenius, Materialien zu Grossenhayner Stadtchronik, <div class="footnote"> <p><a name="Footnote_1_198" id="Footnote_1_198"></a><a href="#FNanchor_1_198"><span class="label">[198]</span></a> For Luis de la Vega, see Acta Sanctorum, <span class="smcap">III</span> -Maii, p. 171 f, 6, 7, 8, <span class="smcap">VI</span> Julii, p. 46, 187. The +Maii, p. 171 f, §§ 6, 7, 8, <span class="smcap">VI</span> Julii, p. 46, § 187. The Spanish and the Dutch ballad give due glory to St James and the Virgin; French <b>C</b> to God and St James. The Wendish ballad can hardly be expected to celebrate St James, and refers the justification and saving @@ -27979,7 +27939,7 @@ of the boy to the Virgin and the saints. French <b>A</b> has St Michas; </p> <p> Luis de la Vega, with what seems an excess of caution, says, p. 172, as -above, 8: appositique erant ad comedendum gallus et gallina, <i>assati +above, § 8: appositique erant ad comedendum gallus et gallina, <i>assati nescio an elixi</i>. Of boiled fowl we have not heard so far. But we find in a song in Fletcher's play of 'The Spanish Curate,' this stanza: </p> @@ -28036,13 +27996,13 @@ life is not known. Churchill's Collection of Voyages and Travels, 1704, <div class="footnote"> <p><a name="Footnote_1_199" id="Footnote_1_199"></a><a href="#FNanchor_1_199"><span class="label">[199]</span></a> La Chevalerie Ogier de Danemarche, par Raimbert de -Paris, Pome du xii sicle, etc., <span class="smcap">II</span>, 485, vv 11606-627.</p></div> +Paris, Poëme du xii siècle, etc., <span class="smcap">II</span>, 485, vv 11606-627.</p></div> <div class="footnote"> <p><a name="Footnote_1_200" id="Footnote_1_200"></a><a href="#FNanchor_1_200"><span class="label">[200]</span></a> The gospel of Nicodemus was introduced into the French and the Italian romance of Perceforest, but unfortunately this -"narratio ab inepto Grculo pessime interpolata" (Thilo) seems to be +"narratio ab inepto Græculo pessime interpolata" (Thilo) seems to be lacking.</p></div> <div class="footnote"> @@ -28053,20 +28013,20 @@ passage was kindly pointed out to me by Professor George Stephens.</p></div> <div class="footnote"> -<p><a name="Footnote_1_202" id="Footnote_1_202"></a><a href="#FNanchor_1_202"><span class="label">[202]</span></a> Rlation d'un Voyage fait au Levant par Monsieur De -Thvenot, Paris, 1665, <span class="smcap">I</span>, 502. Cited by Thilo, p. xxxvii, +<p><a name="Footnote_1_202" id="Footnote_1_202"></a><a href="#FNanchor_1_202"><span class="label">[202]</span></a> Rélation d'un Voyage fait au Levant par Monsieur De +Thévenot, Paris, 1665, <span class="smcap">I</span>, 502. Cited by Thilo, p. xxxvii, and by Victor Smith, Romania, <span class="smcap">II</span>, 474, who adds: "Parmi -les manuscrits rapports d'thiopie par M. d'Abbadie, il se trouve -un volume dont le titre a pour quivalent, Actes de la passion. Un -chapitre de ce volume, intitul Le livre du coq, dveloppe la lgende -indique par Thvenot. Catalogue raisonn des manuscrits thiopiens, -appartenant M. A. T. d'Abbadie, in 4<sup>o</sup>, imp. impriale, Paris, 1859."</p></div> +les manuscrits rapportés d'Éthiopie par M. d'Abbadie, il se trouve +un volume dont le titre a pour équivalent, Actes de la passion. Un +chapitre de ce volume, intitulé Le livre du coq, développe la légende +indiquée par Thévenot. Catalogue raisonné des manuscrits éthiopiens, +appartenant à M. A. T. d'Abbadie, in 4<sup>o</sup>, imp. impériale, Paris, 1859."</p></div> <div class="footnote"> -<p><a name="Footnote_1_203" id="Footnote_1_203"></a><a href="#FNanchor_1_203"><span class="label">[203]</span></a> "Ce couplet se dbite en imitant successivement le chant -du coq, le mugissement du bœuf, le cri de la chvre, le braiment de -l'ne, et le beuglement du veau." Bolza makes a similar explanation +<p><a name="Footnote_1_203" id="Footnote_1_203"></a><a href="#FNanchor_1_203"><span class="label">[203]</span></a> "Ce couplet se débite en imitant successivement le chant +du coq, le mugissement du bœuf, le cri de la chèvre, le braiment de +l'âne, et le beuglement du veau." Bolza makes a similar explanation with regard to the Italian colloquy.</p></div></div> @@ -28079,8 +28039,8 @@ JUDAS</h2> <div class="blockquot"> <p>MS. B. 14, 39, of the thirteenth century, library of Trinity -College, Cambridge, as printed in Wright & Halliwell's Reliqui -Antiqu, <span class="smcap">I</span>, 144.</p></div> +College, Cambridge, as printed in Wright & Halliwell's Reliquiæ +Antiquæ, <span class="smcap">I</span>, 144.</p></div> <p>This legend, which has not been heretofore recognized as a ballad, is, @@ -28220,7 +28180,7 @@ that a collation of Wright's text has not been possible.</p> <div class="blockquot"> -<p><i>Not divided into stanzas in Reliqui Antiqu.</i></p> +<p><i>Not divided into stanzas in Reliquiæ Antiquæ.</i></p> <p>3<sup>2</sup>. meist.</p> @@ -28240,26 +28200,26 @@ that a collation of Wright's text has not been possible.</p> <p><i>In the absence of the original manuscript, I have thought it better to change Wright's <span class="antiqua">s</span> in the above instances -(3-17) to <span class="antiqua">h</span>. In this substitution I follow Mtzner's +(3-17) to <span class="antiqua">h</span>. In this substitution I follow Mätzner's Altenglische Sprachproben, <span class="smcap">I</span>, 114.</i></p></div> <div class="footnotes"><h5>FOOTNOTES:</h5> <div class="footnote"> -<p><a name="Footnote_1_204" id="Footnote_1_204"></a><a href="#FNanchor_1_204"><span class="label">[204]</span></a> Legenda Aurea, Grsse, 2d ed., p. 184 ff; Mone's -Anzeiger, <span class="smcap">VII</span>, col. 532 f, and du Mril, Posies populaires +<p><a name="Footnote_1_204" id="Footnote_1_204"></a><a href="#FNanchor_1_204"><span class="label">[204]</span></a> Legenda Aurea, Grässe, 2d ed., p. 184 ff; Mone's +Anzeiger, <span class="smcap">VII</span>, col. 532 f, and du Méril, Poésies populaires latines du Moyen Age, p. 326 ff; Furnivall, Early English Poems and -Lives of Saints, p. 107 ff; Douhet, Dictionnaire des Lgendes, col. 714 -ff; Das alte Passional, ed. K.A. Hahn, p. 312 ff; Bckstrm, Svenska -Folkbcker, <span class="smcap">II</span>, 198 ff; etc.</p></div> +Lives of Saints, p. 107 ff; Douhet, Dictionnaire des Légendes, col. 714 +ff; Das alte Passional, ed. K.A. Hahn, p. 312 ff; Bäckström, Svenska +Folkböcker, <span class="smcap">II</span>, 198 ff; etc.</p></div> <div class="footnote"> <p><a name="Footnote_1_205" id="Footnote_1_205"></a><a href="#FNanchor_1_205"><span class="label">[205]</span></a> See Fabricius, Codex Pseudepigraphus Veteris Testamenti, <span class="smcap">II</span>, 79; Godfrey of Viterbo (who derives his information from a lost writing of the apostle Bartholomew) in his Pantheon, Pistorius, -German. Script., ed. Struve, <span class="smcap">II</span>, 243, or E. du Mril, Posies +German. Script., ed. Struve, <span class="smcap">II</span>, 243, or E. du Méril, Poésies pop. latines du Moyen Age, p. 321; Genesi de Scriptura, Biblioteca Catalana, p. 20, etc.</p></div></div> @@ -28503,7 +28463,7 @@ Norse ballads: see 'Brown Robyn's Confession.'</p></div> <div class="footnote"> <p><a name="Footnote_1_207" id="Footnote_1_207"></a><a href="#FNanchor_1_207"><span class="label">[207]</span></a> A singular episode in the life of Saint Mary Magdalen -in the Golden Legend, Grsse, c. xcvi, 2, p. 409 ff, indicates a +in the Golden Legend, Grässe, c. xcvi, 2, p. 409 ff, indicates a belief that even a dead body might prejudice the safety of a ship. The princess of Marseilles, in the course of a storm, has given birth to a boy and expired. The sailors demand that the body shall be thrown into @@ -28670,8 +28630,8 @@ versions. Herr Nilaus promises a rich gift if Morten's body may be buried within the cloister. From this point the story is materially the same as in <b>C</b>.</p> -<p><b>H.</b> A copy, which I have not yet seen, in Rahbek's Lsning i -blandede mner (or Hesperus), <span class="smcap">III</span>, 151, 1822 (Bergstrm).</p> +<p><b>H.</b> A copy, which I have not yet seen, in Rahbek's Læsning i +blandede Æmner (or Hesperus), <span class="smcap">III</span>, 151, 1822 (Bergström).</p> <hr class="tb" /> @@ -28690,10 +28650,10 @@ Virgin, Voldemar carries her out of the church by force.</p> <p>This, says Afzelius, 1814, is one of the commonest ballads in <b>Sweden</b>, and is often represented as a drama by young people in country places. <b>A a</b>, 'Herr Carl, eller Klosterrofvet,' Afzelius, -<span class="smcap">I</span>, 179, No 26, new ed. No 24; <b>b</b>, Afzelius, Sago-Hfder, +<span class="smcap">I</span>, 179, No 26, new ed. No 24; <b>b</b>, Afzelius, Sago-Häfder, ed. 1851, <span class="smcap">IV</span>, 106. <b>B</b>, Atterbom, Poetisk Kalender for -1816, p. 63, 'Det Iefvande Liket.' <b>C</b>. Rancken, Ngra Prof af -Folksng, o. s. v., p. 13, No 4. These differ but slightly from Danish +1816, p. 63, 'Det Iefvande Liket.' <b>C</b>. Rancken, Några Prof af +Folksång, o. s. v., p. 13, No 4. These differ but slightly from Danish <b>D</b>, <b>E</b>. All three conclude with the humorous verses about the nuns, which in Rancken's copy take this rollicking turn:</p> @@ -28705,24 +28665,24 @@ the nuns, which in Rancken's copy take this rollicking turn:</p> <span class="i0">'Christ send another such angel, to take us off every one!'<br /></span> </div></div> -<p>Bergstrm, new Afzelius, <span class="smcap">II</span>, 131, refers to another version in -Gyllenmrs' visbok, p. 191, and to a good copy obtained by himself.</p> +<p>Bergström, new Afzelius, <span class="smcap">II</span>, 131, refers to another version in +Gyllenmärs' visbok, p. 191, and to a good copy obtained by himself.</p> <p>An Icelandic version for the 17th century, which is after the -fashion of Danish <b>C</b>, <b>G</b>, is given in slenzk Fornkvi, -<span class="smcap">II</span>, 59, No 40, 'Marteins kvia.' The lover has in all three a +fashion of Danish <b>C</b>, <b>G</b>, is given in Íslenzk Fornkvæði, +<span class="smcap">II</span>, 59, No 40, 'Marteins kviða.' The lover has in all three a troop of armed men in waiting outside of the convent.</p> <p>Professor Bugge has obtained a version in Norway, which, however, is as -to language essentially Danish. (Bergstrm, as above.)</p> +to language essentially Danish. (Bergström, as above.)</p> <p>There is a very gay and pretty south-European ballad, in which the artifice of feigning death is successfully tried by a lover after the failure of other measures.</p> <p><b>A.</b> <b>Magyar.</b> Arany and Gyulai, <span class="smcap">I</span>, 172, No -18, 'Plbeli Szp Antal;' translated by<span class="pagenum"><a name="Pg_1-250" id="Pg_1-250">[Pg 250]</a></span> Aigner, Ungarische -Volksdichtungen, p. 80, 'Schn Anton.' Handsome Tony tells his mother +18, 'Pálbeli Szép Antal;' translated by<span class="pagenum"><a name="Pg_1-250" id="Pg_1-250">[Pg 250]</a></span> Aigner, Ungarische +Volksdichtungen, p. 80, 'Schön Anton.' Handsome Tony tells his mother that he shall die for Helen. The mother says, Not yet. I will build a marvellous mill. The first wheel shall grind out pearls, the middle stone discharge kisses, the third wheel distribute small change. The @@ -28756,7 +28716,7 @@ leaving the church, the lover came to life, and called to the priests and friars to stop singing. They went to the high altar to be married.</p> <p><b>C.</b> <b>Slovenian.</b> Vraz, Narodne peśni ilirske, p. 93, -'Čudna bolezen' ('Strange Sickness'); translated by Anastasius Grn, +'Čudna bolezen' ('Strange Sickness'); translated by Anastasius Grün, Volkslieder aus Krain, p. 36, 'Der Scheintodte.' "Build a church, mother," cries the love-sick youth, "that all who will may hear mass; perhaps my love among them." The mother built a church, one and another @@ -29064,7 +29024,7 @@ are told, <b>a</b> 27, 28, <b>b</b> 26, 27: all the convent bells were going, and the tidings spreading that the knight was dead; all the ladies of the convent sat sewing, except Ingerlille, who wept. But Ingerlille, in the next stanza, puts on her scarlet cloak and goes -to the hjeloft to see her father and mother. The two stanzas quoted +to the höjeloft to see her father and mother. The two stanzas quoted signify nothing in this version.</p></div></div> @@ -29153,7 +29113,7 @@ p. 70.</p></div> <p>'The Three Ravens' is translated by Grundtvig, Engelske og skotske Folkeviser, p. 145, No 23; by Henrietta Schubart, p. 155; Gerhard, p. 95; Rosa Warrens, Schottische V. l. der Vorzeit, p. 198; Wolff, Halle -der Vlker, <span class="smcap">I</span>, 12, Hausschatz, p. 205.</p> +der Völker, <span class="smcap">I</span>, 12, Hausschatz, p. 205.</p> <p>'The Twa Corbies' (Scott), by Grundtvig, p. 143, No 22; Arndt, p. 224; Gerhard, p. 94; Schubart, p. 157; Knortz, L. u. R. Alt-Englands, p. @@ -29468,8 +29428,8 @@ much livelier than most of the numerous variations on the somewhat overhandled theme.<a name="FNanchor_1_211" id="FNanchor_1_211"></a><a href="#Footnote_1_211" class="fnanchor">[211]</a></p> <p>Of these, as nearest related, the fabliau or "romance" of Le Mantel -Mautailli, 'Cort Mantel,' must be put first: Montaiglon et Raynaud, -Recueil Gnral des Fabliaux, III, 1, from four manuscripts, three +Mautaillié, 'Cort Mantel,' must be put first: Montaiglon et Raynaud, +Recueil Général des Fabliaux, III, 1, from four manuscripts, three of the thirteenth century, one of the fourteenth; and previously by Michel, from the three older manuscripts, in Wolf, Ueber die Lais, p. 324. A rendering of the fabliau in prose, existing in a single @@ -29541,20 +29501,20 @@ the only one that has escaped disgrace. I give it to you, and well you deserve it." The king confirms the gift, and no one can gainsay.</p> <p>A Norse prose translation of the French fabliau was executed by order -of the Norwegian king, Hkon Hkonarson, whose reign covers the years -1217-63. Of this translation, 'Mttuls Saga,' a fragment has come +of the Norwegian king, Hákon Hákonarson, whose reign covers the years +1217-63. Of this translation, 'Möttuls Saga,' a fragment has come down which is as old as 1300; there are also portions of a manuscript which is assigned to about 1400, and two transcripts of this latter, made when it was complete, besides other less<span class="pagenum"><a name="Pg_1-259" id="Pg_1-259">[Pg 259]</a></span> important copies. This translation, which is reasonably close and was made from a good -exemplar, has been most excellently edited by Messrs Cederschild and -Wulff, Versions nordiques du Fabliau Le Mantel Mautailli, Lund, 1877, +exemplar, has been most excellently edited by Messrs Cederschiöld and +Wulff, Versions nordiques du Fabliau Le Mantel Mautaillié, Lund, 1877, p. 1.<a name="FNanchor_1_215" id="FNanchor_1_215"></a><a href="#Footnote_1_215" class="fnanchor">[215]</a> It presents no divergences from the story as just given which are material here.</p> -<p>Not so with the 'Skikkju Rmur,' or Mantle Rhymes, an Icelandic +<p>Not so with the 'Skikkju Rímur,' or Mantle Rhymes, an Icelandic composition of the fifteenth century, in three parts, embracing in all -one hundred and eighty-five four-line stanzas: Cederschild and Wulff, +one hundred and eighty-five four-line stanzas: Cederschiöld and Wulff, p. 51. In these the story is told with additions, which occur partially in our ballad. The mantle is of white velvet. Three elf-women had been not less than fifteen years in weaving it, and it seemed both yellow @@ -29590,19 +29550,19 @@ Carados's wife, but nevertheless we hear later of its being presented by Samson to another lady, who, a good while after, was robbed of the same by a pirate, and the mantle carried to Africa. From Africa it was sent to our Arthur by a lady named Elida, "and hence the saga of the -mantle."<a name="FNanchor_1_216" id="FNanchor_1_216"></a><a href="#Footnote_1_216" class="fnanchor">[216]</a> Bjrner, Nordiska Kmpa Dater, cc 12, 14, 15, 21, 22, 24.</p> +mantle."<a name="FNanchor_1_216" id="FNanchor_1_216"></a><a href="#Footnote_1_216" class="fnanchor">[216]</a> Björner, Nordiska Kämpa Dater, cc 12, 14, 15, 21, 22, 24.</p> <p>There is also an incomplete German version of the fabliau, now credibly -shown to be the work of Heinrich von dem Trlin, dating from the +shown to be the work of Heinrich von dem Türlin, dating from the earliest years of the thirteenth century.<a name="FNanchor_1_217" id="FNanchor_1_217"></a><a href="#Footnote_1_217" class="fnanchor">[217]</a> Though the author has dealt freely with his original, there are indications that<span class="pagenum"><a name="Pg_1-260" id="Pg_1-260">[Pg 260]</a></span> this, like -the Mttulssaga, was founded upon some version of the fabliau which +the Möttulssaga, was founded upon some version of the fabliau which is not now extant. One of these is an agreement between vv 574-6 and the sixth stanza of our ballad. The mantle, in English, is enclosed between two nut-shells;<a name="FNanchor_1_218" id="FNanchor_1_218"></a><a href="#Footnote_1_218" class="fnanchor">[218]</a> in German, the bag from which it is taken -is hardly a span wide. In the Mttulssaga, p. 9, l. 6, the mantle -comes from a pss, a small bag hanging on the belt; in Ulrich von -Zatzikhoven's Lanzelet, from ein mzigez tescheln, and in the latter +is hardly a span wide. In the Möttulssaga, p. 9, l. 6, the mantle +comes from a púss, a small bag hanging on the belt; in Ulrich von +Zatzikhoven's Lanzelet, from ein mæzigez teschelîn, and in the latter case the mantle instantaneously expands to full size (Warnatsch); it is also of all colors known to man, vv 5807-19. Again, when Guenever had put on the mantle, st. 10 of our ballad, "it was from the top to the @@ -29631,7 +29591,7 @@ best-fitting garment woman ever wore. Ed. Hahn, vv 5746-6135.</p> <p>The adventure of the Mantle is very briefly reported to Gawain, when on his way with Ydain to Arthur, by a youth who had just come from the court, in terms entirely according with the French fabliau, in -Messire Gauvain, ou La Vengeance de Raguidel, by the trouvre Raoul, +Messire Gauvain, ou La Vengeance de Raguidel, by the trouvère Raoul, ed. Hippeau, p. 135 ff, vv 3906-55, and in the Dutch Lancelot, ed. Jonckbloet, Part II, p. 85, vv 12,500-527, poems of the thirteenth century. The one lady whom the mantle fits is in the latter<span class="pagenum"><a name="Pg_1-261" id="Pg_1-261">[Pg 261]</a></span> Carados @@ -29649,7 +29609,7 @@ this mantle was sent by the father of Karodes, a magician, to prove the goodness of his son's wife.<a name="FNanchor_1_222" id="FNanchor_1_222"></a><a href="#Footnote_1_222" class="fnanchor">[222]</a></p> <p>Two fifteenth-century German versions of the Mantle story give it a -shape of their own. In Fastnachtspiele aus dem fnfzehnten Jahrhundert, +shape of their own. In Fastnachtspiele aus dem fünfzehnten Jahrhundert, II, 665, No 81, 'Der Luneten Mantel,' the amiable Lunet, so well and favorably known in romances, takes the place of the English boy and French varlet. The story has the usual course. The mantle is @@ -29659,7 +29619,7 @@ himself as <i>the oldest man</i> present, is willing to excuse his wife, who is the youngest of the royal ladies. She says, If we lack lands and gold, "so sei wir doch an eren reich," offers herself to the test with the fearlessness of innocence, and comes off clear, to the delight -of her aged spouse. A meistergesang, Bruns, Beitrge zur kritischen +of her aged spouse. A meistergesang, Bruns, Beiträge zur kritischen Bearbeitung alter Handschriften, p. 143,<a name="FNanchor_1_223" id="FNanchor_1_223"></a><a href="#Footnote_1_223" class="fnanchor">[223]</a> 'Lanethen Mantel,' again awards the prize to the young wife of a very old knight. Laneth, a clean maid, who is Arthur's niece, having made herself poor by her @@ -29704,7 +29664,7 @@ half of the thirteenth or beginning of the fourteenth century"), may well belong, where Wolf puts it, in the middle of the twelfth. Robert Bikez, the jongleur who composed it, attributes the first authorship to "Garadue," the hero, and says that he himself derived the story -from the oral communication of an abb. Arthur has assembled thirty +from the oral communication of an abbé. Arthur has assembled thirty thousand knights at a feast at Pentecost, and each of them is paired with a lady. Before dinner there arrives a donzel, with an ivory horn adorned with four gold bands and rich jewels. This horn has been sent @@ -29758,20 +29718,20 @@ to the king. Have it filled with pure water, says the bearer, and the water will turn to the best wine in the world, enough for all who are present. "A rich present!" exclaims Kay. But no knight whose wife or love has betrayed him shall drink without spilling. "Or empire vostre -prsens," says Kay. The king has the horn filled, and does not heed +présens," says Kay. The king has the horn filled, and does not heed Guenever, who begs him not to drink, for it is some enchantment, to shame honest folk. "Then I pray God," says the queen, "that if you try to drink you may be wet." The king essays to drink, and Guenever has her prayer. Kay has the same luck, and all the knights,<a name="FNanchor_1_228" id="FNanchor_1_228"></a><a href="#Footnote_1_228" class="fnanchor">[228]</a> till the -horn comes to Carados (Brisi-Bras). Carados, as in the lai, hesitates; +horn comes to Carados (Brisié-Bras). Carados, as in the lai, hesitates; his wife (Guinon, Guimer) looks at him, and says, Drink! He spills not a drop. Guenever and many a dame hate nothing so much as her. Perceval le Gallois, ed. Potvin, II, 216 ff, vv 15,640-767.<a name="FNanchor_1_229" id="FNanchor_1_229"></a><a href="#Footnote_1_229" class="fnanchor">[229]</a></p> <p>The story of 'Le Livre de Carados,' in Perceval, is given in abridgment by the author of Le Roman du Renard contrefait, writing in the second -half of the fourteenth century: Tarb, Potes de Champagne antrieurs -au sicle de Franois I<sup>er</sup>, Histoire de Quarados Brun-Bras, p. 79 ff. +half of the fourteenth century: Tarbé, Poètes de Champagne antérieurs +au siècle de François I<sup>er</sup>, Histoire de Quarados Brun-Bras, p. 79 ff. The horn here becomes a cup.</p> <p>A meistergesang, entitled 'Dis ist Frauw Tristerat Horn von Saphoien,' @@ -29816,12 +29776,12 @@ of the property of the horn, says he will try all who are present. He begins himself, as he was wont to do, but this time spills. He takes the mishap merrily, and says he may now join in a dance which the "freyry" were to have after meat. 'The Cokwolds Daunce,' Hartshorne's -Ancient Metrical Tales, p. 209; Karajan, Frhlingsgabe [Schatzgrber], +Ancient Metrical Tales, p. 209; Karajan, Frühlingsgabe [Schatzgräber], p. 17; Hazlitt, Remains of Early Popular Poetry, I, 38.<a name="FNanchor_1_232" id="FNanchor_1_232"></a><a href="#Footnote_1_232" class="fnanchor">[232]</a></p> -<p>Heinrich von dem Trln narrates the episode of the probation by the +<p>Heinrich von dem Türlîn narrates the episode of the probation by the Horn with many variations of his own, among them the important one of -subjecting the women to the test as well as the men.<a name="FNanchor_1_233" id="FNanchor_1_233"></a><a href="#Footnote_1_233" class="fnanchor">[233]</a> In his Crne, +subjecting the women to the test as well as the men.<a name="FNanchor_1_233" id="FNanchor_1_233"></a><a href="#Footnote_1_233" class="fnanchor">[233]</a> In his Crône, put at 1200-10, a misshapen, dwarfish knight, whose skin is overgrown with scales, riding on a monster who is fish before and dolphin behind, with wings on its legs, presents himself to Arthur on Christmas Day @@ -29833,7 +29793,7 @@ at the court who can stand the test. The ladies are sent for, and the messenger gives the cup first to them. They all spill. The knights follow, Arthur first; and he, to the general astonishment, bears the proof, which no one else does except the sea king's messenger. -Caraduz<a name="FNanchor_1_234" id="FNanchor_1_234"></a><a href="#Footnote_1_234" class="fnanchor">[234]</a> von Caz fails with the rest. Diu Crne, ed. Scholl, vv +Caraduz<a name="FNanchor_1_234" id="FNanchor_1_234"></a><a href="#Footnote_1_234" class="fnanchor">[234]</a> von Caz fails with the rest. Diu Crône, ed. Scholl, vv 466-3189.</p> <p>The prose Tristan confines the proof to the women, and transfers the @@ -29854,7 +29814,7 @@ Arthur's behoof<a name="FNanchor_1_236" id="FNanchor_1_236"></a><a href="#Footno guests for ten years, and they all spill but Rinaldo, who declines il periglioso saggio: canto <span class="smcap">XLII</span>, 70-73, 97-104; <span class="smcap">XLIII</span>, 6-44. Upon Ariosto's narrative La Fontaine founded the tale and the -comedy of 'La Coupe Enchante,' Works ed. Moland, IV, 37, V, 361.</p> +comedy of 'La Coupe Enchantée,' Works ed. Moland, IV, 37, V, 361.</p> <p>In a piece in the Wunderhorn, I, 389, ed. 1819, called 'Die Ausgleichung,' and purporting to be from oral tradition, but reading @@ -29910,10 +29870,10 @@ that the knife must have similar virtues with the horn and mantle, whence its appearance in our ballad; but no proof has yet been given that the Welsh horn and knife had ever a power of testing chastity.<a name="FNanchor_1_240" id="FNanchor_1_240"></a><a href="#Footnote_1_240" class="fnanchor">[240]</a></p> -<p>Heinrich von dem Trlin, not satisfied with testing Arthur's court +<p>Heinrich von dem Türlin, not satisfied with testing Arthur's court first with the mantle, and again with the horn, renews the experiment with a Glove, in a couple of thousand lines more of tedious imitation -of 'Cort Mantel,'<a name="FNanchor_1_241" id="FNanchor_1_241"></a><a href="#Footnote_1_241" class="fnanchor">[241]</a> Crne, 22,990-24,719. This glove renders the +of 'Cort Mantel,'<a name="FNanchor_1_241" id="FNanchor_1_241"></a><a href="#Footnote_1_241" class="fnanchor">[241]</a> Crône, 22,990-24,719. This glove renders the right side of the body invisible, when put on by man or woman free of blame, but leaves in the other case some portion of that side visible and bare. A great many ladies and knights don the glove, and all have @@ -29941,7 +29901,7 @@ forfeited all her lands, and shall be expelled from court. (Cf. Der Lanethen Mantel, p. 261.) A knight begs the king to desist, for he who heeds every tale that is told of his wife shall never be easy.</p> -<p>2. The meistergesang 'Die Krone der Knigin von Afion.'<a name="FNanchor_1_244" id="FNanchor_1_244"></a><a href="#Footnote_1_244" class="fnanchor">[244]</a> While his +<p>2. The meistergesang 'Die Krone der Königin von Afion.'<a name="FNanchor_1_244" id="FNanchor_1_244"></a><a href="#Footnote_1_244" class="fnanchor">[244]</a> While his majesty of Afion is holding a great feast, a youth enters the hall bearing a splendid crown, which has such chaste things in it that no king can wear it who haunts false love. The crown had been secretly @@ -29966,9 +29926,9 @@ which Klingsor throws over the Sibra. Knights and ladies assembled at Arthur's court, if less than perfect<a name="FNanchor_1_245" id="FNanchor_1_245"></a><a href="#Footnote_1_245" class="fnanchor">[245]</a>, on attempting to ride over it are thrown off into the water, or stumble and fall on the bridge: ed. Hahn, p. 232 ff, st. 2337 ff. Hans Sachs has told this story twice, -with Virgil for the magician: ed. Keller, Historia, Knig Artus mit der +with Virgil for the magician: ed. Keller, Historia, König Artus mit der ehbrecher-brugk, II, 262; Goedeke, Dichtungen von Hans Sachs, I, 175. -Kirchhof follows Hans Sachs in a story in Wendunmuth, ed. sterley, II, +Kirchhof follows Hans Sachs in a story in Wendunmuth, ed. Österley, II, 38.</p> <p>Florimel's Girdle, in the fourth book of the 'Fairy Queen,' canto v, @@ -29978,14 +29938,14 @@ once more, is formed on the same pattern.<a name="FNanchor_1_246" id="FNanchor_1 test several other inventions which are clearly, as to form, modelled on this original, but which have a different object: the valley from which no false lover could escape till it had been entered by one "qui -de nulle chose auroit vers s'amie faus ne mespris, n d'euvre n -de pense n de talent," the prose Lancelot in Jonckbloet, II, lxix +de nulle chose auroit vers s'amie fausé ne mespris, nè d'euvre nè +de pensée nè de talent," the prose Lancelot in Jonckbloet, II, lxix (Warnatsch), Ferrario, Storia ed Analisi, Lancilotto del Lago, III, 372, Legrand, Fabliaux, I, 156; the arch in Amadis, which no man or woman can pass who has been unfaithful to a first love, and again, the sword which only the knight who loves his lady best can draw, and the partly withered garland which becomes completely fresh on the head of -the lady who best loves her husband or lover, Amads de Gaula, l. ii, +the lady who best loves her husband or lover, Amadís de Gaula, l. ii, introduccion, c. 1, c. 14, and ballad 1890 in Duran, II, 665; the cup of congealed tears in Palmerin of England, which liquefies in the hand of the best knight and faithfulest lover, chapters 87-89, II, 322 ff, @@ -30001,16 +29961,16 @@ corresponding Swedish ballad, <b>A</b>, <b>B</b>, <b>E</b>; Danish, Grundtvig, No 275:<a name="FNanchor_1_247" id="FNanchor_1_247"></a><a href="#Footnote_1_247" class="fnanchor">[247]</a> see pp 64, 65, of this volume.</p> <p><b>A stepping-stone</b> by the bed-side. 'Vesle Aase Gaasepige,' -Asbjrnsen og Moe, No 29: see p. 66.</p> +Asbjørnsen og Moe, No 29: see p. 66.</p> <p>A chair in which no leal maiden can sit, or will sit till bidden (?). 'Gil Brenton,' <b>D</b>, <b>C</b>.</p> <p><b>Flowers</b> [foliage]. 1. In the Sanskrit story of Guhasena, -the merchant's son, and Devasmit, this married pair, who are to -be separated for a time, receive from Shva each a red lotus: if +the merchant's son, and Devasmitá, this married pair, who are to +be separated for a time, receive from Shíva each a red lotus: if either should be unfaithful, the lotus in the hand of the other would -fade, but not otherwise: Kath Sarit Sgara, ch. 13, Tawney, I, 86, +fade, but not otherwise: Kathá Sarit Ságara, ch. 13, Tawney, I, 86, Brockhaus, I, 137. 2. In the Tales of a Parrot, a soldier, going into service, receives from his wife a rose [flower, nosegay], which will keep fresh as long as she remains true: Rosen, Tuti-nameh, from the @@ -30034,21 +29994,21 @@ wear, or change color, as long as both husband and wife are faithful, but will lose all its virtues if either is untrue. The shirt is given by a wife to a husband in several versions of an otherwise different story. 2. In the German meistergesang and the Flemish tale Alexander -of Metz: Krner, Historische Volkslieder, p. 49, No 8; Goedeke, +of Metz: Körner, Historische Volkslieder, p. 49, No 8; Goedeke, Deutsche Dichtung im Mittelalter, 2d ed., p. 569 ff; 'De Historia van Florentina,' etc., Van den Bergh, De nederlandsche Volksromaus, p. 52 -f. 3. In the story 'Von dem Knig von Spanien<a name="FNanchor_1_250" id="FNanchor_1_250"></a><a href="#Footnote_1_250" class="fnanchor">[250]</a> und seiner Frau,' -Mllenhoff, Sagen, u. s. w., p. 586, No 607, a wife gives the shirt +f. 3. In the story 'Von dem König von Spanien<a name="FNanchor_1_250" id="FNanchor_1_250"></a><a href="#Footnote_1_250" class="fnanchor">[250]</a> und seiner Frau,' +Müllenhoff, Sagen, u. s. w., p. 586, No 607, a wife gives the shirt to her husband the morning after the wedding: it will always be white until she dies, when it will turn black, or unless she misbehaves, -in which case it will be spotted. 4. 'Die getreue Frau,' Plnnies, -in Wolf's Zeitschrift fr deutsche Mythologie,' II, 377. An English +in which case it will be spotted. 4. 'Die getreue Frau,' Plönnies, +in Wolf's Zeitschrift für deutsche Mythologie,' II, 377. An English princess gives her consort, a Spanish prince, at parting, a white shirt which will not spot as long as she is faithful. 5. 'Die treue -Frau,' Curtze, Volksberlieferungen aus Waldeck, p. 146. A merchant's +Frau,' Curtze, Volksüberlieferungen aus Waldeck, p. 146. A merchant's son, married to a princess, goes away for a voyage; they change rings and shirts, and neither shirt will soil until one of the two shall be -untrue. 6. 'Die getreue Frau,' J. W. Wolf, Deutsche Hausmrchen, at +untrue. 6. 'Die getreue Frau,' J. W. Wolf, Deutsche Hausmärchen, at p. 102. A prince, going on a voyage, gives his sword to his wife; as long as the blade is not spotted, he is faithful. He receives from the princess a mantle; as long as it is white, her faith is inviolate.</p> @@ -30064,7 +30024,7 @@ nov. 21. This tale, translated in Painter's Palace of Pleasure, 1567 'Picture,' 1630. The miniature will keep its color as long as the woman is innocent and unattempted, will grow yellow if she is solicited but unconquered, and black if she surrenders: Act I, Scene 1. Bandello's -story is also the foundation of Snec's tale, 'Filer le parfait +story is also the foundation of Sénecé's tale, 'Filer le parfait amour,' with a wax image taking the place of the picture: Œuvres Choisies, ed. Charles et Cap, p. 95.<a name="FNanchor_1_251" id="FNanchor_1_251"></a><a href="#Footnote_1_251" class="fnanchor">[251]</a></p> @@ -30077,39 +30037,39 @@ stone should grow wan, her thoughts would have changed; should it grow red, she is no more a maid: see p. 192. A father, being required to leave three daughters, gives them each such a ring in Basile, Pentamerone, <span class="smcap">III</span>, 4. The rings are changed into glass distaffs -in 'L'Adroite Princesse,' an imitation of this story by Mlle. Lhritier +in 'L'Adroite Princesse,' an imitation of this story by Mlle. Lhéritier de Villaudon, which has sometimes been printed with Perrault's tales: -Perrault, Contes des Fes, ed. Giraud, p. 239; Dunlop, ch. 13.</p> +Perrault, Contes des Fées, ed. Giraud, p. 239; Dunlop, ch. 13.</p> <p><b>A mirror</b>, in the History of Prince Zeyn Alasnam, reflecting the image of a chaste maid, will remain unblurred: Arabian Nights, Scott, IV, 120, 124; 1001 Nacht, Habicht, VI, 146, 150; etc. Virgil made a mirror of like property; it exposed the woman that was "new-fangle," -wandelmetic, by the ignition of a "worm" in the glass: Meisterlieder +wandelmüetic, by the ignition of a "worm" in the glass: Meisterlieder der Kolmarer Handschrift, Bartsch, p. 605 (Warnatsch). There is also one of these mirrors in Primaleon, l. ii, cap. 27; Rajna, Le Fonti dell' Orlando Furioso, p. 504, note 3. Alfred de Musset, in 'Barberine,' substitutes a pocket-mirror for the picture in Bandello, -Part I, nov. 21: Œuvres Compltes, III, 378 ff.</p> +Part I, nov. 21: Œuvres Complètes, III, 378 ff.</p> <p><b>A harp</b>, in the hands of an image, upon the approach of a -<i>despucelle</i>, plays out of tune and breaks a string: Perceval le +<i>despucellée</i>, plays out of tune and breaks a string: Perceval le Gallois, II, 149, vv 13, 365-72 (Rajna, as above).</p> <p>A crystal <b>brook</b>, in the amiral's garden in Flor and Blancheflor, when crossed by a virgin remains pellucid, but in the other case -becomes red, or turbid: ed. Du Mril, p. 75, vv 1811-14; Bekker, +becomes red, or turbid: ed. Du Méril, p. 75, vv 1811-14; Bekker, Berlin Academy, XLIV, 26, vv 2069-72; Fleck, ed. Sommer, p. 148, vv 4472-82; Swedish, ed. Klemming, p. 38, 1122-25; Lower Rhine, Haupt's Zeitschrift, XXI, 321, vv 57-62; Middle Greek, Bekker, Berlin Academy, -1845, p. 165, Wagner, Medival Greek Texts, p. 40 f, vv 1339-48; etc. +1845, p. 165, Wagner, Mediæval Greek Texts, p. 40 f, vv 1339-48; etc. In the English poem, Hartshorne's Ancient Metrical Tales, p. 93, if a clean maid wash her hands in the water, it remains quiet and clear; but if one who has lost her purity do this, the water will yell like mad and become red as blood.</p> <p>The <b>stone</b> Aptor, in Wigamur, vv 1100-21, is red to the sight of -clean man or woman, but misty to others: Von der Hagen und Bsching, +clean man or woman, but misty to others: Von der Hagen und Büsching, Deutsche Gedichte des Mittelalters, p. 12 (Warnatsch).<a name="FNanchor_1_253" id="FNanchor_1_253"></a><a href="#Footnote_1_253" class="fnanchor">[253]</a></p> <p>A <b>statue</b>, in an Italian ballad, moved its eyes when young @@ -30138,10 +30098,10 @@ a clean maid by her being able to blow out a candle with one puff and to light it again with another. The phrase was known in Spain: "Matar un candil con un soplo y encenderlo con otro." Grimm adds that it is an article of popular faith in India that a virgin can make a ball of -water, or carry water in a sieve: Rechtsalterthmer, p. 932.<a name="FNanchor_1_256" id="FNanchor_1_256"></a><a href="#Footnote_1_256" class="fnanchor">[256]</a></p> +water, or carry water in a sieve: Rechtsalterthümer, p. 932.<a name="FNanchor_1_256" id="FNanchor_1_256"></a><a href="#Footnote_1_256" class="fnanchor">[256]</a></p> <p>An ordeal for chastity is a feature in several of the Greek romances. -In Heliodorus's thiopica, <span class="smcap">X</span>, 8, 9, victims to be offered +In Heliodorus's Æthiopica, <span class="smcap">X</span>, 8, 9, victims to be offered to the sun and moon, who must be pure, are obliged to mount a <b>brazier</b> covered with a golden grating. The soles of those who are less than perfect are burned. Theagenes and Chariclea experience @@ -30151,7 +30111,7 @@ Ephesus, in which they shut up a woman. If it is a virgin, a delicious melody is presently heard from a syrinx, the doors open of themselves, and the woman comes out crowned with pine leaves; if not a virgin, a wail is heard, and the woman is never seen again. There is also a -not perfectly convincing trial, by the Stygian <b>water</b>, in 12, +not perfectly convincing trial, by the Stygian <b>water</b>, in § 12, which seems to be imitated in the Hysmine and Hysminias of Eustathius [Eumathius], <span class="smcap">VIII</span>, 7, <span class="smcap">XI</span>, 17. In the temple of Diana, at Artycomis, stands a statue of the goddess, with bow in hand, and @@ -30182,7 +30142,7 @@ ff, and probably into other lives of the Virgin.</p> after a blindness of ten years' duration, received an intimation from an oracle that he would recover his sight upon following a certain prescription, such as we are assured is still thought well of in Egypt -in cases of ophthalmia. For this the coperation of a chaste woman was +in cases of ophthalmia. For this the coöperation of a chaste woman was indispensable. Repeatedly balked, the king finally regained his vision, and collecting in a town many women of whom he had vainly hoped aid, in which number his queen was included, he set fire to the place and @@ -30539,7 +30499,7 @@ stanza.</i></p> <p><a name="Footnote_1_211" id="Footnote_1_211"></a><a href="#FNanchor_1_211"><span class="label">[211]</span></a> After I had finished what I had to say in the way of introduction to this ballad, there appeared the study of the -Trinkhorn and Mantelsage, by Otto Warnatsch: Der Mantel, Bruchstck +Trinkhorn and Mantelsage, by Otto Warnatsch: Der Mantel, Bruchstück eines Lanzeletromans, etc., Breslau, 1883. To this very thorough piece of work, in which the relations of the multiform versions of the double-branched story are investigated with a care that had never @@ -30549,7 +30509,7 @@ the place by the author's name.</p></div> <div class="footnote"> -<p><a name="Footnote_1_212" id="Footnote_1_212"></a><a href="#FNanchor_1_212"><span class="label">[212]</span></a> The Bibliothque des Romans, 1777, Fvrier, pp. 112-115, +<p><a name="Footnote_1_212" id="Footnote_1_212"></a><a href="#FNanchor_1_212"><span class="label">[212]</span></a> The Bibliothèque des Romans, 1777, Février, pp. 112-115, gives an abstract of a small printed piece in prose, there assigned to the beginning of the sixteenth century, which, as Warnatsch observes, p. 72, must have been a different thing from the tale given by Legrand, @@ -30573,13 +30533,13 @@ seat himself at table till some adventure had occurred." In Malory's King Arthur, Kay reminds the king that this had been the old custom of his court at Pentecost. Arthur is said to observe this custom on Christmas, "vpon such a dere day," in Sir Gawayn and the Green Knight, -Madden, p. 6, vv 90-99. Messire Gauvain says " feste ne mangast, +Madden, p. 6, vv 90-99. Messire Gauvain says "à feste ne mangast, devant," etc., p. 2, vv 18-21. Wolfram von Eschenbach's Parzival does not limit the custom to high holidays, ed. Bartsch, I, 331, vv 875-79; -and see Riddarasgur, Parcevals Saga, etc., ed. Klbing, p. 26. Neither -does Wigalois, vv 247-51, or a fragment of Daniel von Blhenthal, -Symbol ad literaturam Teutonicam, p. 465, cited by Benecke, Wigalois, -p. 436 f, or the Fre Galians kvi, Klbing, in Germania, XX, 397. +and see Riddarasögur, Parcevals Saga, etc., ed. Kölbing, p. 26. Neither +does Wigalois, vv 247-51, or a fragment of Daniel von Blühenthal, +Symbolæ ad literaturam Teutonicam, p. 465, cited by Benecke, Wigalois, +p. 436 f, or the Färöe Galians kvæði, Kölbing, in Germania, XX, 397. See Madden's Syr Gawayne, which has furnished much of this note, pp 310-12; Southey's King Arthur, II, 203, 462. Robin Hood imitates Arthur: see the beginning of the Little Gest.</p></div> @@ -30606,9 +30566,9 @@ Arthur: see the beginning of the Little Gest.</p></div> <div class="footnote"> -<p><a name="Footnote_1_215" id="Footnote_1_215"></a><a href="#FNanchor_1_215"><span class="label">[215]</span></a> See also Brynjlfsson, Saga af Tristram ok snd, samt -Mttuls Saga, Udtog, pp 318-26, Copenhagen, 1878. There is a general -presumption that the larger part of the works translated for King Hkon +<p><a name="Footnote_1_215" id="Footnote_1_215"></a><a href="#FNanchor_1_215"><span class="label">[215]</span></a> See also Brynjúlfsson, Saga af Tristram ok Ísönd, samt +Möttuls Saga, Udtog, pp 318-26, Copenhagen, 1878. There is a general +presumption that the larger part of the works translated for King Hákon were derived from England. C. & W., p. 47.</p></div> <div class="footnote"> @@ -30616,19 +30576,19 @@ were derived from England. C. & W., p. 47.</p></div> <p><a name="Footnote_1_216" id="Footnote_1_216"></a><a href="#FNanchor_1_216"><span class="label">[216]</span></a> That is, the current one. The Samson saga professes to supply the earlier history. Samson's father is another Arthur, king of England. An abstract of so much of the saga as pertains to the Mantle -is given by Cederschild and Wulff, p. 90f. Warnatsch, p. 73 f, shows -that the Rmur and Samson had probably a common source, independent of -the Mttulssaga.</p></div> +is given by Cederschiöld and Wulff, p. 90f. Warnatsch, p. 73 f, shows +that the Rímur and Samson had probably a common source, independent of +the Möttulssaga.</p></div> <div class="footnote"> <p><a name="Footnote_1_217" id="Footnote_1_217"></a><a href="#FNanchor_1_217"><span class="label">[217]</span></a> By Warnatsch, who gives the text with the corresponding passages of the fabliau in a parallel column, pp 8-54: the argument for Heinrich's authorship, pp 85-105. 'Der Mantel' had been previously -printed in Haupt and Hoffmann's Altdeutsche Bltter, II, 217, and by -Mllenhoff in his Altdeutsche Sprachproben, p. 125. Of this poem, +printed in Haupt and Hoffmann's Altdeutsche Blätter, II, 217, and by +Müllenhoff in his Altdeutsche Sprachproben, p. 125. Of this poem, which Warnatsch, pp 105-110, holds to be a fragment of a lost romance -of Lanzelet, written before the 'Crne,' only 994 verses are left. +of Lanzelet, written before the 'Crône,' only 994 verses are left. Deducting about a hundred of introduction, there are some 782 German against some 314 French verses, an excess which is owing, no doubt, largely to insertions and expansions on the part of Heinrich, but in @@ -30650,7 +30610,7 @@ But possibly the last verse should be taken with what follows.</p></div> <div class="footnote"> -<p><a name="Footnote_1_218" id="Footnote_1_218"></a><a href="#FNanchor_1_218"><span class="label">[218]</span></a> In Hahn, Griechische Mrchen, No 70, II, 60 f, a walnut +<p><a name="Footnote_1_218" id="Footnote_1_218"></a><a href="#FNanchor_1_218"><span class="label">[218]</span></a> In Hahn, Griechische Märchen, No 70, II, 60 f, a walnut contains a dress with the earth and its flowers displayed on it, an almond one with the heaven and its stars, a hazel-nut one with the sea and its fishes. No 7, I, 99, a walnut contains a complete costume @@ -30659,7 +30619,7 @@ and its waves. No 67, II, 33, an almond encloses a woman's dress with heaven and its stars on it, a hazel-nut a suit for her husband. In the Grimms' No 113, three walnuts contain successively each a finer dress than the other, II, 142 f, ed. 1857. There are three similar nuts in -Haltrich, No 43, and in Volksmrchen aus Venetien, Jahrbuch fr r. u. +Haltrich, No 43, and in Volksmärchen aus Venetien, Jahrbuch für r. u. e. Lit., VII, 249, No 12. Ulrich's mantle is worked with all manner of beasts, birds, and sea monsters, on earth or under, and betwixt earth and heaven: Lanzelet, 5820-27.</p></div> @@ -30674,7 +30634,7 @@ the queen in the ballad, ont maudit le mantel, et celui qui li aporta.</p></div> <div class="footnote"> -<p><a name="Footnote_1_220" id="Footnote_1_220"></a><a href="#FNanchor_1_220"><span class="label">[220]</span></a> Not even for Ginovere hbsch unde guot, or Ente diu +<p><a name="Footnote_1_220" id="Footnote_1_220"></a><a href="#FNanchor_1_220"><span class="label">[220]</span></a> Not even for Ginovere hübsch unde guot, or Enîte diu reine. The queen has always been heedful of her acts, and has never done anything wrong: doch ist siu an den gedenken missevarn, Heaven knows how. Ulrich is very feeble here. @@ -30683,7 +30643,7 @@ knows how. Ulrich is very feeble here. A remark is here in place which will be still more applicable to some of the tests that are to be spoken of further on. Both the French fabliau and the English ballad give to the mantle the power of -detecting the woman that has once done amiss, a de rien messerr. We +detecting the woman that has once done amiss, a de rien messerré. We naturally suppose that we understand what is meant. The trial in the fabliau is so conducted as to confirm our original conception of the nature of the inquest, and so it is, in the case of Arthur's queen, @@ -30693,7 +30653,7 @@ think? Is the mantle in a teasing mood, or is it exhibiting its real quality? If once to have kissed Cradock's mouth before marriage is once to have done amiss, Heaven keep our Mirandas and our Perditas, and Heaven forgive our Juliets and our Rosalinds! ("Les dames et -demoiselles, pour tre baises devant leur noces, il n'est pas la +demoiselles, pour être baisées devant leur noces, il n'est pas la coutume de France," we know, but this nice custom could hardly have had sway in England. Is then this passage rendered from something in French that is lost?) But the mantle, in the ballad, after indulging @@ -30707,15 +30667,15 @@ improved.</p></div> <div class="footnote"> -<p><a name="Footnote_1_221" id="Footnote_1_221"></a><a href="#FNanchor_1_221"><span class="label">[221]</span></a> Nul femme que [ne] vouloit lesser sauoir soun marry -soun fet et pens. T. Wright, in Archologia Cambrensis, January, +<p><a name="Footnote_1_221" id="Footnote_1_221"></a><a href="#FNanchor_1_221"><span class="label">[221]</span></a> Nul femme que [ne] vouloit lesser sauoir à soun marry +soun fet et pensé. T. Wright, in Archæologia Cambrensis, January, 1863, p. 10. Mr Wright gives one of the texts of Cort Mantel, with an English translation. We are further told, in Scalachronica, that this mantle was afterwards made into a chasuble, and that it is "to this day" preserved at Glastonbury. Three versions of the fabliau testify that Carados and his <i>amie</i> deposited the mantle in a Welsh abbey. -The Skikkju Rmur say that the lady presented it to the cloister of -Cologne; the Mttulssaga has simply a monastery (and, indeed, the +The Skikkju Rímur say that the lady presented it to the cloister of +Cologne; the Möttulssaga has simply a monastery (and, indeed, the mantle, as described by some, must have had a vocation that way from the beginning). "Item, in the castel of Douer ye may see Gauwayn's skull and Cradok's mantel:" Caxton, in his preface to Kyng Arthur, @@ -30747,7 +30707,7 @@ M'Lauchlan, p. 72 of the translation, 50/51 of the original. Repeated in Campbell's Heroic Gaelic Ballads, p. 138 f, 'The Maid of the White Mantle.' Mr Campbell remarks: "This ballad, or the story of it, is known in Irish writings. It is not remembered in Scotland now." Mr -Wright cites this poem, Archologia Cambrensis, p. 14 f, 39 f.</p></div> +Wright cites this poem, Archæologia Cambrensis, p. 14 f, 39 f.</p></div> <div class="footnote"> @@ -30757,7 +30717,7 @@ little further on.</p></div> <div class="footnote"> <p><a name="Footnote_1_227" id="Footnote_1_227"></a><a href="#FNanchor_1_227"><span class="label">[227]</span></a> Wolf at first speaks of the lai as being made over -into the fabliau, in regular court style, ganz nach hfischer Weise, +into the fabliau, in regular court style, ganz nach höfischer Weise, about the middle of the 13th century; then goes on to say that even if the author of the fabliau followed another version of the story, he must have known the jongleur's poem, because he has repeated some of @@ -30832,18 +30792,18 @@ the Horn-test: pp 111-114.</p></div> <p><a name="Footnote_1_234" id="Footnote_1_234"></a><a href="#FNanchor_1_234"><span class="label">[234]</span></a> The principal variations of this name, of which the Welsh Caradoc is assumed to be the original, are: Craddocke (English ballad); Carados, Caradox (Cort Mantel); Karodes (Scalachronica); -Caraduz (Crne, 2309, elsewhere) Karadas; Carigras, Kaligras (Rmur); +Caraduz (Crône, 2309, elsewhere) Karadas; Carigras, Kaligras (Rímur); Karodeus, Caraduel (Perceval, 12,466, 12,457, 12,491, but generally), Carados, -ot, or; Caraduel (Messire Gauvain, 3943); Garadue (Lai du -Corn); Karadin (Mttuls Saga). Garadue probably == Caraduel, which, in +Corn); Karadin (Möttuls Saga). Garadue probably == Caraduel, which, in Percival twice, and once in Messire Gauvain, is used for Carados, through confusion with Arthur's residence, Carduel, Cardoil. So Karadas -is twice put in the Crne, 16,726, 16,743, for Karidol == Cardoil. Might +is twice put in the Crône, 16,726, 16,743, for Karidol == Cardoil. Might not Karadin have been written for Karadiu?</p></div> <div class="footnote"> -<p><a name="Footnote_1_235" id="Footnote_1_235"></a><a href="#FNanchor_1_235"><span class="label">[235]</span></a> Tristan of Hlie de Borron, I, 73 verso, in Rajna, Fonti +<p><a name="Footnote_1_235" id="Footnote_1_235"></a><a href="#FNanchor_1_235"><span class="label">[235]</span></a> Tristan of Hélie de Borron, I, 73 verso, in Rajna, Fonti dell' Orlando Furioso, p. 498 ff. So in Malory's King Arthur, Southey, I, 297, Wright, II, 64. The Italian Tristan, La Tavola Ritonda, ed. Polidori, <span class="smcap">XLIII</span>, pp 157-160, makes 686 try, of whom only 13 @@ -30852,7 +30812,7 @@ exempts 2 out of 365: Nannucci, Manuale, II, 168-171.</p></div> <div class="footnote"> -<p><a name="Footnote_1_236" id="Footnote_1_236"></a><a href="#FNanchor_1_236"><span class="label">[236]</span></a> Un vasello fatto da ber, qual gi, per fare accorto il +<p><a name="Footnote_1_236" id="Footnote_1_236"></a><a href="#FNanchor_1_236"><span class="label">[236]</span></a> Un vasello fatto da ber, qual già, per fare accorto il suo fratello del fallo di Ginevra, fe Morgana: <span class="smcap">XLIII</span>, 28; un bel nappo d'or, di fuor di gamme, <span class="smcap">XLII</span>, 98. The Orlando concurs with the prose Tristan as to the malice of Morgan, but does @@ -30866,12 +30826,12 @@ Before leaving these drinking-tests, mention may be made of Oberon's gold cup, which, upon his passing his right hand three times round it and making the sign of the cross, fills with wine enough for all the living and the dead; but no one can drink s'il n'est preudom, et -nes et purs et sans peci mortel: Huon de Bordeaux, ed. Guessard et +nes et purs et sans pecié mortel: Huon de Bordeaux, ed. Guessard et Grandmaison, p. 109 f, vv 3652-69.</p></div> <div class="footnote"> -<p><a name="Footnote_1_237" id="Footnote_1_237"></a><a href="#FNanchor_1_237"><span class="label">[237]</span></a> The Myvyrian Archology of Wales, II, 13, triad +<p><a name="Footnote_1_237" id="Footnote_1_237"></a><a href="#FNanchor_1_237"><span class="label">[237]</span></a> The Myvyrian Archæology of Wales, II, 13, triad 54 == triad 103, p. 73; p. 17, triad 78 == triad 108, p. 73.</p></div> <div class="footnote"> @@ -30887,7 +30847,7 @@ err.</p></div> <div class="footnote"> -<p><a name="Footnote_1_239" id="Footnote_1_239"></a><a href="#FNanchor_1_239"><span class="label">[239]</span></a> Myvyrian Archology, III, 247<sup>a</sup>, No 10, pointed out to +<p><a name="Footnote_1_239" id="Footnote_1_239"></a><a href="#FNanchor_1_239"><span class="label">[239]</span></a> Myvyrian Archæology, III, 247<sup>a</sup>, No 10, pointed out to me by Professor Evans. The story of the 'Boy and the Mantle,' says Warton, "is recorded in many manuscript Welsh chronicles, as I learn from original letters of Llwyd, in the Ashmolean Museum:" History of @@ -30937,14 +30897,14 @@ was convicted of as if one had been in the hands of the Holy Office.</p></div> <div class="footnote"> -<p><a name="Footnote_1_243" id="Footnote_1_243"></a><a href="#FNanchor_1_243"><span class="label">[243]</span></a> Fastnachtspiele aus dem fnfzehnten Jahrhundert, Zweiter +<p><a name="Footnote_1_243" id="Footnote_1_243"></a><a href="#FNanchor_1_243"><span class="label">[243]</span></a> Fastnachtspiele aus dem fünfzehnten Jahrhundert, Zweiter Theil, p. 654, No 80.</p></div> <div class="footnote"> -<p><a name="Footnote_1_244" id="Footnote_1_244"></a><a href="#FNanchor_1_244"><span class="label">[244]</span></a> From Vulpius's Curiositten, II, 463, in Erlach, I, 132, +<p><a name="Footnote_1_244" id="Footnote_1_244"></a><a href="#FNanchor_1_244"><span class="label">[244]</span></a> From Vulpius's Curiositäten, II, 463, in Erlach, I, 132, after a printed copy of the beginning of the 16th century: Wolff, Halle -der Vlker, II, 243, from a Fliegendes Blatt of the 16th century. Two +der Völker, II, 243, from a Fliegendes Blatt of the 16th century. Two copies are cited by title in Mone's Anzeiger, VIII, 354 b, No 1; 378, No 165. Wolff prints Asion.</p></div> @@ -30984,7 +30944,7 @@ at p. 40.</p></div> <div class="footnote"> -<p><a name="Footnote_1_249" id="Footnote_1_249"></a><a href="#FNanchor_1_249"><span class="label">[249]</span></a> In the Contes rire, p. 89, a sylph who loves a prince +<p><a name="Footnote_1_249" id="Footnote_1_249"></a><a href="#FNanchor_1_249"><span class="label">[249]</span></a> In the Contes à rire, p. 89, a sylph who loves a prince gives him a flower and a vase which will blacken upon his wife's proving unfaithful: Legrand, 1779, I, 78. I have not seen this edition of the book, but presume that this tale is entirely akin with the @@ -31000,13 +30960,13 @@ may, or may not, be accidental.</p></div> <p><a name="Footnote_1_251" id="Footnote_1_251"></a><a href="#FNanchor_1_251"><span class="label">[251]</span></a> All these examples of the probation by flowers, shirt, or picture are noticed in Loiseleur Deslongchamps, Essai sur les Fables Indiennes, p. 107 ff; or in Von der Hagen's Gesammtabenteuer, -III, lxxxiv ff; or in an article by Reinhold Khler, of his usual -excellence, in Jahrbuch fr romanische und englische Literatur, VIII, +III, lxxxiv ff; or in an article by Reinhold Köhler, of his usual +excellence, in Jahrbuch für romanische und englische Literatur, VIII, 44 ff.</p></div> <div class="footnote"> -<p><a name="Footnote_1_252" id="Footnote_1_252"></a><a href="#FNanchor_1_252"><span class="label">[252]</span></a> Khler, as above, p. 60 f.</p></div> +<p><a name="Footnote_1_252" id="Footnote_1_252"></a><a href="#FNanchor_1_252"><span class="label">[252]</span></a> Köhler, as above, p. 60 f.</p></div> <div class="footnote"> @@ -31014,7 +30974,7 @@ excellence, in Jahrbuch fr romanische und englische Literatur, VIII, Wheel which no one could approach "who was not as clean as when he came from his mother's body." Gawain could touch it with his hand, Arthur often sat upon it, and Vigoleis was found sitting on it. Nyerup, -Almindelig Morskabslsning i Danmark og Norge, p. 129, a chap-book +Almindelig Morskabslæsning i Danmark og Norge, p. 129, a chap-book of 1732. The stone is not quite so strict in the German Volksbuch, Marbach, No 18, p. 13 f, Simrock, III, 432 f. In the German romance no man less than immaculate in all respects can touch it: Wigalois, ed. @@ -31023,13 +30983,13 @@ Benecke, p. 57, vv 1485-88.</p></div> <div class="footnote"> <p><a name="Footnote_1_254" id="Footnote_1_254"></a><a href="#FNanchor_1_254"><span class="label">[254]</span></a> Georgii Codini Excerpta de antiquitatibus -Constantinopolitanis, in Corpus Scriptorum Histori Byzantin, +Constantinopolitanis, in Corpus Scriptorum Historiæ Byzantinæ, XLV, 50 f, cited by Liebrecht, Germania, I, 264; De Originibus -Constantinopolitanis, cited by Ltcke, Von der Hagen's Germania, I, +Constantinopolitanis, cited by Lütcke, Von der Hagen's Germania, I, 252, referred to by Liebrecht: both anecdotes in Banduri, Imperium Orientale, Anonymus de Ant. Const. p. 35, 96, p. 57, 162. The statue again in a note of Nic. Alemannus to Procopius, Arcana, 1623, p. -83: cited by Mr Wright, Archologia Cambrensis, as above, p. 17. Mr +83: cited by Mr Wright, Archæologia Cambrensis, as above, p. 17. Mr Wright also makes mention, p. 16, of the blind dog that quidam Andreas (evidently a merry one) was exhibiting in the seventeenth year of Justinian, which, among other clever performances, ostendebat in utero @@ -31044,17 +31004,17 @@ Cedrenus, in the Byzantine Corpus, XXXIII, 657, Theophanes, in XXXVIII, Warnatsch. Virgil's statue was circumvented by an artifice which is employed in this tale of the Shukasaptati, and in other oriental stories presumably derived from it; and so was the well-known Bocca -della Verit, Kaiserchronik, Massmann, pp 448 f. The Bocca della Verit +della Verità, Kaiserchronik, Massmann, pp 448 f. The Bocca della Verità bit off the fingers of perjurers, but took no particular cognizance of the unchaste. A barley-corn [grain of wheat], again, which stood -on end when <i>any</i> false oath was sworn over it, Jlg, Mongolische -Mrchensammlung, Die Geschichte des Ardschi-Bordschi Chan, pp 250-52, +on end when <i>any</i> false oath was sworn over it, Jülg, Mongolische +Märchensammlung, Die Geschichte des Ardschi-Bordschi Chan, pp 250-52, cited by Benfey, Pantschatantra, I, 458, and referred to by Warnatsch, does not belong with special tests of chastity.</p></div> <div class="footnote"> -<p><a name="Footnote_1_256" id="Footnote_1_256"></a><a href="#FNanchor_1_256"><span class="label">[256]</span></a> The phrase looks more malicious than <i>naf</i>, whether +<p><a name="Footnote_1_256" id="Footnote_1_256"></a><a href="#FNanchor_1_256"><span class="label">[256]</span></a> The phrase looks more malicious than <i>naïf</i>, whether Austrian or Spanish, and implies, I fear, an exsufflicate and blown surmise about female virtue; and so of the Indian 'Volksglaube.' The candle-test is said to be in use for men in Silesia: Warnatsch, citing @@ -31067,7 +31027,7 @@ Weinhold, p. 58.</p></div> for Artycomis as the Rhine did for the Celts; referring to a test of the legitimacy of children by swinging or dipping them in the Rhine, which the "Celts" practiced, according to a poem in the Anthology: -Jacobs, II, 42 f, No 125; Grimm, Deutsche Rechtsalterthmer, p. 935 +Jacobs, II, 42 f, No 125; Grimm, Deutsche Rechtsalterthümer, p. 935 (Warnatsch).</p></div> <div class="footnote"> @@ -31075,7 +31035,7 @@ Jacobs, II, 42 f, No 125; Grimm, Deutsche Rechtsalterthmer, p. 935 <p><a name="Footnote_1_258" id="Footnote_1_258"></a><a href="#FNanchor_1_258"><span class="label">[258]</span></a> Besides sources specially referred to, there may be mentioned, as particularly useful for the history of these tests. Legrand, Fabliaux, 1779, I, 60, 76-78; Dunlop's History of -Fiction, 1814, in many places, with Liebrecht's notes, 1851; Grsse, +Fiction, 1814, in many places, with Liebrecht's notes, 1851; Grässe, Sagenkreise, 1842, pp 185-87; Von der Hagen's Gesammtabenteuer, 1850, III, lxxxiv-xc, cxxxv f.</p></div></div> @@ -31126,7 +31086,7 @@ The derivation from Galien is patent.<a name="FNanchor_1_263" id="FNanchor_1_263 <p>The Journey of Charlemagne achieved great popularity, as it needs must. It forms a section of the Karlamagnus Saga, a prose translation into Norse of <i>gestes</i> of Charles and his peers, made in the -thirteenth century, and probably for King Hkon the Old, though this +thirteenth century, and probably for King Hákon the Old, though this is not expressly said, as in the case of the 'Mantle.' Through the Norwegian version the story of Charles's journey passed into the other Scandinavian dialects. There is a Swedish version, slightly defective, @@ -31134,11 +31094,11 @@ existing in a manuscript earlier than 1450, and known to be older than the manuscript, and a Danish abridgment, thought to have been made from the Swedish version, is preserved in a manuscript dated 1480, which again is probably derived from an elder. Like the 'Mantle,' the Journey -of Charlemagne is treated in Icelandic Rmur, the oldest manuscript +of Charlemagne is treated in Icelandic Rímur, the oldest manuscript being put at about 1500. These Rhymes (Geiplur, Gabs, Japes), though their basis is the Norwegian saga, present variations from the existing -manuscripts of this saga. There is also a Fre traditional ballad upon -this theme, 'Geipa-tttur.' This ballad has much that is peculiar to +manuscripts of this saga. There is also a Färöe traditional ballad upon +this theme, 'Geipa-táttur.' This ballad has much that is peculiar to itself.<a name="FNanchor_1_264" id="FNanchor_1_264"></a><a href="#Footnote_1_264" class="fnanchor">[264]</a></p> <p>Charlemagne's Journey was also turned into Welsh in the thirteenth @@ -31226,7 +31186,7 @@ architectural details, it is circular, and so constructed as to turn like a wheel when the wind strikes it from the west. Charles thinks his own wealth not worth a glove in comparison, and remembers how he<span class="pagenum"><a name="Pg_1-277" id="Pg_1-277">[Pg 277]</a></span> had threatened his wife. "Lordings," he says, "many a palace have I seen, -but none like this had even Alexander, Constantine, or Csar." At that +but none like this had even Alexander, Constantine, or Cæsar." At that moment a strong wind arose which set the palace in lively motion; the emperor was fain to sit down on the floor; the twelve peers were all upset, and as they lay on their backs, with faces covered, said one @@ -31247,7 +31207,7 @@ stair, to watch them through a little hole.</p> must be their excuse for giving themselves over, when in a foreign country, to a usage or propensity which they had no doubt indulged in at home, and which is familiar in northern poetry and saga, that of -making brags (gabs, Anglo-Saxon bet, gilp<a name="FNanchor_1_268" id="FNanchor_1_268"></a><a href="#Footnote_1_268" class="fnanchor">[268]</a>). Charles began: Let +making brags (gabs, Anglo-Saxon beót, gilp<a name="FNanchor_1_268" id="FNanchor_1_268"></a><a href="#Footnote_1_268" class="fnanchor">[268]</a>). Charles began: Let Hugo arm his best man in two hauberks and two helms, and set him on a charger: then, if he will lend me his sword, I will with a blow cut through helms, hauberks, and saddle, and if I let it have its course, @@ -31445,15 +31405,15 @@ of the romance of the Green Knight, Hales and Furnivall, II, 56, which version alludes to a custom of the Knights of the Bath, an order said to have been instituted by Henry IV at his coronation, in 1399.</p> -<p>The Fre ballad, 'Geipa-tttur,' exists in four versions: <b>A</b>, +<p>The Färöe ballad, 'Geipa-táttur,' exists in four versions: <b>A</b>, Svabo's manuscript collection, 1782, III, 1, 85 stanzas; <b>B</b>, -Sandbog, 1822, p. 49, 140 stanzas; <b>C</b>, Fuglbog, c. 1840, p. -9, 120 stanzas; <b>D</b>, Syder version, obtained by Hammershaimb, +Sandøbog, 1822, p. 49, 140 stanzas; <b>C</b>, Fugløbog, c. 1840, p. +9, 120 stanzas; <b>D</b>, Syderø version, obtained by Hammershaimb, 1848, 103 stanzas.<a name="FNanchor_1_276" id="FNanchor_1_276"></a><a href="#Footnote_1_276" class="fnanchor">[276]</a> It repeats the story of the Norse saga, with a<span class="pagenum"><a name="Pg_1-281" id="Pg_1-281">[Pg 281]</a></span> moderate number of traditional accretions and changes. The emperor, from his throne, asks his champions where is his superior [equal]. They all drop their heads; no one ventures to answer but the queen, -who better had been silent. "The emperor of Constantinople" (Hkin, +who better had been silent. "The emperor of Constantinople" (Hákin, <b>D</b>), she says, "is thy superior." "If he is not," answers Karl, "thou shalt burn on bale." In <b>B</b>, when they have already started for Constantinople, Turpin persuades them to go rather to Jerusalem: @@ -31499,7 +31459,7 @@ vault, inside of which is a man with a candle. Karl proposes that they shall choose feats, make boasts, rouses [<i>skemtar</i>, jests, <b>C</b>]. These would inevitably be more or less deranged and corrupted in the course of tradition. <b>A</b> and <b>C</b> have lost many. Karl's -boast, dropped in <b>B</b>, <b>C</b>, is that he will smite King Hkin, +boast, dropped in <b>B</b>, <b>C</b>, is that he will smite King Hákin, so that the sword's point shall stick in the ground, <b>D</b>; hit the emperor on the neck and knock him off his horse, <b>A</b>. Roland, in all, will blow the emperor's hair off his head with the blast of @@ -31510,7 +31470,7 @@ as in the Norse saga; and, as in the saga again, it is Turpin,<span class="pagen Bernard, who brings in the river upon the town, and forces the king to take refuge in the tower.</p> -<p>Early in the morning the spy reports in writing, and King Hkin, +<p>Early in the morning the spy reports in writing, and King Hákin, <b>D</b>, says that Karl and his twelve peers shall burn on the bale, <b>A</b>, <b>C</b>, <b>D</b>, if they cannot make good their boasts, <b>B</b>. Karl's queen appears to him in his sleep, <b>A</b>, and bids @@ -31528,8 +31488,8 @@ case strictly, and Turpin's, naturally, last. The king in <b>C</b> does the feat which is proposed by Eimer in the saga. <b>A</b> and <b>C</b> end abruptly with Turpin's exploit. In <b>D</b> Karl falls on his knees and prays, and the water retires; Karl rides out of Constantinople, -followed three days on the road by Koronatus, as Hkin is now called, -stanza 103: it is Karlamagns that wears his crown higher. <b>B</b> +followed three days on the road by Koronatus, as Hákin is now called, +stanza 103: it is Karlamagnús that wears his crown higher. <b>B</b> takes a turn of its own. Roland, Olger and Oliver are called upon to do their brags. Roland blows so that nobody in Constantinople can keep his legs, and the emperor falls into the mud, but he blows not a hair @@ -31580,15 +31540,15 @@ large class of Eastern tales of which there has already been occasion to speak: see '<a href="#Ballad_2">The Elfin Knight</a>,' p. <a href="#Pg_1-11">11</a>. The demand in these, however, is made not in person, but through an ambassador. The combination of a personal visit with a task to be performed under penalty of death is -seen in the Vafrnisml, where Odin, disguised as a traveller, seeks +seen in the Vafþrúðnismál, where Odin, disguised as a traveller, seeks a contest in knowledge with the wisest of the giants.<a name="FNanchor_1_282" id="FNanchor_1_282"></a><a href="#Footnote_1_282" class="fnanchor">[282]</a></p> <p>The story of the gabs has been retold in two modern imitations: very -indifferently by Nivelle de la Chausse, 'Le Roi Hugon,' Œuvres, -t. V, supplment, p. 66, ed. 1778, and well by M. J. Chnier, 'Les +indifferently by Nivelle de la Chaussée, 'Le Roi Hugon,' Œuvres, +t. V, supplément, p. 66, ed. 1778, and well by M. J. Chénier, 'Les Miracles,' III, 259, ed. 1824.<a name="FNanchor_1_283" id="FNanchor_1_283"></a><a href="#Footnote_1_283" class="fnanchor">[283]</a> Uhland treated the subject dramatically in a composition which has not been published: Keller, -Altfranzsische Sagen, 1876, Inhalt (Koschwitz).</p> +Altfranzösische Sagen, 1876, Inhalt (Koschwitz).</p> <div class="blockquot"> @@ -31650,7 +31610,7 @@ Gawayne, p. 275.</p></div> <span class="i0"><span class="linenum">9</span><br /></span> <span class="i0">'There is noe outlandish man will vs abide,<br /></span> <span class="i2">Nor will vs come nye.'<br /></span> -<span class="i0">Then they riued east and th riued west,<br /></span> +<span class="i0">Then they riued east and thé riued west,<br /></span> <span class="i2">In many a strange country.<br /></span> </div><div class="stanza"> <span class="i0"><span class="linenum">10</span><br /></span> @@ -31777,7 +31737,7 @@ Gawayne, p. 275.</p></div> </div><div class="stanza"> <span class="i0"><span class="linenum">28</span><br /></span> <span class="i0">'For the eyes that beene in his head,<br /></span> -<span class="i2">Th glister as doth the gleed.'<br /></span> +<span class="i2">Thé glister as doth the gleed.'<br /></span> <span class="i0">'Now, by my faith,' says noble King Arthur,<br /></span> <span class="i2">'<i>Tha</i>t is a well faire steed.'<br /></span> </div><div class="stanza"> @@ -31793,7 +31753,7 @@ Gawayne, p. 275.</p></div> <span class="i0">Then K<i>ing</i> Arthur to his bed was brought,<br /></span> <span class="i2">A greeiued man was hee;<br /></span> <span class="i0">And soe were all his fellowes with him,<br /></span> -<span class="i2">From him th thought neuer to flee.<br /></span> +<span class="i2">From him thé thought neuer to flee.<br /></span> </div><div class="stanza"> <span class="i0"><span class="linenum">31</span><br /></span> <span class="i0">Then take they did that lodly groome,<br /></span> @@ -32065,7 +32025,7 @@ Gawayne, p. 275.</p></div> <span class="i0">Then he tooke the horne in his hand,<br /></span> <span class="i2">And a lowd blast he blew;<br /></span> <span class="i0">He rent the horne vp to the midst,<br /></span> -<span class="i2">All his ffellowes this th knew.<br /></span> +<span class="i2">All his ffellowes this thé knew.<br /></span> </div><div class="stanza"> <span class="i0"><span class="linenum">74</span><br /></span> <span class="i0">Then bespake him the Greene Knight,<br /></span> @@ -32187,7 +32147,7 @@ of 'King Arthur and King Cornwall.'</p></div> E, <span class="smcap">VIII</span>, fol. 131, recto: "Ci comence le liucr<i>e</i> cu<i>m</i>ment charels de fraunce voiet in ierh<i>usale</i>m Et pur p<i>ar</i>ols sa feme a co<i>n</i>stanti<i>n</i>noble p<i>ur</i> ver<i>e</i> roy hugon." First published by Michel, -London, 1836, and lately redited, with due care, by Koschwitz: Karls +London, 1836, and lately reëdited, with due care, by Koschwitz: Karls des Grossen Reise nach Jerusalem und Constantinopel, Heilbronn, 1880; 2d ed., 1883.</p></div> @@ -32202,7 +32162,7 @@ xiv-xxxii.</p></div> <p><a name="Footnote_1_262" id="Footnote_1_262"></a><a href="#FNanchor_1_262"><span class="label">[262]</span></a> Printed by Koschwitz in Sechs Bearbeitungen von Karls des Grossen Reise, the last from a somewhat later edition, pp. 40-133. The recovery of a metrical form of Galien is looked for. In the view -of Gaston Paris, the Pilgrimage was made over (renouvel) at the end +of Gaston Paris, the Pilgrimage was made over (renouvelé) at the end of the twelfth or the beginning of the thirteenth century, and this <i>rifacimento</i> intercalated in Galien by some rhymer of the fourteenth. See his 'Galien,' in Hist. Litt. de la France, XXVIII, 221-239, for all @@ -32228,14 +32188,14 @@ whole of the Danish Chronicle of Charlemagne is printed in Brandt's Romantisk Digtning fra Middelalderen, Copenhagen, 1877, the Journey to the Holy Land, p. 146 ff. Brandt does not admit that the Danish chronicle was translated from Swedish: p. 347. The 'Geiplur,' 968 vv, -and one version of 'Geipa-tttur,' 340 vv, are included in Koschwitz's +and one version of 'Geipa-táttur,' 340 vv, are included in Koschwitz's Sechs Bearbeitungen, p. 139 ff, p. 174 ff. For a discussion of them -see Klbing in Germania, XX, 233-239, and as to the relations of the +see Kölbing in Germania, XX, 233-239, and as to the relations of the several versions, etc., Koschwitz, in Romanische Studien, II, 1 ff, his Ueberlieferung und Sprache der Chanson du Voyage de Charlemagne, -and Sechs Bearbeitungen, Einleitung. The Fre ballad is thought to +and Sechs Bearbeitungen, Einleitung. The Färöe ballad is thought to show traces in some places of Christiern Pedersen's edition of the -Danish chronicle, 1584 (Klbing, as above, 238, 239), or of stall +Danish chronicle, 1584 (Kölbing, as above, 238, 239), or of stall prints founded on that. This does not, however, necessarily put the ballad into the sixteenth century. Might not Pedersen have had ballad authority for such changes and additions as he made? It may well @@ -32243,7 +32203,7 @@ be supposed that he had, and if what is peculiar to Pedersen may have come from ballads, we must hesitate to derive the ballads from Pedersen. It is, moreover, neither strange nor unexampled that popular ballads should be affected by tradition committed to print as well -as by tradition still floating in memory. The Fre copies of 'Greve +as by tradition still floating in memory. The Färöe copies of 'Greve Genselin,' for example, as Grundtvig remarks, I, 223, note, though undoubtedly original and independent of Danish, evince acquaintance with Vedel's printed text.</p></div> @@ -32256,7 +32216,7 @@ Sechs Bearbeitungen, p. 1, p. 19.</p></div> <div class="footnote"> <p><a name="Footnote_1_266" id="Footnote_1_266"></a><a href="#FNanchor_1_266"><span class="label">[266]</span></a> There are some variations in the list of relics in the -other versions. The Rmur say "many," without specifying.</p></div> +other versions. The Rímur say "many," without specifying.</p></div> <div class="footnote"> @@ -32283,7 +32243,7 @@ peers show their blood.</p></div> <p><a name="Footnote_1_269" id="Footnote_1_269"></a><a href="#FNanchor_1_269"><span class="label">[269]</span></a> Excepting the Welsh translation, which conforms to the original, all other versions give Bernard's gab to Turpin, and most others Turpin's to Bernard. The Danish chronicle assigns the -"grand three-horse act" to Gerard; the Fre ballad omits it; the two +"grand three-horse act" to Gerard; the Färöe ballad omits it; the two manuscript Galiens attribute it to Bernard [Berart] de Mondidier, the printed Galien to Berenger. In these last the feat is, though enormously weighted with armor, to leap over two horses and come down @@ -32316,7 +32276,7 @@ f.</p></div> <div class="footnote"> -<p><a name="Footnote_1_273" id="Footnote_1_273"></a><a href="#FNanchor_1_273"><span class="label">[273]</span></a> In Heinrich vom Trlin's Crne we have the following +<p><a name="Footnote_1_273" id="Footnote_1_273"></a><a href="#FNanchor_1_273"><span class="label">[273]</span></a> In Heinrich vom Türlin's Crône we have the following passage, vv 3313-4888, very possibly to be found in some French predecessor, which recalls the relations of Cornwall King and Guenever. The queen's demeanor may be an imitation of Charlemagne's (Arthur's) @@ -32352,7 +32312,7 @@ closed under a barrel or tub, and I suppose a rubbish barrel or tub. Rubb, however derived, occurs in Icelandic in the sense of rubbish, and chalder, however derived, is a Scottish form of the familiar chaldron. Professor Skeat, with great probability, suggests that -chadler == chaudeler, chaudire. Caldaria <i>lignea</i> are cited by Ducange. +chadler == chaudeler, chaudière. Caldaria <i>lignea</i> are cited by Ducange. Cad or kad is well known in the sense barrel, and cadiolus, cadulus, are found in Ducange. Cadler, chadler, however, cannot be called a likely derivative from cad. @@ -32362,8 +32322,8 @@ In stanza 48 the fiend, after he has been ousted from the "trubchandler," is told to "lie still in that wall of stone," which is perhaps his ordinary lair. The spy is concealed under a flight of stone steps in the French poem; in "a large hollow stone in the door outside" -in the Welsh story; in a hollow pillar in Galien and the Rmur; in a -stone vault in the Fre ballad: Koschwitz, Karls Reise, p. 64; Sechs +in the Welsh story; in a hollow pillar in Galien and the Rímur; in a +stone vault in the Färöe ballad: Koschwitz, Karls Reise, p. 64; Sechs Bearbeitungen, pp 29, 52, 85, 117, 153, 179.</p></div> <div class="footnote"> @@ -32373,7 +32333,7 @@ by G. Paris, in Romania, XI, 506 f.</p></div> <div class="footnote"> -<p><a name="Footnote_1_276" id="Footnote_1_276"></a><a href="#FNanchor_1_276"><span class="label">[276]</span></a> The first has been printed by Klbing in Koschwitz's +<p><a name="Footnote_1_276" id="Footnote_1_276"></a><a href="#FNanchor_1_276"><span class="label">[276]</span></a> The first has been printed by Kölbing in Koschwitz's Sechs Bearbeitungen, as already said. The four texts were most kindly communicated to me by Professor Grundtvig, a short time before his lamentable death, copied by his own hand in parallel columns, with @@ -32382,19 +32342,19 @@ disturbed in all, and a few necessary emendations.</p></div> <div class="footnote"> -<p><a name="Footnote_1_277" id="Footnote_1_277"></a><a href="#FNanchor_1_277"><span class="label">[277]</span></a> Pl, <b>A</b>, <b>C</b>, Kortunatus, <b>B</b>, i. +<p><a name="Footnote_1_277" id="Footnote_1_277"></a><a href="#FNanchor_1_277"><span class="label">[277]</span></a> Pól, <b>A</b>, <b>C</b>, Kortunatus, <b>B</b>, i. e. Koronatus (Grundtvig). Coronatus == clericus, tonsura seu corona clericali donatus: Ducange.</p></div> <div class="footnote"> <p><a name="Footnote_1_278" id="Footnote_1_278"></a><a href="#FNanchor_1_278"><span class="label">[278]</span></a> The white bears and the wolf-dogs are found in another -Fre ballad, as yet unprinted, 'smundar skeinkjari,' where they +Färöe ballad, as yet unprinted, 'Ásmundar skeinkjari,' where they are subdued by an arm-ring and "rune-gold:" the white bears in a kindred ballad, Grundtvig, No 71, <b>A</b> 4, 5, 8, 9, <b>C</b> 6, 7, 13, quelled with a lily-twig; <b>E</b> 12, 13, with runes; and in No 70, <b>A</b> 28, <b>B</b> 27, 30. The source of this ballad is -Fjlsvinnsml, which has two watch-dogs in 13, 14. 'Kilhweh and Olwen,' +Fjölsvinnsmál, which has two watch-dogs in 13, 14. 'Kilhweh and Olwen,' Mabinogion, II, has a similar story, and there are nine watch-dogs, at p. 277. (Grundtvig.)</p></div> @@ -32428,14 +32388,14 @@ Radloff, IV, 120, 310, which are cited by G. Paris.</p></div> <div class="footnote"> <p><a name="Footnote_1_282" id="Footnote_1_282"></a><a href="#FNanchor_1_282"><span class="label">[282]</span></a> Cited by G. Paris, who refers also to King Gylfi's -expedition to Asgard (an imitation of Odin's to Vafrnir), and sees +expedition to Asgard (an imitation of Odin's to Vafþrúðnir), and sees some resemblance to the revolving palace of King Hugo in the vanishing mansion in which Gylfi is received in Gylfaginning; and again to Thor's -visit to the giant Geirrr, Skldskaparml, 18, which terminates by +visit to the giant Geirröðr, Skáldskaparmál, 18, which terminates by the giant's flinging a red-hot iron bar at Thor, who catches it and -sends it back through an iron pillar, through Geirrr skulking behind +sends it back through an iron pillar, through Geirröðr skulking behind the pillar, through the wall of the house, and into the ground, a fair -matching of Charlemagne's gab. (The giant Geirrr, like Cornwall +matching of Charlemagne's gab. (The giant Geirröðr, like Cornwall King, is skilled in magic.) The beginning of Biterolf and Dietleib also recalls that of Charlemagne's Journey. Biterolf, a Spanish king, hears from an old palmer, who has seen many a hero among Christians and @@ -32444,21 +32404,21 @@ he himself had no superior, and sets out with eleven chosen knights to see Etzel's court with his own eyes. Romania, IX, 9 f. </p> <p> -Jtmundr [Hlver], a haughty emperor in Saxon-land, sitting on his -throne one day, in the best humor with himself, asks Sigurr, his -prime minister, where is the monarch that is his match. Sigurr demurs +Játmundr [Hlöðver], a haughty emperor in Saxon-land, sitting on his +throne one day, in the best humor with himself, asks Sigurðr, his +prime minister, where is the monarch that is his match. Sigurðr demurs a little: the emperor specifies his hawk, horse, and sword as quite incomparable. That may be, says the counsellor, but his master's glory, to be complete, requires a queen that is his peer. The suggestion of a possible equal rouses the emperor's ire. "But since you talk such -folly, name one," he says. Sigurr names the daughter of Hrlfr [Hugo] +folly, name one," he says. Sigurðr names the daughter of Hrólfr [Hugo] of Constantinople, and is sent to demand her in marriage. Magus saga -jarls, ed. Cederschild, c. <span class="smcap">I</span>: Wulff, Recherches sur les Sagas -de Mgus et de Geirard, p. 14 f.</p></div> +jarls, ed. Cederschiöld, c. <span class="smcap">I</span>: Wulff, Recherches sur les Sagas +de Mágus et de Geirard, p. 14 f.</p></div> <div class="footnote"> -<p><a name="Footnote_1_283" id="Footnote_1_283"></a><a href="#FNanchor_1_283"><span class="label">[283]</span></a> G. Paris, Histoire Potique de Charlemagne, p. 344.</p></div></div> +<p><a name="Footnote_1_283" id="Footnote_1_283"></a><a href="#FNanchor_1_283"><span class="label">[283]</span></a> G. Paris, Histoire Poétique de Charlemagne, p. 344.</p></div></div> <hr class="chap" /> @@ -32697,9 +32657,9 @@ sonnet, 'Of a Knight and a Fair Virgin,' in The Crown Garland of Golden Roses, compiled by Richard Johnson, not far from 1600: see the Percy Society reprint, edited by W. Chappell, vol. vi of the series, p. 68. Upon Chaucer's story is founded Voltaire's tale, admirable in its way, -of Ce qui plat aux Dames, 1762; of which the author writes, 1765, +of Ce qui plaît aux Dames, 1762; of which the author writes, 1765, November 4, that it had had great success at Fontainebleau in the form -of a comic opera, entitled La Fe Urgle.<a name="FNanchor_1_291" id="FNanchor_1_291"></a><a href="#Footnote_1_291" class="fnanchor">[291]</a> The amusing ballad of +of a comic opera, entitled La Fée Urgèle.<a name="FNanchor_1_291" id="FNanchor_1_291"></a><a href="#Footnote_1_291" class="fnanchor">[291]</a> The amusing ballad of The Knight and Shepherd's Daughter has much in common with the Wife of Bath's Tale, and might, if we could trace its pedigree, go back to a common original.<a name="FNanchor_1_292" id="FNanchor_1_292"></a><a href="#Footnote_1_292" class="fnanchor">[292]</a></p> @@ -32710,43 +32670,43 @@ with the one now under consideration, and Norse and Gaelic connections, and is probably much earlier. At present I can add only one parallel out of English, and that from an Icelandic saga.</p> -<p>Grmr was on the verge of marriage with Lopthna, but a week before the +<p>Grímr was on the verge of marriage with Lopthæna, but a week before the appointed day the bride was gone, and nobody knew what had become of her. Her father had given her a step-mother five years before, and the -step-mother had been far from kind; but what then? Grmr was restless +step-mother had been far from kind; but what then? Grímr was restless and unhappy,<span class="pagenum"><a name="Pg_1-293" id="Pg_1-293">[Pg 293]</a></span> and got no tidings. A year of scarcity coming, he left home with two of his people. After an adventure with four trolls, he had a fight with twelve men, in which, though they were all slain, he lost his comrades and was very badly wounded. As he lay on the ground, looking only for death, a woman passed, if so she might be called; for she was not taller than a child of seven years, so stout that -Grmr's arms would not go round her, misshapen, bald, black, ugly, -and disgusting in every particular. She came up to Grmr, and asked +Grímr's arms would not go round her, misshapen, bald, black, ugly, +and disgusting in every particular. She came up to Grímr, and asked him if he would accept his life from her. "Hardly," said he, "you are so loathsome." But life was precious, and he presently consented. She took him up and ran with him, as if he were a babe, till she came to -a large cave; there she set him down, and it seemed to Grmr that she +a large cave; there she set him down, and it seemed to Grímr that she was uglier than before. "Now pay me for saving your life," she said, -"and kiss me." "I cannot," said Grmr, "you look so diabolical." +"and kiss me." "I cannot," said Grímr, "you look so diabolical." "Expect no help, then, from me," said she, "and I see that it will soon be all over with you." "Since it must be, loath as I am," said -Grmr, and went and kissed her; she seemed not so bad to kiss as to -look at. When night came she made up a bed, and asked Grmr whether he +Grímr, and went and kissed her; she seemed not so bad to kiss as to +look at. When night came she made up a bed, and asked Grímr whether he would lie alone or with her. "Alone," he answered. "Then," said she, -"I shall take no pains about healing your wounds." Grmr said he would +"I shall take no pains about healing your wounds." Grímr said he would rather lie with her, if he had no other chance, and she bound up his -wounds, so that he seemed to feel no more of them. No sooner was Grmr +wounds, so that he seemed to feel no more of them. No sooner was Grímr abed than he fell asleep, and when he woke, he saw lying by him almost the fairest woman he had ever laid eyes on, and marvellously like his -true-love, Lopthna. At the bedside he saw lying the troll-casing which +true-love, Lopthæna. At the bedside he saw lying the troll-casing which she had worn; he jumped up and burned this. The woman was very faint; he sprinkled her with water, and she came to, and said, It is well for both of us; I saved thy life first, and thou hast freed me from -bondage. It was indeed Lopthna, whom the step-mother had transformed +bondage. It was indeed Lopthæna, whom the step-mother had transformed into a horrible shape, odious to men and trolls, which she should never come out of till a man should consent to three things,—which no man ever would,—to accept his life at her hands, to kiss her, and to share -her bed. Grms saga loinkinna, Rafn, Fornaldar Sgur, II, 143-52.</p> +her bed. Gríms saga loðinkinna, Rafn, Fornaldar Sögur, II, 143-52.</p> <p>Sir Frederic Madden, in his annotations upon this ballad, 'Syr Gawayne,' p. 359, remarks that Sir Steven, stanza 31, does not occur in @@ -33070,7 +33030,7 @@ Alt-Englands, p. 135.</p> </div><div class="stanza"> <span class="i0"><span class="linenum">50</span><br /></span> <span class="i0">'Come kisse her, brother Kay,' then said S<i>i</i>r Gawaine,<br /></span> -<span class="i2">'And amend th of thy liffe;<br /></span> +<span class="i2">'And amend thé of thy liffe;<br /></span> <span class="i0">I sweare this is the same lady<br /></span> <span class="i2"><i>Tha</i>t I marryed to my wiffe.'<br /></span> </div><div class="stanza"> @@ -33195,13 +33155,13 @@ of the West Highlands, I, 63. </p> <p> The having one shape by day and another by night is a common feature -in popular tales: as, to be a bear by day and a man by night, Hrlfr -Kraki's Saga, c. 26, Asbjrnsen og Moe, Norske Folkeeventyr, No 41; a +in popular tales: as, to be a bear by day and a man by night, Hrólfr +Kraki's Saga, c. 26, Asbjørnsen og Moe, Norske Folkeeventyr, No 41; a lion by day and a man by night, Grimms, K. u. H. m., No 88; a crab by -day and a man by night, B. Schmidt, Griechische Mrchen, u. s. w., No -10; a snake by day and a man by night, Karadshitch, Volksmrchen der +day and a man by night, B. Schmidt, Griechische Märchen, u. s. w., No +10; a snake by day and a man by night, Karadshitch, Volksmärchen der Serben, Nos 9, 10; a pumpkin by day and a man by night, A. & A. Schott, -Walachische Mrchen, No 23; a ring by day, a man by night, Mllenhoff, +Walachische Mærchen, No 23; a ring by day, a man by night, Müllenhoff, No 27, p. 466, Karadshitch, No 6, Afanasief, VI, 189. Three princes in 'Kung Lindorm,' Nicolovius, Folklifwet, p. 48 ff, are cranes by day and men by night, the king himself being man by day and worm by night. The @@ -33244,8 +33204,8 @@ are close to Dame Ragnell, 409-420. Gower may have got his from some Example-book. I have not seen it remarked, and therefore will note, that Example-books may have been known in England as early as 1000, for Aelfric seems to speak slightingly of them in his treatise on the -Old Testament. The Proverbs, he says, is a "bigspellbc, <i>n swilce g -secga</i>, ac wsdmes bigspell and warnung wi dysig," etc.</p></div></div> +Old Testament. The Proverbs, he says, is a "bigspellbóc, <i>ná swilce gé +secgað</i>, ac wísdómes bigspell and warnung wið dysig," etc.</p></div></div> <hr class="chap" /> @@ -33283,10 +33243,10 @@ the ballad first came out, 1801.</p> <p>The story is a variety of that which is found in '<a href="#Ballad_31">The Marriage of Sir Gawain</a>,' and has its parallel, as Scott observed, in an episode in -Hrlfr Kraki's saga; <b>A</b>, Torfus, Historia Hrolfi Krakii, c. vii, -Havni, 1705; <b>B</b>, Fornaldar Sgur, Rafn, I, 30 f, c. 15.</p> +Hrólfr Kraki's saga; <b>A</b>, Torfæus, Historia Hrolfi Krakii, c. vii, +Havniæ, 1705; <b>B</b>, Fornaldar Sögur, Rafn, I, 30 f, c. 15.</p> -<p>King Helgi, father of Hrlfr Kraki, in consequence of a lamentable +<p>King Helgi, father of Hrólfr Kraki, in consequence of a lamentable misadventure, was living in a solitary way in a retired lodge. One stormy Yule-night there was a loud wail at the door, after he had gone to bed. Helgi bethought himself that it was unkingly of him to leave @@ -33346,17 +33306,17 @@ scene consequently resembles, even more closely there than here, what we meet with in the Danish ballads of 'Greve Genselin,' Grundtvig, No 16, I, 222, and 'Tord af Havsgaard,' Grundtvig, No 1, I, 1, IV, 580 (== Kristensen, 'Thors Hammer,' I, 85, No 35) the latter founded on the -rymskvia, or Hamarsheimt, of the older Edda. In a Norwegian version +þrymskviða, or Hamarsheimt, of the older Edda. In a Norwegian version of 'Greve Genselin,' Grundtvig, IV, 732, the feats of eating and drinking are performed not by the bride, but by an old woman who acts -as bridesmaid, brrekvinne.<a name="FNanchor_1_293" id="FNanchor_1_293"></a><a href="#Footnote_1_293" class="fnanchor">[293]</a></p> +as bridesmaid, brúrekvinne.<a name="FNanchor_1_293" id="FNanchor_1_293"></a><a href="#Footnote_1_293" class="fnanchor">[293]</a></p> <p>A maid who submits, at a linden-worm's entreaty, to lie in the same bed with him, finds a king's son by her side in the morning: Grundtvig, 'Lindormen,' No 65, <b>B</b>, <b>C</b>, II, 213, III, 839; Kristensen, I, 195, No 71; Afzelius, III, 121, No 88; Arwidsson, II, 270, No 139; Hazelius, Ur de nordiska Folkens Lif, p. 117, and p. 149. In 'Ode -und de Slang',' Mllenhoff, Sagen u. s. w., p. 383, a maid, without +und de Slang',' Müllenhoff, Sagen u. s. w., p. 383, a maid, without much reluctance, lets a snake successively come into the house, into her chamber, and finally into her bed, upon which the snake changes immediately into a prince.</p> @@ -33643,7 +33603,7 @@ all that is not in <b>a</b> is found in Lewis, too.</i></p> <div class="footnote"> -<p><a name="Footnote_1_293" id="Footnote_1_293"></a><a href="#FNanchor_1_293"><span class="label">[293]</span></a> The like by a carlin at a birth-feast, 'Kllingen til +<p><a name="Footnote_1_293" id="Footnote_1_293"></a><a href="#FNanchor_1_293"><span class="label">[293]</span></a> The like by a carlin at a birth-feast, 'Kællingen til Barsel,' Kristensen, II, 341, No 100, Landstad, p. 666, No 96; known also in Sweden. Again, by a fighting friar, 'Den stridbare Munken,' Arwidsson, I, 417. 'Greve Genselin' is translated by Prior, I, 173, and @@ -33701,7 +33661,7 @@ of Gawen and Dame Ragnell, and her counterpart in 'King Henry,' who is of superhuman height, show an extravagant voracity which recalls the giantess in 'Greve Genselin.' In 'Greve Genselin,' a burlesque form of an heroic ballad which is preserved in a pure shape in three -Fre versions (Grundtvig, IV, 737-42), there are many kemps invited +Färöe versions (Grundtvig, IV, 737-42), there are many kemps invited to the wedding, and in a little dance which is had the smallest kemp is fifteen ells to [below] the knee, Grundtvig, No 16, <b>A</b> 26, <b>B</b> 29, <b>C</b> 29. Kempy Kay has gigantic dimensions in <b>A</b> @@ -34440,29 +34400,29 @@ his day—provided that he had it by him and thought on her. Ritson, Ywaine and Gawin, vv 1514-38.</p> <p>But an Icelandic saga comes near enough to the story of the ballad -as given in <b>A</b> to show where its connections lie. Alsl and a +as given in <b>A</b> to show where its connections lie. Alsól and a brother and sister are all transformed by a stepmother, a handsome -woman, much, younger than her husband. Alsl's heavy weird is to be a +woman, much, younger than her husband. Alsól's heavy weird is to be a nondescript monster with a horse's tail, hoofs, and mane, white eyes, big mouth, and huge hands, and never to be released from the spell till -a king's son shall consent to kiss her. One night when Hjlmtr had +a king's son shall consent to kiss her. One night when Hjálmtèr had landed on a woody island, and it had fallen to him to keep watch, he heard a great din and crashing in the woods, so that the oaks trembled. Presently this monster came out of the thicket<span class="pagenum"><a name="Pg_1-307" id="Pg_1-307">[Pg 307]</a></span> with a fine sword in her hand, such as he had not seen the like of. They had a colloquy, and he asked her to let him have the sword. She said he should not have it unless he would kiss her. "I will not kiss thy snout," said -Hjlmtr, "for mayhap I should stick to it." But something came into +Hjálmtèr, "for mayhap I should stick to it." But something came into his mind which made him think better of her offer, and he said he was ready. "You must leap upon my neck, then," she said, "when I throw up the sword, and if you then hesitate, it will be your death." She threw up the sword, he leaped on her neck and kissed her, and she gave him the sword, with an augury of victory and good luck for him all his days. The retransformation does not occur on the spot, but further on -Hjlmtr meets lsl as a young lady at the court of her brother, who +Hjálmtèr meets Álsól as a young lady at the court of her brother, who has also been restored to his proper form and station; everything is -explained; Hjlmtr marries her, and his foster-brother her sister. -Hjlmtrs ok lvers Saga, cc 10, 22, Rafn, Fornaldar Sgur, III, 473 +explained; Hjálmtèr marries her, and his foster-brother her sister. +Hjálmtèrs ok Ölvers Saga, cc 10, 22, Rafn, Fornaldar Sögur, III, 473 ff, 514 ff.</p> <p>In many tales of the sort a single kiss suffices to undo the spell @@ -34513,14 +34473,14 @@ Schlangenjungfrauen, Weissefrauen. Often the man is afraid to venture the third kiss, or even a single one. See Grimm, Deutsche Sagen, No 13, No 222; Dobeneck, Des deutschen Mittelalters Volksglauben, I, 18 == Grimm, No 13; Mone's Anzeiger, III, 89, VII, 476; Panzer, -Bayer<span class="pagenum"><a name="Pg_1-308" id="Pg_1-308">[Pg 308]</a></span>ische Sagen u. Bruche, I, 196, No 214; Schnhuth, Die Burgen -u.s.w. Badens u. der Pfalz, I, 105; Stber, Die Sagen des Elsasses, p. -346, No 277, p. 248, No 190; Curtze, Volksberlieferungen aus Waldeck, -p. 198; Sommer, Sagen, Mrchen u. Gebruche aus Sachsen u. Thringen, -p. 21, No 16; Schambach u. Mller, p. 104, No 132; Mllenhoff, p. 580, +Bayer<span class="pagenum"><a name="Pg_1-308" id="Pg_1-308">[Pg 308]</a></span>ische Sagen u. Bräuche, I, 196, No 214; Schönhuth, Die Burgen +u.s.w. Badens u. der Pfalz, I, 105; Stöber, Die Sagen des Elsasses, p. +346, No 277, p. 248, No 190; Curtze, Volksüberlieferungen aus Waldeck, +p. 198; Sommer, Sagen, Märchen u. Gebräuche aus Sachsen u. Thüringen, +p. 21, No 16; Schambach u. Müller, p. 104, No 132; Müllenhoff, p. 580, No 597; Wolf, Hessische Sagen, No 46; etc., etc.: also, Kreutzwald, -Ehstnische Mrchen, by Lwe, No 19, p. 270 f. So in some forms of -'Beauty and the Beast:' Tppen, Aberglauben aus Masuren, p. 142; +Ehstnische Märchen, by Löwe, No 19, p. 270 f. So in some forms of +'Beauty and the Beast:' Töppen, Aberglauben aus Masuren, p. 142; Mikuličić, Narodne Pripovietke, p. 1, No 1; Afanasief, VII, 153, No 15; Coelho, Contos populares portuguezes, p. 69, No 29.<a name="FNanchor_1_297" id="FNanchor_1_297"></a><a href="#Footnote_1_297" class="fnanchor">[297]</a></p> @@ -34953,15 +34913,15 @@ the while is in a deep sleep, and of his servant reporting what has been going on, can hardly have belonged to this ballad from the beginning. It is exceedingly common in popular tales: see 'The Red Bull of Norroway,' in Chambers's Popular Rhymes of Scotland, 3d ed., -p. 99; Grimms, 'Das singende springende Lweneckerchen,' No 88, 'Der +p. 99; Grimms, 'Das singende springende Löweneckerchen,' No 88, 'Der Eisenhofen,' No 127, and the notes in vol. iii; Leskien u. Brugman, -Litanische V. l. u. Mrchen, 'Vom weissen Wolf,' No 23, p. 438, and +Litanische V. l. u. Märchen, 'Vom weissen Wolf,' No 23, p. 438, and Wollner's note, p. 571.</p></div> <div class="footnote"> <p><a name="Footnote_1_297" id="Footnote_1_297"></a><a href="#FNanchor_1_297"><span class="label">[297]</span></a> But not in Mme Villeneuve's or in Mme de Beaumont's 'La -Belle et la Bte.'</p></div> +Belle et la Bête.'</p></div> <div class="footnote"> @@ -35293,8 +35253,8 @@ without deviation from the manuscript save in spelling.</p> <p>In a Greek tale, a nereid, that is elf or fairy, turns a youth who had refused to espouse her into a snake, the curse to continue till he -finds another love who is as fair as she: 'Die Schnste,' B. Schmidt, -Griechische Mrchen, etc., No 10. This tale is a variety of 'Beauty and +finds another love who is as fair as she: 'Die Schönste,' B. Schmidt, +Griechische Märchen, etc., No 10. This tale is a variety of 'Beauty and the Beast,' one of the numerous wild<span class="pagenum"><a name="Pg_1-314" id="Pg_1-314">[Pg 314]</a></span> growths from that ever charming French story.<a name="FNanchor_1_300" id="FNanchor_1_300"></a><a href="#Footnote_1_300" class="fnanchor">[300]</a></p> @@ -35302,7 +35262,7 @@ French story.<a name="FNanchor_1_300" id="FNanchor_1_300"></a><a href="#Footnote gifts, to obtain his love or the promise of his faith, in 'Elveskud,' Grundtvig, No 47, many of the Danish and two of the Norwegian copies; 'Hertig Magnus och Elfvorna,' Afzelius, III, 172; 'Hr. Magnus og -Bjrgtrolden,' Grundtvig, No 48, Arwidsson, No 147 B; 'Herr Magnus och +Bjærgtrolden,' Grundtvig, No 48, Arwidsson, No 147 B; 'Herr Magnus och Hafstrollet,' Afzelius, No 95, Bugge, No 11; a lind-worm, similarly, to a young woman, 'Lindormen,' Grundtvig, No 65. Magnus answers the hill-troll that he should be glad to plight faith with her were she @@ -35330,14 +35290,14 @@ is not clear, for nothing comes of it. In the closely related ballad which follows this, a witch uses a horn to summon the sea-fishes, among whom there is one who has been the victim of her spells. The horn is appropriate. Witches were supposed to blow horns when they joined the -wild hunt, and horn-blower, "hornblse," is twice cited by Grimm as an +wild hunt, and horn-blower, "hornblâse," is twice cited by Grimm as an equivalent to witch: Deutsche Mythologie, p. 886.</p> <hr class="tb" /> <p>Translated by Grundtvig, Engelske og skotske Folkeviser, No 19; by Rosa Warrens, Schottische Volkslieder, No 7; Knortz, Lieder und Romanzen -Alt-Englands, No 9; Love-Veimars, Ballades de l'Angleterre, p. 353.</p> +Alt-Englands, No 9; Loève-Veimars, Ballades de l'Angleterre, p. 353.</p> <div class="poem"><div class="stanza"> @@ -35424,16 +35384,16 @@ Alt-Englands, No 9; Love-Veimars, Ballades de l'Angleterre, p. 353.</p> <div class="footnote"> -<p><a name="Footnote_1_300" id="Footnote_1_300"></a><a href="#FNanchor_1_300"><span class="label">[300]</span></a> Of these Dr Reinhold Khler has given me a note of more +<p><a name="Footnote_1_300" id="Footnote_1_300"></a><a href="#FNanchor_1_300"><span class="label">[300]</span></a> Of these Dr Reinhold Köhler has given me a note of more than twenty. The French tale itself had, in all likelihood, a popular foundation.</p></div> <div class="footnote"> <p><a name="Footnote_1_301" id="Footnote_1_301"></a><a href="#FNanchor_1_301"><span class="label">[301]</span></a> B. Schmidt, Das Volksleben der Neugriechen, pp 100 f, -107, 123. Euphemistically the nereids are called [Greek: h kalais -archontissais, h kalais kyrades, h kalokardais, h kalotychais]; -their sovereign is [Greek: h megal kyra, h prt], etc.</p></div></div> +107, 123. Euphemistically the nereids are called [Greek: hê kalais +archontissais, hê kalais kyrades, hê kalokardais, hê kalotychais]; +their sovereign is [Greek: hê megalê kyra, hê prôtê], etc.</p></div></div> <hr class="chap" /> @@ -35471,7 +35431,7 @@ here again we may suppose something to have dropped out.</p> <p>We have had a double transformation, of sister and brother, in the '<a href="#Ballad_31">Marriage of Gawain</a>' and in the 'Wedding of Gawen and Dame Ragnell,' -and again, with a second sister added, in the story of lsl. Brother +and again, with a second sister added, in the story of Álsól. Brother and<span class="pagenum"><a name="Pg_1-316" id="Pg_1-316">[Pg 316]</a></span> sister are transformed in the Danish 'Nattergalen,' Grundtvig, No 57. It is an aggravation of stepmother malice that the victim of enchantment, however amiable and inoffensive before, should become @@ -35603,7 +35563,7 @@ which, it is hoped, no one will think capable of fatuity.</p></div> <div class="footnote"> <p><a name="Footnote_1_303" id="Footnote_1_303"></a><a href="#FNanchor_1_303"><span class="label">[303]</span></a> As, for example, a dragon has in Hahn's Griechische -Mrchen, No 26, I, 187, and elsewhere.</p></div></div> +Märchen, No 26, I, 187, and elsewhere.</p></div></div> <hr class="chap" /> @@ -35647,7 +35607,7 @@ Scalacronica, a French chronicle of English history begun in 1355. Erceldoune is spoken of as a poet in Robert Mannyng's translation of Langtoft's chronicle, finished in 1338; and in the Auchinleck copy of 'Sir Tristrem,' said to have been made about 1350, a Thomas is said to -have been consulted at Ereldoun touching the history of Tristrem. So +have been consulted at Erþeldoun touching the history of Tristrem. So that we seem safe in holding that Thomas of Erceldoune had a reputation both as prophet and poet in the earlier part of the fourteenth century. The vaticinations of Thomas are cited by various later chroniclers, and @@ -35918,12 +35878,12 @@ say, look thou answer none but me, <b>R</b> 44.</p> receiving of gifts, in any abode of unearthly beings, including the dead, will reduce a man to their fellowship and condition might be enforced by a great number of examples, and has already been abundantly -shown by Professor Wilhelm Mller in his beautiful essay, Zur Symbolik +shown by Professor Wilhelm Müller in his beautiful essay, Zur Symbolik der deutschen Volkssage.<a name="FNanchor_1_321" id="FNanchor_1_321"></a><a href="#Footnote_1_321" class="fnanchor">[321]</a> The popular belief of the northern nations in this matter is more completely<span class="pagenum"><a name="Pg_1-323" id="Pg_1-323">[Pg 323]</a></span> shown than anywhere else in Saxo's account of King Gormo's visit to Guthmund, and it will be enough to cite that. The Danish King Gormo, having heard extraordinary things -of the riches of Geruth (the giant Geirrr), determines to verify +of the riches of Geruth (the giant Geirröðr), determines to verify the reports with his own eyes, under the guidance of Thorkill, from whom he has received them. The land of Geruth is far to the northeast, beyond the sun and stars, and within the realm of Chaos and Old Night. @@ -35952,7 +35912,7 @@ allows them to continue their journey.<a name="FNanchor_1_322" id="FNanchor_1_32 <hr class="tb" /> <p><b>C</b> is translated by Talvj, Versuch, etc., p. 552; by Doenniges, -p. 64; by Arndt, Bltenlese, p. 246; by Rosa Warrens, Schottische +p. 64; by Arndt, Blütenlese, p. 246; by Rosa Warrens, Schottische Volkslieder, p. 14; by Knortz, Lieder u. Romanzen, p. 1; by Edward Barry, Cycle populaire de Robin Hood, p. 92; and by F.H. Bothe, Janus, p. 122, after Barry.</p> @@ -36358,16 +36318,16 @@ omitted, as being, even if genuine, not to the present purpose.]</p></div> <div class="poem"><div class="stanza"> <span class="i0"><span class="linenum">1</span><br /></span> -<span class="i0">Als I me wente is endres daye,<br /></span> +<span class="i0">Als I me wente þis endres daye,<br /></span> <span class="i2">Ffull faste i<i>n</i> mynd makand my mone,<br /></span> <span class="i0">In a mery morny<i>n</i>ge of Maye,<br /></span> <span class="i2">By Huntle bankkes my selfe allone,<br /></span> </div><div class="stanza"> <span class="i0"><span class="linenum">2</span><br /></span> -<span class="i0">I herde e jaye and e throstelle,<br /></span> +<span class="i0">I herde þe jaye and þe throstelle,<br /></span> <span class="i2">The mawys menyde of hir songe,<br /></span> -<span class="i0">e wodewale beryde als a belle,<br /></span> -<span class="i2">That alle e wode a-bowte me ronge.<br /></span> +<span class="i0">þe wodewale beryde als a belle,<br /></span> +<span class="i2">That alle þe wode a-bowte me ronge.<br /></span> </div><div class="stanza"> <span class="i0"><span class="linenum">3</span><br /></span> <span class="i0">Allon<i>n</i>e in longynge thus als I laye,<br /></span> @@ -36378,50 +36338,50 @@ omitted, as being, even if genuine, not to the present purpose.]</p></div> <span class="i0"><span class="linenum">4</span><br /></span> <span class="i0">If I solde sytt to domesdaye,<br /></span> <span class="i2">W<i>i</i>t<i>h</i> my tonge to wrobbe and wrye,<br /></span> -<span class="i0">Certanely at lady gaye<br /></span> +<span class="i0">Certanely þat lady gaye<br /></span> <span class="i2">Neu<i>er</i> bese scho askryede for mee.<br /></span> </div><div class="stanza"> <span class="i0"><span class="linenum">5</span><br /></span> <span class="i0">Hir palfraye was a dappill graye,<br /></span> <span class="i2">Swylke one ne saghe I neu<i>er</i> none;<br /></span> -<span class="i0">Als dose e sonne on som<i>er</i>es daye,<br /></span> -<span class="i2"><i>a</i>t faire lady hir selfe scho schone.<br /></span> +<span class="i0">Als dose þe sonne on som<i>er</i>es daye,<br /></span> +<span class="i2">þ<i>a</i>t faire lady hir selfe scho schone.<br /></span> </div><div class="stanza"> <span class="i0"><span class="linenum">6</span><br /></span> <span class="i0">Hir selle it was of roelle bone,<br /></span> -<span class="i2">Ffull semely was <i>a</i>t syghte to see;<br /></span> +<span class="i2">Ffull semely was þ<i>a</i>t syghte to see;<br /></span> <span class="i0">Stefly sett w<i>i</i>t<i>h</i> p<i>re</i>cyous stones,<br /></span> <span class="i2">And compaste all with crapotee;<br /></span> </div><div class="stanza"> <span class="i0"><span class="linenum">7</span><br /></span> <span class="i0">Stones of oryente, grete plente.<br /></span> <span class="i2">Hir hare abowte hir hede it hange;<br /></span> -<span class="i0">Scho rade ou<i>er</i> at lange lee;<br /></span> -<span class="i2">A whylle scho blewe, a-no<i>er</i> scho sange.<br /></span> +<span class="i0">Scho rade ou<i>er</i> þat lange lee;<br /></span> +<span class="i2">A whylle scho blewe, a-noþ<i>er</i> scho sange.<br /></span> </div><div class="stanza"> <span class="i0"><span class="linenum">8</span><br /></span> -<span class="i0">Hir garthes of nobyll sylke ay were,<br /></span> +<span class="i0">Hir garthes of nobyll sylke þay were,<br /></span> <span class="i2">The bukylls were of berelle stone,<br /></span> <span class="i0">Hir steraps were of crystalle clere,<br /></span> <span class="i2">And all w<i>i</i>t<i>h</i> perelle ou<i>er</i>-by-gone.<br /></span> </div><div class="stanza"> <span class="i0"><span class="linenum">9</span><br /></span> <span class="i0">Hir payetrelle was of irale fyne,<br /></span> -<span class="i2">Hir cropoure was of orphar,<br /></span><span class="pagenum"><a name="Pg_1-327" id="Pg_1-327">[Pg 327]</a></span> +<span class="i2">Hir cropoure was of orpharë,<br /></span><span class="pagenum"><a name="Pg_1-327" id="Pg_1-327">[Pg 327]</a></span> <span class="i0">And als clere golde hir brydill it schone;<br /></span> <span class="i2">One aythir syde hange bellys three.<br /></span> </div><div class="stanza"> <span class="i0"><span class="linenum">10</span><br /></span> <span class="i0">[Scho led <i>three</i> grehoundis in a leesshe,]<br /></span> -<span class="i2">And seuen<i>e</i> raches by hir ay rone;<br /></span> +<span class="i2">And seuen<i>e</i> raches by hir þay rone;<br /></span> <span class="i0">Scho bare an horne abowte hir halse,<br /></span> <span class="i2">And vndir hir belte full many a flone.<br /></span> </div><div class="stanza"> <span class="i0"><span class="linenum">11</span><br /></span> -<span class="i0">Thom<i>a</i>s laye and sawe at syghte,<br /></span> +<span class="i0">Thom<i>a</i>s laye and sawe þat syghte,<br /></span> <span class="i2">Vndir-nethe ane semly tree;<br /></span> <span class="i0">He sayd, ȝone es Marye, moste of myghte,<br /></span> -<span class="i2">at bare <i>a</i>t childe at dyede for mee.<br /></span> +<span class="i2">Þat bare þ<i>a</i>t childe þat dyede for mee.<br /></span> </div><div class="stanza"> <span class="i0"><span class="linenum">12</span><br /></span> <span class="i0">Bot if I speke w<i>i</i>t<i>h</i> ȝone lady bryghte,<br /></span> @@ -36431,195 +36391,195 @@ omitted, as being, even if genuine, not to the present purpose.]</p></div> </div><div class="stanza"> <span class="i0"><span class="linenum">13</span><br /></span> <span class="i0">Thomas rathely vpe he rase,<br /></span> -<span class="i2">And he rane ou<i>er</i> at mountayne hye;<br /></span> +<span class="i2">And he rane ou<i>er</i> þat mountayne hye;<br /></span> <span class="i0">Gyff it be als the storye sayes,<br /></span> <span class="i2">He hir mette at Eldone tree.<br /></span> </div><div class="stanza"> <span class="i0"><span class="linenum">14</span><br /></span> <span class="i0">He knelyde down<i>e</i> appon<i>e</i> his knee,<br /></span> -<span class="i2">Vndir-nethe at grenwode spraye,<br /></span> +<span class="i2">Vndir-nethe þat grenwode spraye,<br /></span> <span class="i0">And sayd, Lufly ladye, rewe one mee,<br /></span> -<span class="i2">Qwene of heuen<i>e</i>, als ou wele maye!<br /></span> +<span class="i2">Qwene of heuen<i>e</i>, als þou wele maye!<br /></span> </div><div class="stanza"> <span class="i0"><span class="linenum">15</span><br /></span> -<span class="i0">Then spake at lady milde of thoghte:<br /></span> +<span class="i0">Then spake þat lady milde of thoghte:<br /></span> <span class="i2">Thomas, late swylke wordes bee;<br /></span> <span class="i0">Qwene of heuen<i>e</i> ne am I noghte,<br /></span> <span class="i2">Ffor I tuke neu<i>er</i> so heghe degre.<br /></span> </div><div class="stanza"> <span class="i0"><span class="linenum">16</span><br /></span> -<span class="i0">Bote I ame of ane o<i>er</i> cou<i>n</i>tree,<br /></span> +<span class="i0">Bote I ame of ane oþ<i>er</i> cou<i>n</i>tree,<br /></span> <span class="i2">If I be payrelde moste of pryse;<br /></span> <span class="i0">I ryde aftyre this wylde fee;<br /></span> <span class="i2">My raches rynnys at my devyse.'<br /></span> </div><div class="stanza"> <span class="i0"><span class="linenum">17</span><br /></span> -<span class="i0">'If <i>o</i>u be parelde moste of pryse,<br /></span> +<span class="i0">'If þ<i>o</i>u be parelde moste of pryse,<br /></span> <span class="i2">And here rydis thus in thy folye,<br /></span> -<span class="i0">Of lufe, lady, als <i>o</i>u erte wyse,<br /></span> -<span class="i2">ou gyffe me leue to lye the bye.'<br /></span> +<span class="i0">Of lufe, lady, als þ<i>o</i>u erte wyse,<br /></span> +<span class="i2">Þou gyffe me leue to lye the bye.'<br /></span> </div><div class="stanza"> <span class="i0"><span class="linenum">18</span><br /></span> -<span class="i0">Scho sayde, ou man<i>e</i>, at ware folye;<br /></span> -<span class="i2">I praye e, Thomas, <i>o</i>u late me bee;<br /></span> -<span class="i0">Ffor I saye e full sekirlye,<br /></span> -<span class="i2">at synne will fordoo all my beaute.<br /></span> +<span class="i0">Scho sayde, þou man<i>e</i>, þat ware folye;<br /></span> +<span class="i2">I praye þe, Thomas, þ<i>o</i>u late me bee;<br /></span> +<span class="i0">Ffor I saye þe full sekirlye,<br /></span> +<span class="i2">Þat synne will fordoo all my beaute.<br /></span> </div><div class="stanza"> <span class="i0"><span class="linenum">19</span><br /></span> <span class="i0">'Now, lufly ladye, rewe one mee,<br /></span> <span class="i2">And I will eu<i>er</i> more w<i>i</i>t<i>h</i> the duelle;<br /></span> <span class="i0">Here my trouthe I will the plyghte,<br /></span> -<span class="i2">Whethir <i>o</i>u will in heuen<i>e</i> or helle.'<br /></span> +<span class="i2">Whethir þ<i>o</i>u will in heuen<i>e</i> or helle.'<br /></span> </div><div class="stanza"> <span class="i0"><span class="linenum">20</span><br /></span> -<span class="i0">'Mane of molde, <i>o</i>u will me marre,<br /></span> -<span class="i2">But ȝitt ou sall hafe all thy will;<br /></span> -<span class="i0">And trowe it wele, <i>o</i>u chewys e werre,<br /></span> -<span class="i2">Ffor alle my beaute will <i>o</i>u spylle.'<br /></span> +<span class="i0">'Mane of molde, þ<i>o</i>u will me marre,<br /></span> +<span class="i2">But ȝitt þou sall hafe all thy will;<br /></span> +<span class="i0">And trowe it wele, þ<i>o</i>u chewys þe werre,<br /></span> +<span class="i2">Ffor alle my beaute will þ<i>o</i>u spylle.'<br /></span> </div><div class="stanza"> <span class="i0"><span class="linenum">21</span><br /></span> -<span class="i0">Down<i>e</i> an<i>e</i> lyghte at lady bryghte,<br /></span> -<span class="i2">Vndir-nethe at grenewode spraye;<br /></span> +<span class="i0">Down<i>e</i> þan<i>e</i> lyghte þat lady bryghte,<br /></span> +<span class="i2">Vndir-nethe þat grenewode spraye;<br /></span> <span class="i0">And, als the storye tellis full ryghte,<br /></span> <span class="i2">Seuen<i>e</i> sythis by hir he laye.<br /></span> </div><div class="stanza"> <span class="i0"><span class="linenum">22</span><br /></span> <span class="i0">Scho sayd, Man<i>e</i>, the lykes thy playe:<br /></span> <span class="i2">Whate byrde in boure maye delle w<i>i</i>t<i>h</i> the?<br /></span> -<span class="i0">Thou merrys me all is longe daye;<br /></span> +<span class="i0">Thou merrys me all þis longe daye;<br /></span> <span class="i2">I pray the, Thomas, late me bee.<br /></span> </div><div class="stanza"> <span class="i0"><span class="linenum">23</span><br /></span> -<span class="i0">Thom<i>a</i>s stode vpe i<i>n</i> at stede,<br /></span> -<span class="i2">And he by-helde at lady gaye;<br /></span> +<span class="i0">Thom<i>a</i>s stode vpe i<i>n</i> þat stede,<br /></span> +<span class="i2">And he by-helde þat lady gaye;<br /></span> <span class="i0">Hir hare it hange all ou<i>er</i> hir hede,<br /></span> -<span class="i2">Hir eghne semede owte, <i>a</i>t are were graye.<br /></span> +<span class="i2">Hir eghne semede owte, þ<i>a</i>t are were graye.<br /></span> </div><div class="stanza"> <span class="i0"><span class="linenum">24</span><br /></span> -<span class="i0">And alle e riche clothynge was a-waye,<br /></span> -<span class="i2">at he by-fore sawe i<i>n</i> at stede;<br /></span> -<span class="i0">Hir a schanke blake, hir oer graye,<br /></span> +<span class="i0">And alle þe riche clothynge was a-waye,<br /></span> +<span class="i2">Þat he by-fore sawe i<i>n</i> þat stede;<br /></span> +<span class="i0">Hir a schanke blake, hir oþer graye,<br /></span> <span class="i2">And all hir body lyke the lede.<br /></span> </div><div class="stanza"> <span class="i0"><span class="linenum">25</span><br /></span> -<span class="i0">Thom<i>a</i>s laye, and sawe at syghte,<br /></span> -<span class="i2">Vndir-nethe at grenewod tree.<br /></span> +<span class="i0">Thom<i>a</i>s laye, and sawe þat syghte,<br /></span> +<span class="i2">Vndir-nethe þat grenewod tree.<br /></span> <span class="i0"> .  .  .  .  .  .  .<br /></span> <span class="i2"> .  .  .  .  .  .  .<br /></span> </div><div class="stanza"> <span class="i0"><span class="linenum">26</span><br /></span> -<span class="i0">an said Thom<i>a</i>s, Allas! allas!<br /></span> -<span class="i2">In faythe is es a dullfull syghte;<br /></span> -<span class="i0">How arte <i>o</i>u fadyde us i<i>n</i> e face,<br /></span> -<span class="i2">at schane by-fore als e sonne so bryght[e]!<br /></span> +<span class="i0">Þan said Thom<i>a</i>s, Allas! allas!<br /></span> +<span class="i2">In faythe þis es a dullfull syghte;<br /></span> +<span class="i0">How arte þ<i>o</i>u fadyde þus i<i>n</i> þe face,<br /></span> +<span class="i2">Þat schane by-fore als þe sonne so bryght[e]!<br /></span> </div><div class="stanza"> <span class="i0"><span class="linenum">27</span><br /></span> <span class="i0">Scho sayd, Thom<i>a</i>s, take leue at sone and mon[e],<br /></span> -<span class="i2">And als at lefe <i>a</i>t grewes on tree;<br /></span> -<span class="i0">This twelmoneth sall <i>o</i>u w<i>i</i>t<i>h</i> me gone,<br /></span> -<span class="i2">And medill-erthe sall <i>o</i>u none see.'<br /></span> +<span class="i2">And als at lefe þ<i>a</i>t grewes on tree;<br /></span> +<span class="i0">This twelmoneth sall þ<i>o</i>u w<i>i</i>t<i>h</i> me gone,<br /></span> +<span class="i2">And medill-erthe sall þ<i>o</i>u none see.'<br /></span> </div><div class="stanza"> <span class="i0"><span class="linenum">28</span><br /></span> <span class="i0">He knelyd downe appon<i>e</i> his knee,<br /></span> -<span class="i2">Vndir-nethe <i>a</i>t grenewod spraye,<br /></span> +<span class="i2">Vndir-nethe þ<i>a</i>t grenewod spraye,<br /></span> <span class="i0">And sayd, Lufly lady, rewe on mee,<br /></span> -<span class="i2">Mylde qwene of heuen<i>e</i>, als <i>o</i>u beste maye!<br /></span> +<span class="i2">Mylde qwene of heuen<i>e</i>, als þ<i>o</i>u beste maye!<br /></span> </div><div class="stanza"> <span class="i0"><span class="linenum">29</span><br /></span> <span class="i0">'Allas!' he sayd, 'and wa es mee!<br /></span> <span class="i2">I trowe my dedis wyll wirke me care;<br /></span> <span class="i0">My saulle, Jh<i>e</i>su, by-teche I the,<br /></span> -<span class="i2">Whedir-some <i>a</i>t eu<i>er</i> my banes sall fare.'<br /></span> +<span class="i2">Whedir-some þ<i>a</i>t eu<i>er</i> my banes sall fare.'<br /></span> </div><div class="stanza"> <span class="i0"><span class="linenum">30</span><br /></span> <span class="i0">Scho ledde hy<i>m</i> in at Eldone hill,<br /></span> <span class="i2">Vndir-nethe a derne lee,<br /></span> <span class="i0">Whare it was dirke as mydnyght myrke,<br /></span> -<span class="i2">And eu<i>er</i> e wat<i>e</i>r till his knee.<br /></span> +<span class="i2">And eu<i>er</i> þe wat<i>e</i>r till his knee.<br /></span> </div><div class="stanza"> <span class="i0"><span class="linenum">31</span><br /></span> <span class="i0">The montenans of dayes three,<br /></span> -<span class="i2">He herd bot swoghynge of e flode;<br /></span> -<span class="i0">At e laste he sayde, Full wa es mee!<br /></span> +<span class="i2">He herd bot swoghynge of þe flode;<br /></span> +<span class="i0">At þe laste he sayde, Full wa es mee!<br /></span> <span class="i2">Almaste I dye, for fawte of f[ode.]<br /></span> </div><div class="stanza"> <span class="i0"><span class="linenum">32</span><br /></span> <span class="i0">Scho lede hy<i>m</i> in-till a faire herbere,<br /></span> <span class="i2">Whare frwte was g[ro]wan[d gret plentee];<br /></span> -<span class="i0">Pere and appill, bothe ryppe ay were,<br /></span> +<span class="i0">Pere and appill, bothe ryppe þay were,<br /></span> <span class="i2">The date, and als the damasee.<br /></span> </div><div class="stanza"> <span class="i0"><span class="linenum">33</span><br /></span> -<span class="i0">e fygge, and alsso e wyneberye,<br /></span> -<span class="i2">The nyghtgales byggande on air neste;<br /></span><span class="pagenum"><a name="Pg_1-328" id="Pg_1-328">[Pg 328]</a></span> -<span class="i0">e papeioyes faste abowte gan<i>e</i> flye,<br /></span> +<span class="i0">Þe fygge, and alsso þe wyneberye,<br /></span> +<span class="i2">The nyghtgales byggande on þair neste;<br /></span><span class="pagenum"><a name="Pg_1-328" id="Pg_1-328">[Pg 328]</a></span> +<span class="i0">Þe papeioyes faste abowte gan<i>e</i> flye,<br /></span> <span class="i2">And throstylls sange, wolde hafe no reste.<br /></span> </div><div class="stanza"> <span class="i0"><span class="linenum">34</span><br /></span> <span class="i0">He p<i>re</i>ssede to pulle frowte w<i>i</i>t<i>h</i> his hande,<br /></span> -<span class="i2">Als man<i>e</i> for fude <i>a</i>t was nere faynt;<br /></span> -<span class="i0">Scho sayd, Thom<i>a</i>s, <i>o</i>u late am<i>e</i> stande,<br /></span> -<span class="i2">Or ells e fende the will atteynt.<br /></span> +<span class="i2">Als man<i>e</i> for fude þ<i>a</i>t was nere faynt;<br /></span> +<span class="i0">Scho sayd, Thom<i>a</i>s, þ<i>o</i>u late þam<i>e</i> stande,<br /></span> +<span class="i2">Or ells þe fende the will atteynt.<br /></span> </div><div class="stanza"> <span class="i0"><span class="linenum">35</span><br /></span> -<span class="i0">If <i>o</i>u it plokk, sothely to saye,<br /></span> -<span class="i2">Thi saule gose to e fyre of helle;<br /></span> +<span class="i0">If þ<i>o</i>u it plokk, sothely to saye,<br /></span> +<span class="i2">Thi saule gose to þe fyre of helle;<br /></span> <span class="i0">It co<i>m</i>mes neu<i>er</i> owte or domesdaye,<br /></span> -<span class="i2">Bot <i>er</i> in payne ay for to duelle.<br /></span> +<span class="i2">Bot þ<i>er</i> in payne ay for to duelle.<br /></span> </div><div class="stanza"> <span class="i0"><span class="linenum">36</span><br /></span> <span class="i0">Thomas, sothely I the hyghte,<br /></span> <span class="i2">Come lygge thyn<i>e</i> hede down<i>e</i> on my knee,<br /></span> -<span class="i0">And [ou] sall se e fayreste syghte<br /></span> -<span class="i2">at eu<i>er</i> sawe man<i>e</i> of thi contree.<br /></span> +<span class="i0">And [þou] sall se þe fayreste syghte<br /></span> +<span class="i2">Þat eu<i>er</i> sawe man<i>e</i> of thi contree.<br /></span> </div><div class="stanza"> <span class="i0"><span class="linenum">37</span><br /></span> <span class="i0">He did in hye als scho hym badde;<br /></span> <span class="i2">Appone hir knee his hede he layde,<br /></span> <span class="i0">Ffor hir to paye he was full glade;<br /></span> -<span class="i2">And an<i>e</i> at lady to hy<i>m</i> sayde:<br /></span> +<span class="i2">And þan<i>e</i> þat lady to hy<i>m</i> sayde:<br /></span> </div><div class="stanza"> <span class="i0"><span class="linenum">38</span><br /></span> -<span class="i0">Seese <i>o</i>u nowe ȝone faire waye,<br /></span> -<span class="i2">at lygges ou<i>er</i> ȝone heghe mou<i>n</i>tayne?<br /></span> -<span class="i0">ȝone es e waye to heuen<i>e</i> for aye,<br /></span> -<span class="i2">When<i>e</i> synfull sawles are passed er payne.<br /></span> +<span class="i0">Seese þ<i>o</i>u nowe ȝone faire waye,<br /></span> +<span class="i2">Þat lygges ou<i>er</i> ȝone heghe mou<i>n</i>tayne?<br /></span> +<span class="i0">ȝone es þe waye to heuen<i>e</i> for aye,<br /></span> +<span class="i2">When<i>e</i> synfull sawles are passed þer payne.<br /></span> </div><div class="stanza"> <span class="i0"><span class="linenum">39</span><br /></span> -<span class="i0">Seese <i>o</i>u nowe ȝone o<i>er</i> waye,<br /></span> -<span class="i2">at lygges lawe by-nethe ȝone rysse?<br /></span> -<span class="i0">ȝone es e waye, e sothe to saye,<br /></span> -<span class="i2">Vn-to e joye of paradyse.<br /></span> +<span class="i0">Seese þ<i>o</i>u nowe ȝone oþ<i>er</i> waye,<br /></span> +<span class="i2">Þat lygges lawe by-nethe ȝone rysse?<br /></span> +<span class="i0">ȝone es þe waye, þe sothe to saye,<br /></span> +<span class="i2">Vn-to þe joye of paradyse.<br /></span> </div><div class="stanza"> <span class="i0"><span class="linenum">40</span><br /></span> -<span class="i0">Seese <i>o</i>u ȝitt ȝone thirde waye,<br /></span> -<span class="i2">at ligges vndir ȝone grene playne?<br /></span> -<span class="i0">ȝone es e waye, w<i>i</i>t<i>h</i> tene and traye,<br /></span> -<span class="i2">Whare synfull saulis suffirris aire payne.<br /></span> +<span class="i0">Seese þ<i>o</i>u ȝitt ȝone thirde waye,<br /></span> +<span class="i2">Þat ligges vndir ȝone grene playne?<br /></span> +<span class="i0">ȝone es þe waye, w<i>i</i>t<i>h</i> tene and traye,<br /></span> +<span class="i2">Whare synfull saulis suffirris þaire payne.<br /></span> </div><div class="stanza"> <span class="i0"><span class="linenum">41</span><br /></span> -<span class="i0">Bot seese <i>o</i>u nowe ȝone ferthe waye,<br /></span> -<span class="i2">at lygges ou<i>er</i> ȝone depe delle?<br /></span> -<span class="i0">ȝone es e waye, so waylawaye!<br /></span> -<span class="i2">Vn-to e birnande fyre of helle.<br /></span> +<span class="i0">Bot seese þ<i>o</i>u nowe ȝone ferthe waye,<br /></span> +<span class="i2">Þat lygges ou<i>er</i> ȝone depe delle?<br /></span> +<span class="i0">ȝone es þe waye, so waylawaye!<br /></span> +<span class="i2">Vn-to þe birnande fyre of helle.<br /></span> </div><div class="stanza"> <span class="i0"><span class="linenum">42</span><br /></span> -<span class="i0">Seese <i>o</i>u ȝitt ȝone faire castelle,<br /></span> -<span class="i2">[<i>a</i>t standis ouer] ȝone heghe hill?<br /></span> -<span class="i0">Of towne and towre it beris e belle;<br /></span> +<span class="i0">Seese þ<i>o</i>u ȝitt ȝone faire castelle,<br /></span> +<span class="i2">[Þ<i>a</i>t standis ouer] ȝone heghe hill?<br /></span> +<span class="i0">Of towne and towre it beris þe belle;<br /></span> <span class="i2">In erthe es none lyke it vn-till.<br /></span> </div><div class="stanza"> <span class="i0"><span class="linenum">43</span><br /></span> <span class="i0">Ffor sothe, Thom<i>a</i>s, ȝone es myn<i>e</i> awenn<i>e</i>,<br /></span> -<span class="i2">And e kynges of this countree;<br /></span> +<span class="i2">And þe kynges of this countree;<br /></span> <span class="i0">Bot me ware leu<i>er</i> be hanged and drawen<i>e</i>,<br /></span> -<span class="i2">Or at he wyste ou laye by me.<br /></span> +<span class="i2">Or þat he wyste þou laye by me.<br /></span> </div><div class="stanza"> <span class="i0"><span class="linenum">44</span><br /></span> -<span class="i0">When <i>o</i>u co<i>m</i>mes to ȝone castelle gay,<br /></span> -<span class="i2">I pray e curtase man<i>e</i> to bee;<br /></span> -<span class="i0">And whate so any man<i>e</i> to e saye,<br /></span> -<span class="i2">Luke <i>o</i>u answere none bott mee.<br /></span> +<span class="i0">When þ<i>o</i>u co<i>m</i>mes to ȝone castelle gay,<br /></span> +<span class="i2">I pray þe curtase man<i>e</i> to bee;<br /></span> +<span class="i0">And whate so any man<i>e</i> to þe saye,<br /></span> +<span class="i2">Luke þ<i>o</i>u answere none bott mee.<br /></span> </div><div class="stanza"> <span class="i0">45 My lorde es seruede at ylk a mese<br /></span> <span class="i2">W<i>i</i>t<i>h</i> thritty knyghttis faire and free;<br /></span> @@ -36628,7 +36588,7 @@ omitted, as being, even if genuine, not to the present purpose.]</p></div> </div><div class="stanza"> <span class="i0"><span class="linenum">46</span><br /></span> <span class="i0">Thom<i>a</i>s still als stane he stude,<br /></span> -<span class="i2">And he by-helde at lady gaye;<br /></span> +<span class="i2">And he by-helde þat lady gaye;<br /></span> <span class="i0">Scho come agayne als faire and gude,<br /></span> <span class="i2">And also ryche one hir palfraye.<br /></span> </div><div class="stanza"> @@ -36636,31 +36596,31 @@ omitted, as being, even if genuine, not to the present purpose.]</p></div> <span class="i0">Hir grewehundis fillide w<i>i</i>t<i>h</i> dere blode,<br /></span> <span class="i2">Hir raches couplede, by my faye;<br /></span> <span class="i0">Scho blewe hir horne w<i>i</i>t<i>h</i> mayne and mode,<br /></span> -<span class="i2">Vn-to e castelle scho tuke e waye.<br /></span> +<span class="i2">Vn-to þe castelle scho tuke þe waye.<br /></span> </div><div class="stanza"> <span class="i0"><span class="linenum">48</span><br /></span> -<span class="i0">In-to e haulle sothely scho went,<br /></span> +<span class="i0">In-to þe haulle sothely scho went,<br /></span> <span class="i2">Thomas foloued at hir hande;<br /></span> <span class="i0">Than ladyes come, bothe faire and gent,<br /></span> <span class="i2">With curtassye to hir knelande.<br /></span> </div><div class="stanza"> <span class="i0"><span class="linenum">49</span><br /></span> -<span class="i0">Harpe and fethill bothe ay fande,<br /></span> -<span class="i2">Gett<i>er</i>ne, and als so e sawtrye;<br /></span> +<span class="i0">Harpe and fethill bothe þay fande,<br /></span> +<span class="i2">Gett<i>er</i>ne, and als so þe sawtrye;<br /></span> <span class="i0">Lutte and ryhyne bothe gangande,<br /></span> <span class="i2">And all man<i>er</i>e of mynstralsye.<br /></span> </div><div class="stanza"> <span class="i0"><span class="linenum">50</span><br /></span> -<span class="i0">e most m<i>er</i>uelle <i>a</i>t Thom<i>a</i>s thoghte,<br /></span> -<span class="i2">When<i>e</i> at he stode appon<i>e</i> the flore;<br /></span> +<span class="i0">Þe most m<i>er</i>uelle þ<i>a</i>t Thom<i>a</i>s thoghte,<br /></span> +<span class="i2">When<i>e</i> þat he stode appon<i>e</i> the flore;<br /></span> <span class="i0">Ffor feftty hertis in were broghte,<br /></span> -<span class="i2">at were bothe grete and store.<br /></span> +<span class="i2">Þat were bothe grete and store.<br /></span> </div><div class="stanza"> <span class="i0"><span class="linenum">51</span><br /></span> -<span class="i0">Raches laye lapande in e blode,<br /></span> +<span class="i0">Raches laye lapande in þe blode,<br /></span> <span class="i2">Cokes come w<i>i</i>t<i>h</i> dryssynge knyfe;<br /></span> -<span class="i0">Thay brittened am<i>e</i> als ay were wode;<br /></span> -<span class="i2">Reuelle amanges ame was full ryfe.<br /></span> +<span class="i0">Thay brittened þam<i>e</i> als þay were wode;<br /></span> +<span class="i2">Reuelle amanges þame was full ryfe.<br /></span> </div><div class="stanza"> <span class="i0"><span class="linenum">52</span><br /></span> <span class="i0">Knyghtis dawnesede by three and three,<br /></span> @@ -36670,43 +36630,43 @@ omitted, as being, even if genuine, not to the present purpose.]</p></div> </div><div class="stanza"> <span class="i0"><span class="linenum">53</span><br /></span> <span class="i0">Thom<i>a</i>s duellide i<i>n</i> that solace<br /></span> -<span class="i2">More an<i>e</i> I ȝowe saye, p<i>a</i>rde,<br /></span> +<span class="i2">More þan<i>e</i> I ȝowe saye, p<i>a</i>rde,<br /></span> <span class="i0">Till one a daye, so hafe I grace,<br /></span> <span class="i2">My lufly lady sayde to mee:<br /></span> </div><div class="stanza"> <span class="i0"><span class="linenum">54</span><br /></span> -<span class="i0">Do buske the, Thom<i>a</i>s, e buse agayne,<br /></span> -<span class="i2">Ffor <i>o</i>u may here no lengare be;<br /></span> +<span class="i0">Do buske the, Thom<i>a</i>s, þe buse agayne,<br /></span> +<span class="i2">Ffor þ<i>o</i>u may here no lengare be;<br /></span> <span class="i0">Hye the faste, w<i>i</i>t<i>h</i> myghte and mayne,<br /></span> <span class="i2">I sall the brynge till Eldone tree.<br /></span> </div><div class="stanza"> <span class="i0"><span class="linenum">55</span><br /></span> -<span class="i0">Thom<i>a</i>s sayde an<i>e</i>, w<i>i</i>t<i>h</i> heuy chere,<br /></span> +<span class="i0">Thom<i>a</i>s sayde þan<i>e</i>, w<i>i</i>t<i>h</i> heuy chere,<br /></span> <span class="i2">Lufly lady, nowe late me bee;<br /></span> <span class="i0">Ffor certis, lady, I hafe bene here<br /></span> -<span class="i2">Noghte bot e space of dayes three.<br /></span> +<span class="i2">Noghte bot þe space of dayes three.<br /></span> </div><div class="stanza"> <span class="i0"><span class="linenum">56</span><br /></span> -<span class="i0">'Ffor sothe, Thomas, als I e telle,<br /></span> -<span class="i2">ou hase bene here thre ȝere and more;<br /></span> -<span class="i0">Bot langere here <i>o</i>u may noghte duelle;<br /></span> -<span class="i2">The skylle I sall e telle whare-fore.<br /></span> +<span class="i0">'Ffor sothe, Thomas, als I þe telle,<br /></span> +<span class="i2">Þou hase bene here thre ȝere and more;<br /></span> +<span class="i0">Bot langere here þ<i>o</i>u may noghte duelle;<br /></span> +<span class="i2">The skylle I sall þe telle whare-fore.<br /></span> </div><div class="stanza"> <span class="i0"><span class="linenum">57</span><br /></span> -<span class="i0">'To morne of helle e foulle fende<br /></span> +<span class="i0">'To morne of helle þe foulle fende<br /></span> <span class="i2">Amange this folke will feche his fee;<br /></span><span class="pagenum"><a name="Pg_1-329" id="Pg_1-329">[Pg 329]</a></span> -<span class="i0">And <i>o</i>u arte mekill man<i>e</i> and hende;<br /></span> +<span class="i0">And þ<i>o</i>u arte mekill man<i>e</i> and hende;<br /></span> <span class="i2">I trowe full wele he wolde chese the.<br /></span> </div><div class="stanza"> <span class="i0"><span class="linenum">58</span><br /></span> -<span class="i0">'Ffor alle e gold <i>a</i>t eu<i>e</i>r may bee,<br /></span> -<span class="i2">Ffro hethyn<i>e</i> vn-to e worldis ende,<br /></span> -<span class="i0">ou bese neu<i>er</i> be-trayede for mee;<br /></span> -<span class="i2">erefore w<i>i</i>t<i>h</i> me I rede thou wende.'<br /></span> +<span class="i0">'Ffor alle þe gold þ<i>a</i>t eu<i>e</i>r may bee,<br /></span> +<span class="i2">Ffro hethyn<i>e</i> vn-to þe worldis ende,<br /></span> +<span class="i0">Þou bese neu<i>er</i> be-trayede for mee;<br /></span> +<span class="i2">Þerefore w<i>i</i>t<i>h</i> me I rede thou wende.'<br /></span> </div><div class="stanza"> <span class="i0"><span class="linenum">59</span><br /></span> <span class="i0">Scho broghte hy<i>m</i> agayne to Eldone tree,<br /></span> -<span class="i2">Vndir-nethe <i>a</i>t grenewode spraye;<br /></span> +<span class="i2">Vndir-nethe þ<i>a</i>t grenewode spraye;<br /></span> <span class="i0">In Huntlee bannkes es mery to bee,<br /></span> <span class="i2">Whare fowles synges bothe nyght and daye.<br /></span> </div><div class="stanza"> @@ -36734,22 +36694,22 @@ omitted, as being, even if genuine, not to the present purpose.]</p></div> <span class="i2">That I may saye I spake wit<i>h</i> the.'<br /></span> </div><div class="stanza"> <span class="i0"><span class="linenum">2</span><br /></span> -<span class="i0">'To harpe or carpe, whare-so <i>o</i>u gose,<br /></span> -<span class="i2">Thom<i>a</i>s, <i>o</i>u sall hafe e chose sothely:'<br /></span> +<span class="i0">'To harpe or carpe, whare-so þ<i>o</i>u gose,<br /></span> +<span class="i2">Thom<i>a</i>s, þ<i>o</i>u sall hafe þe chose sothely:'<br /></span> <span class="i0">And he saide, Harpynge kepe I none,<br /></span> <span class="i2">Ffor tonge es chefe of mynstralsye.<br /></span> </div><div class="stanza"> <span class="i0"><span class="linenum">3</span><br /></span> -<span class="i0">'If <i>o</i>u will spelle, or tales telle,<br /></span> -<span class="i2">Thom<i>a</i>s, <i>o</i>u sall neu<i>er</i> lesynge lye;<br /></span> -<span class="i0">Whare eu<i>er</i> <i>o</i>u fare, by frythe or felle,<br /></span> +<span class="i0">'If þ<i>o</i>u will spelle, or tales telle,<br /></span> +<span class="i2">Thom<i>a</i>s, þ<i>o</i>u sall neu<i>er</i> lesynge lye;<br /></span> +<span class="i0">Whare eu<i>er</i> þ<i>o</i>u fare, by frythe or felle,<br /></span> <span class="i2">I praye the speke none euyll of me.<br /></span> </div><div class="stanza"> <span class="i0"><span class="linenum">4</span><br /></span> <span class="i0">'Ffare wele, Thom<i>a</i>s, wit<i>h</i>-owttyn<i>e</i> gyle,<br /></span> <span class="i2">I may no lengare duelle with the:'<br /></span> <span class="i0">'Lufly lady, habyde a while,<br /></span> -<span class="i2">And telle <i>o</i>u me of some ferly.'<br /></span> +<span class="i2">And telle þ<i>o</i>u me of some ferly.'<br /></span> </div><div class="stanza"> <span class="i0"><span class="linenum">5</span><br /></span> <span class="i0">'Thom<i>a</i>s, herkyn<i>e</i> what I the saye:' etc.<br /></span> @@ -36787,7 +36747,7 @@ omitted, as being, even if genuine, not to the present purpose.]</p></div> <div class="blockquot"> -<p>2<sup>1</sup>. <i>o</i>u gose. <i>Cambridge</i>, ȝe gon.</p></div> +<p>2<sup>1</sup>. þ<i>o</i>u gose. <i>Cambridge</i>, ȝe gon.</p></div> <div class="footnotes"><h5>FOOTNOTES:</h5> @@ -36814,7 +36774,7 @@ there is no evidence for this that is of value. See Murray, p. xiii.</p></div> <p><a name="Footnote_1_307" id="Footnote_1_307"></a><a href="#FNanchor_1_307"><span class="label">[307]</span></a> The five copies have been edited by Dr J. A. H. Murray, and printed by the Early English Text Society. A reconstructed text by Dr Alois Brandl makes the second volume of a Sammlung englischer -Denkmler in kritischen Ausgaben, Berlin, 1880.</p></div> +Denkmäler in kritischen Ausgaben, Berlin, 1880.</p></div> <div class="footnote"> @@ -36842,9 +36802,9 @@ banks.</p></div> <p><a name="Footnote_1_310" id="Footnote_1_310"></a><a href="#FNanchor_1_310"><span class="label">[310]</span></a> The relations of Thomas Rhymer and Ogier might, perhaps, be cleared up by the poem of The Visions of Ogier in Fairy Land. The book is thus described by Brunet, ed. 1863, IV, 173: Le premier (second -et troisime) livre des visions d'Oger le Dannoys au royaulme de +et troisième) livre des visions d'Oger le Dannoys au royaulme de Fairie, Paris, 1542, pet. in-8, de 48 ff. Brunet adds: A la suite de ce -pome, dans l'exemplaire de la Bibliothque impriale, se trouve, Le +poëme, dans l'exemplaire de la Bibliothèque impériale, se trouve, Le liure des visions fantastiques, Paris, 1542, pet. in-8, de 24 ff. The National Library is not now in possession of the volume; nor have all the inquiries I have been able to make, though most courteously aided @@ -36885,9 +36845,9 @@ to the horse's breastplate, to the saddle-bow, crupper, and stirrups. Conde Claros's steed has three hundred around his breastplate. See Weber's Metrical Romances, R.C. de Lion, vv 1514-17, 5712-14, cited by T. Wright, History of Domestic Manners in England, 214 f; Liebrecht, -Gervasius, p. 122; Klbing, Englische Studien, III, 105; Zupitza and +Gervasius, p. 122; Kölbing, Englische Studien, III, 105; Zupitza and Varnhagen, Anglia, III, 371, IV, 417; and particularly A. Schultz, Das -hfische Leben zur Zeit der Minnesinger, I, 235, 388-91.</p></div> +höfische Leben zur Zeit der Minnesinger, I, 235, 388-91.</p></div> <div class="footnote"> @@ -36896,12 +36856,12 @@ Ogier, with which the author of Thomas of Erceldoune has blended a very serious one, without any regard to the irreconcilableness of the two. He is presently forced to undo this melancholy transformation of the fairy, as we shall see. Brandl, 'Thomas of Erceldoune,' p. -20, cites from Giraldus Cambrensis, Itinerarium Cambri, I, 5, a +20, cites from Giraldus Cambrensis, Itinerarium Cambriæ, I, 5, a story about one Meilyr, a Welshman, the like of which our poet had in mind. This Meilyr was a great soothsayer, and "owed his skill to the following adventure:" Being in company one evening with a girl for whom he had long had a passion, desideratis amplexibus atque deliciis -cum indulsisset, statim loco puell formos formam quamdam villosam, +cum indulsisset, statim loco puellæ formosæ formam quamdam villosam, hispidam et hirsutam, adeoque enormiter deformem invenit, quod in ipso ejusdem aspectu dementire cœpit et insanire. Meilyr recovered his reason after several years, through the merits of the saints, but @@ -36931,7 +36891,7 @@ as in the ballad.</p></div> ordinary hyperbole of lovers: two hundred years seemed but twenty. The British king Herla lived with the king of the dwarfs more than two hundred years, and thought the time but three days: Walter Mapes, -Nug Curialium, ed. Wright, p. 16 f (Liebrecht). The strongest case, +Nugæ Curialium, ed. Wright, p. 16 f (Liebrecht). The strongest case, I believe, is the exquisite legend, versified by Trench, of the monk, with whom three hundred years passed, while he was listening to a bird's song—as he thought, less than three hours. For some of the @@ -36939,7 +36899,7 @@ countless repetitions of the idea, see Pauli's Schimpf und Ernst, ed. Oesterley, No 562, and notes, p. 537; Liebrecht's Gervasins, p. 89; W. Hertz, Deutsche Sage im Elsass, pp 115-18, 263; A. Graf, La Leggenda del Paradiso Terrestre, pp 26-29, 31-33, and notes; J. Koch, Die -Siebenschlferlegende, kap. ii.</p></div> +Siebenschläferlegende, kap. ii.</p></div> <div class="footnote"> @@ -36962,7 +36922,7 @@ encourage one to take the risk. <span class="i0">Quando tu mi dicevi, "anima mia?"<br /></span> <span class="i0">Ora, mio caro ben, baciami in bocca,<br /></span> <span class="i0">Baciami tanto ch'io contenta sia.<br /></span> -<span class="i0"> tanto saporita la tua bocca!<br /></span> +<span class="i0">È tanto saporita la tua bocca!<br /></span> <span class="i0">Di grazia saporisci anco la mia.<br /></span> <span class="i0">Ora, mio caro ben, che m'hai baciato,<br /></span> <span class="i0">Di qui non isperar d'andarne via.<br /></span> @@ -36985,8 +36945,8 @@ Schmidt, Volksleben der Neugriechen, p. 249.</p></div> <div class="footnote"> -<p><a name="Footnote_1_321" id="Footnote_1_321"></a><a href="#FNanchor_1_321"><span class="label">[321]</span></a> Niederschsische Sagen und Mrchen, Schambach und -Mller, p. 373. Shakspere has this: "They are fairies; he that speaks +<p><a name="Footnote_1_321" id="Footnote_1_321"></a><a href="#FNanchor_1_321"><span class="label">[321]</span></a> Niedersächsische Sagen und Märchen, Schambach und +Müller, p. 373. Shakspere has this: "They are fairies; he that speaks to them shall die;" Falstaff, in Merry Wives of Windsor, V, 5. Ancient Greek tradition is not without traces of the same ideas. It was Persephone's eating of the pomegranate kernel that consigned her @@ -36999,7 +36959,7 @@ be safe to build much on this. A Hebrew tale makes the human wife of a demon charge a man who has come to perform, a certain service for the family not to eat or drink in the house, or to take any present of her husband, exactly repeating the precautions observed in Grimm, Deutsche -Sagen, Nos 41, 49: Tendlan, Das Buch der Sagen und Legenden jdischer +Sagen, Nos 41, 49: Tendlan, Das Buch der Sagen und Legenden jüdischer Vorzeit, p. 141. The children of Shem may probably have derived this trait in the story from the children of Japhet. Aladdin, in the Arabian Nights, is to have a care, above all things, that he does not touch the @@ -37008,7 +36968,7 @@ will die instantly. This again, by itself, is not very conclusive.</p></div> <div class="footnote"> -<p><a name="Footnote_1_322" id="Footnote_1_322"></a><a href="#FNanchor_1_322"><span class="label">[322]</span></a> Historia Danica, l. viii: Mller et Velschow, I, 420-25.</p></div></div> +<p><a name="Footnote_1_322" id="Footnote_1_322"></a><a href="#FNanchor_1_322"><span class="label">[322]</span></a> Historia Danica, l. viii: Müller et Velschow, I, 420-25.</p></div></div> <hr class="chap" /> @@ -37055,7 +37015,7 @@ junction has been effected. This poem is given in an appendix.</p> <hr class="tb" /> -<p><b>A</b> is translated by Arndt, Bltenlese, p. 210; <b>B</b>, with +<p><b>A</b> is translated by Arndt, Blütenlese, p. 210; <b>B</b>, with a few improvements from <b>E b</b>, by Rosa Warrens, Schottische Volkslieder, p. 12.</p> @@ -37665,7 +37625,7 @@ peculiar, and it is certainly not consistent.</i></p> <p>5<sup>5</sup>. <i>W.</i>, everlkes: <i>R. R.</i>, euerelke.</p> -<p>6<sup>8</sup>. <i>W.</i>, of their: <i>R. R.</i>, of ye (e). i. wald.</p> +<p>6<sup>8</sup>. <i>W.</i>, of their: <i>R. R.</i>, of ye (þe). i. wald.</p> <p>7<sup>4</sup>. <i>W.</i>, That thou: <i>R. R.</i>, yat.</p> @@ -37804,7 +37764,7 @@ Homer.</p> <p>Something of the successive changes of shape is met with in a Scandinavian ballad: 'Nattergalen,' Grundtvig, II, 168, No 57; -'Den frtrollade Prinsessan,' Afzelius, II, 67, No 41, Atterbom, +'Den förtrollade Prinsessan,' Afzelius, II, 67, No 41, Atterbom, Poetisk Kalender, 1816, p. 44; Dybeck, Runa, 1844, p. 94, No 2; Axelson, Vandring i Wermlands Elfdal, p. 21, No 3; Lindeman, Norske Fjeldmelodier, Tekstbilag til 1ste Bind, p. 3, No 10.</p> @@ -37837,7 +37797,7 @@ you are my sister's daughter, who was doomed to be a nightingale."<a name="FNanc <p>We come much nearer, and indeed surprisingly near, to the principal event of the Scottish ballad in a Cretan fairy-tale, cited from Chourmouzis by Bernhard Schmidt.<a name="FNanchor_1_327" id="FNanchor_1_327"></a><a href="#Footnote_1_327" class="fnanchor">[327]</a> A young peasant of the village -Sgourokephli, who was a good player on the rote, used to be taken +Sgourokepháli, who was a good player on the rote, used to be taken by the nereids into their grotto for the sake of his music. He fell in love with one of them, and, not knowing how to help himself, had recourse to an old woman of his village. She gave him this advice: that @@ -37860,7 +37820,7 @@ dog! tore the infant from his arms, and vanished.</p> <p>This Cretan tale, recovered from tradition even later than our ballad, repeats all the important circumstances of the forced marriage of Thetis with Peleus. Chiron, like the old woman, suggested to his -protg that he should lay hands on the nereid, and keep his hold +protégé that he should lay hands on the nereid, and keep his hold through whatever metamorphosis she might make. He looked out for his opportunity and seized her; she turned to fire, water, and a wild beast, but he did not let go till she resumed her primitive shape. @@ -37954,9 +37914,9 @@ for his due. Thomas is in peculiar danger, for the reason given in <b>A</b>, <b>G</b>, <b>R</b>.</p> <div class="poem"><div class="stanza"> -<span class="i0">To morne of helle e foulle fende<br /></span> +<span class="i0">To morne of helle þe foulle fende<br /></span> <span class="i2">Amange this folke will feche his fee;<br /></span> -<span class="i0">And ou art mekill man and hende;<br /></span> +<span class="i0">And þou art mekill man and hende;<br /></span> <span class="i2">I trowe full wele he wolde chese the.<br /></span> </div></div> @@ -38042,8 +38002,8 @@ Glenriddell MS.</p> <hr class="tb" /> -<p>Translated, after Scott, by Schubart, p. 139, and Bsching's -Wchentliche Nachrichten, I, 247; by Arndt, Bltenlese, p. 212; +<p>Translated, after Scott, by Schubart, p. 139, and Büsching's +Wöchentliche Nachrichten, I, 247; by Arndt, Blütenlese, p. 212; after Aytoun, I, 7, by Rosa Warrens, Schottische Volkslieder, No 8; by Knortz, Schottische Balladen, No 17, apparently after Aytoun and Allingham. The Danish 'Nattergalen' is translated by Prior, III, 118, @@ -40413,7 +40373,7 @@ which her lover had cut from his breast.</p></div> <div class="footnote"> <p><a name="Footnote_1_327" id="Footnote_1_327"></a><a href="#FNanchor_1_327"><span class="label">[327]</span></a> Volksleben der Neugriechen, pp 115-17, "from -Chourmouzis, [Greek: Krtika], p. 69 f, Athens, 1842." Chourmouzis +Chourmouzis, [Greek: Krêtika], p. 69 f, Athens, 1842." Chourmouzis heard this story, about 1820 or 1830, from an old Cretan peasant, who had heard it from his grandfather.</p></div> @@ -40468,7 +40428,7 @@ only disposition which is consistent with the order of the world to which he belongs. Mannhardt gives us a most curious and interesting insight into some of the laws of that world in Wald-u. Feldkulte, II, 64-70. The wife of a Cashmere king, in a story there cited from -Benfey's Pantschatantra, I, 254, 92, is delivered of a serpent, but +Benfey's Pantschatantra, I, 254, § 92, is delivered of a serpent, but is reported to have borne a son. Another king offers his daughter in marriage, and the Cashmere king, to keep his secret, accepts the proposal. In due time the princess claims her bridegroom, and they @@ -40491,7 +40451,7 @@ Speculum Naturale, 2, 127 (from Helinaudus), cited by Liebrecht, at p. A lad who had been changed into an ass by a couple of witches recovers his shape merely by jumping into water and rolling about in it: William of Malmesbury's Kings of England, c. 10, cited by Vincent of Beauvais, -Speculum Naturale, iii, 109; Dntzer, Liebrecht's Dunlop, p. 538. +Speculum Naturale, iii, 109; Düntzer, Liebrecht's Dunlop, p. 538. Simple illusions of magic, such as clods and wisps made to appear swine to our eyes, are inevitably dissolved when the unrealities touch water. Liebrecht's Gervasius, p. 65.</p></div> @@ -40523,9 +40483,9 @@ to '<a href="#Ballad_37">Thomas Rymer</a>,' to know a little more of the proper <p>That elves and water-spirits have frequently solicited the help of mortal women at lying-in time is well known: see Stewart's Popular Superstitions of the Highlands, p. 104; Grimm, Deutsche Sagen, Nos 41, -49, 68, 69, 304; Mllenhoff, Nos 443, 444; Thiele, Danmarks Folkesagen, -1843, II, 200, Nos 1-4; Asbjrnsen, Norske Huldre-Eventyr, 2d ed., -I, 16; Maurer, Islndische Volkssagen, p. 6 f; Keightley's Fairy +49, 68, 69, 304; Müllenhoff, Nos 443, 444; Thiele, Danmarks Folkesagen, +1843, II, 200, Nos 1-4; Asbjørnsen, Norske Huldre-Eventyr, 2d ed., +I, 16; Maurer, Isländische Volkssagen, p. 6 f; Keightley's Fairy Mythology, pp 122, 261, 275, 301, 311, 388, 488.<a name="FNanchor_1_333" id="FNanchor_1_333"></a><a href="#Footnote_1_333" class="fnanchor">[333]</a> They also like to have their offspring suckled by earthly women. It is said, writes Gervase of Tilbury, that nobody is more exposed to being carried off by @@ -40653,7 +40613,7 @@ reciter.</i></p></div> <p><a name="Footnote_1_333" id="Footnote_1_333"></a><a href="#FNanchor_1_333"><span class="label">[333]</span></a> Many of these instances are cited by Grimm, Deutsche Mythologie, 1875, I, 378. In Thiele's first example the necessity of having Christian aid comes from the lying-in woman being a Christian -who had been carried off by an elf. In Asbjrnsen's tale, the woman +who had been carried off by an elf. In Asbjørnsen's tale, the woman who is sent for to act as midwife finds that her own serving-maid is forced, without being aware of it, to work all night in the elfin establishment, and is very tired with double duty.</p></div></div> @@ -40768,12 +40728,12 @@ elf-king, hill-king, or even a merman. The ballad is still sung in Scandinavia and Germany, but only the Danes have versions taken down before the present century.</p> -<p><b>Danish.</b> 'Jomfruen og Dvrgekongen,' Grundtvig, No 37, <b>A-C</b> +<p><b>Danish.</b> 'Jomfruen og Dværgekongen,' Grundtvig, No 37, <b>A-C</b> from manuscripts of the sixteenth century. <b>A-G</b>, Grundtvig, II, 39-46; <b>H</b>, <span class="smcap">I</span>, III, 806-808; <b>K-T</b>, IV, 795-800, <b>P-S</b> being short fragments. <b>K</b> previously in "Fylla," a weekly newspaper, 1870, Nos 23, 30; <b>L-O</b>, <b>Q</b>, <b>R</b>, -'Agnete i Bjrget,' in Kristensen's Jyske Folkeviser, II, 72, 77, 349,<span class="pagenum"><a name="Pg_1-362" id="Pg_1-362">[Pg 362]</a></span> +'Agnete i Bjærget,' in Kristensen's Jyske Folkeviser, II, 72, 77, 349,<span class="pagenum"><a name="Pg_1-362" id="Pg_1-362">[Pg 362]</a></span> 74, I, xxxi, II, 79; <b>U</b>, a short fragment, Danske Viser, V, x, xi.</p> <p><b>Swedish.</b> 'Den Bergtagna,' <b>A</b>, <b>B</b>, Afzelius, I, 1, @@ -40781,31 +40741,31 @@ No 1, II, 201. <b>C</b>, 'Bergkonungen,' Afzelius, II, 22, No 35. <b>D</b>, <b>E</b>, 'Herr Elver, Bergakonungen,' Arwidsson, II, 277, No 141 B, II, 275, No 141 A. <b>F</b>, 'Jungfrun och Bergakonungen,' Arwidsson, II, 280, No 142. <b>G</b>, 'Agneta och Bergamannen,' -Wigstrm, Folkdiktning, p. 13. <b>H</b>, 'Jungfrun och Bergamannen,' +Wigström, Folkdiktning, p. 13. <b>H</b>, 'Jungfrun och Bergamannen,' the same, p. 21. <b>I</b>, <b>K</b>, <b>L</b>, in Cavallius and Stephens' manuscript collection (<b>K</b>, <b>L</b>, fragments), given -by Grundtvig, IV, 803. <b>M</b>, F. L. Borgstrms Folkvisor, No 11, -described by Grundtvig, IV, 802. <b>N</b>, Werner's Westergtlands +by Grundtvig, IV, 803. <b>M</b>, F. L. Borgströms Folkvisor, No 11, +described by Grundtvig, IV, 802. <b>N</b>, Werner's Westergötlands Fornminnen, p. 93 f, two stanzas.</p> <p><b>Norwegian.</b> <b>A</b>, <b>B</b>,<a name="FNanchor_1_336" id="FNanchor_1_336"></a><a href="#Footnote_1_336" class="fnanchor">[336]</a> <b>C</b>, 'Liti Kersti, som vart inkvervd,' Landstad, p. 431, No 42, p. 442, No 44, p. 446, No 45. <b>D</b>, 'Margit Hjuxe, som vart inkvervd,' the same, p. 451, -No 46. <b>E</b>, <b>F</b>, 'Mlfri,' 'Antonetta,' Grundtvig, IV, 801 +No 46. <b>E</b>, <b>F</b>, 'Målfri,' 'Antonetta,' Grundtvig, IV, 801 f, the last evidently derived from Denmark. <b>G-P</b>, nine versions communicated to Grundtvig by Professor Sophus Bugge, and partially described in Danmarks gamle Folkeviser, III, 808-10. Lindeman gives the first stanza of <b>A</b> with airs No 214, No 262 of his Fjeldmelodier, and perhaps had different copies. Nos 323, 320 may also have been versions of this ballad. <b>C</b>, rewritten, occurs in <b>J</b>. M. -Moe og Ivar Mortensen's Norske Fornkvde og Folkevisur, p. 16. Mixed +Moe og Ivar Mortensen's Norske Fornkvæde og Folkevisur, p. 16. Mixed forms, in which the ballad proper is blended with another, Landstad, No 43 == Swedish, Arwidsson, No 145; eight, communicated by Bugge, Grundtvig, III, 810-13; two others, IV, 483 f.<a name="FNanchor_1_337" id="FNanchor_1_337"></a><a href="#Footnote_1_337" class="fnanchor">[337]</a></p> -<p><b>Fre.</b> <b>A</b>, <b>B</b>, Grundtvig, IV, 803 f.</p> +<p><b>Färöe.</b> <b>A</b>, <b>B</b>, Grundtvig, IV, 803 f.</p> -<p><b>Icelandic.</b> 'Rika lfs kvi,' slenzk fornkvi, No 4.</p> +<p><b>Icelandic.</b> 'Rika álfs kvæði,' Íslenzk fornkvæði, No 4.</p> <p>Danish <b>A</b>, one of the three sixteenth-century versions, tells how a knight, expressing a strong desire to obtain a king's daughter, is @@ -40847,7 +40807,7 @@ the way to the hill.</p> <p>A second form begins a stage later: Danish <b>C</b>, <b>G</b>, <b>K</b>, Swedish <b>D</b>, <b>E</b>, <b>K</b>, Norwegian <b>A</b>, <b>C</b>, <b>E</b>, <b>G</b>, <b>H</b>, <b>I</b> (?), <b>K</b>, -<b>L</b>, <b>M</b> (?), <b>N</b> (?), Fre <b>A</b>, <b>B</b>. We +<b>L</b>, <b>M</b> (?), <b>N</b> (?), Färöe <b>A</b>, <b>B</b>. We learn nothing of the device by which the maid has been entrapped. Mother and daughter are sitting in their bower, and the mother asks her child why her cheeks are pale, why milk is running from her @@ -40856,10 +40816,10 @@ taken for milk is mead. The mother retorts that other women do not suffer from their industry; that mead is brown, and milk is white. Hereupon the daughter reveals that she has been beguiled by an elf, and, though living under her mother's roof, has had eight or nine -children (seven or eight sons and a daughter; fifteen children, Fre +children (seven or eight sons and a daughter; fifteen children, Färöe <b>A</b>, <b>B</b>), none of whom she ever saw, since after birth they were always transferred to the hill (see, especially, Danish <b>C</b>, -<b>G</b>, also <b>A</b>; Norwegian <b>H</b>, <b>I</b>; Fre <b>A</b>, +<b>G</b>, also <b>A</b>; Norwegian <b>H</b>, <b>I</b>; Färöe <b>A</b>, <b>B</b>). The mother (who disowns her, Danish <b>C</b>, <b>G</b>, Swedish <b>D</b>, <b>E</b>, Norwegian <b>K</b>), in several versions, asks what gifts she got for her honor. Among these was a harp [horn, @@ -40872,7 +40832,7 @@ a drink which makes her forget father and mother, heaven and earth, moon and sun, and even makes her think she was born in the hill, Danish <b>C</b>, <b>G</b>, Swedish <b>D</b>, Norwegian <b>A</b>, <b>C</b>.<a name="FNanchor_1_339" id="FNanchor_1_339"></a><a href="#Footnote_1_339" class="fnanchor">[339]</a></p> -<p>Danish <b>G</b>, <b>K</b>, Fre <b>A</b>, <b>B</b>, take a tragic +<p>Danish <b>G</b>, <b>K</b>, Färöe <b>A</b>, <b>B</b>, take a tragic turn: the woman dies in the first two the night she comes to the hill. Danish <b>C</b>, one of the sixteenth-century versions, goes as far as possible in the other direction. The elf-king pats Maldfred's cheek, @@ -40935,7 +40895,7 @@ They give her a drink, and her heart breaks, Swedish <b>A</b>, forgetfulness, Danish <b>L</b>, <b>M</b>, Swedish <b>B</b>, <b>C</b>, <b>F</b>.</p> -<p>Much of the story of 'Jomfruen og Dvrgekongen' recurs in the ballad +<p>Much of the story of 'Jomfruen og Dværgekongen' recurs in the ballad of 'Agnete og Havmanden,' which, for our purposes, may be treated as a simple variation of the other. The Norse forms are again numerous, but all from broadsides dating, at most, a century back, or from recent @@ -40944,16 +40904,16 @@ tradition.</p> <p><b>Danish.</b> 'Agnete og Havmanden,' Grundtvig, No 38, <b>A-D</b>, II, 51 ff, 656 ff, III, 813 ff. Copies of <b>A</b> are numerous, and two had been previously printed; in Danske Viser, I, 313, No 50, and "in -Barfod's Brage og Idun, II, 264." <b>E</b>, Rask's Morskabslsning, +Barfod's Brage og Idun, II, 264." <b>E</b>, Rask's Morskabslæsning, III, 81, Grundtvig, II, 659. <b>F</b>, one stanza, Grundtvig, p. 660. <b>G</b>, <b>H</b>, the same, III, 816. <b>I</b>, Kristensen, II, 75, No 28 C, Grundtvig, IV, 807. <b>K</b>, Grundtvig, IV, 808.<a name="FNanchor_1_340" id="FNanchor_1_340"></a><a href="#Footnote_1_340" class="fnanchor">[340]</a></p> <p><b>Swedish.</b> <b>A</b>, <b>B</b>, <b>C</b>, in Cavallius and Stephens' unprinted collection, described by Grundtvig, II, 661. -<b>D</b>, 'Agneta och Hafsmannen,' Eva Wigstrm's Folkdiktning, p. -9. <b>E</b>, Bergstrm's Afzelius, II, 308. <b>F</b>, 'Skn Anna och -Hafskungen,' Aminson, Bidrag till Sdermanlands ldre Kulturhistoria, +<b>D</b>, 'Agneta och Hafsmannen,' Eva Wigström's Folkdiktning, p. +9. <b>E</b>, Bergström's Afzelius, II, 308. <b>F</b>, 'Skön Anna och +Hafskungen,' Aminson, Bidrag till Södermanlands äldre Kulturhistoria, <span class="smcap">III</span>, 43. <b>G</b>, 'Helena och Hafsmannen,' the same, p. 46.</p> <p><b>Norwegian.</b> <b>A</b>, Grundtvig, III, 817, properly Danish @@ -40967,7 +40927,7 @@ On the other hand, the Danish versions <b>M</b>, <b>N</b>, <b>O</b> of 'The Maid and the Dwarf-King' call the maid Agenet, and give the hill-man a name, Nek, Netmand, Mekmand, which implies a watery origin for him, and the fragments <b>P</b>, <b>Q</b>, <b>R</b> have similar -names, Nekmand, Negen, Lkkemand, as also Agenete, and might as well +names, Nekmand, Negen, Lækkemand, as also Agenete, and might as well have been ranked with 'Agnes and the Merman.' In 'The Maid and the Dwarf-King,' Swedish <b>L</b> (one stanza) the maid is taken by "Pel Elfven" to the sea.</p> @@ -41003,19 +40963,19 @@ derived from Germany: see Grundtvig, IV, 812. Of the <b>German</b> ballad, which is somewhat nearer to the English, the following versions have been noted:</p> -<p><b>A.</b> 'Die schne Agniese,' Fiedler, Volksreime und Volkslieder +<p><b>A.</b> 'Die schöne Agniese,' Fiedler, Volksreime und Volkslieder in Anhalt-Dessau, p. 140, No 1 == Mittler, No 553. <b>B.</b> 'Die -schne Agnese,' Parisius, Deutsche Volkslieder in der Altmark und +schöne Agnese,' Parisius, Deutsche Volkslieder in der Altmark und im Magdeburgischen gesammelt, p. 29, No 8 B, from nearly the same region as <b>A</b>. <b>C.</b> Parisius, p. 28, No 8 A, Pechau on the -Elbe. <b>D.</b> 'Die schne Angnina,' Erk's Neue Sammlung, ii, 40, No +Elbe. <b>D.</b> 'Die schöne Angnina,' Erk's Neue Sammlung, ii, 40, No 26 == Mittler, No 552, from the neighborhood of Magdeburg. <b>E.</b> 'Die -Schne Agnete,' Erk's Liederhort, No 16<sup>a</sup>, p. 47, Erk's Wunderhorn, -IV, 91, from the neighborhood of Guben. <i>F.</i> 'Die schne Dorothea,' +Schöne Agnete,' Erk's Liederhort, No 16<sup>a</sup>, p. 47, Erk's Wunderhorn, +IV, 91, from the neighborhood of Guben. <i>F.</i> 'Die schöne Dorothea,' Liederhort, No 16<sup>b</sup>, p. 48, Gramzow in der Ukermark. <b>G.</b> 'Die -schne Hannăle,' Liederhort, No 16, p. 44, Erk's Wunderhorn, IV, -87, Silesia. <b>H.</b> 'Die schne Hannele,' Hoffmann u. Richter, -Schlesische Volkslieder, p. 3, No 1 == Mittler, No 551, Bhme, No 90 A, +schöne Hannăle,' Liederhort, No 16, p. 44, Erk's Wunderhorn, IV, +87, Silesia. <b>H.</b> 'Die schöne Hannele,' Hoffmann u. Richter, +Schlesische Volkslieder, p. 3, No 1 == Mittler, No 551, Böhme, No 90 A, Breslau. 'Der Wassermann,' Simrock, No 1, is a compounded copy.</p> <p>A wild merman has become enamored of the King of England's daughter, @@ -41078,8 +41038,8 @@ heart grieve for your children? She answers, I grieve for none but the youngest.<a name="FNanchor_1_343" id="FNanchor_1_343"></a><a href="#Footnote_1_343" class="fnanchor">[343]</a></p> <p>A Slovenian ballad has the story with modifications, Achacel and -Korytko, [S,]lovnşke Pşmi krajnskiga Narda, I, 30,<a name="FNanchor_1_344" id="FNanchor_1_344"></a><a href="#Footnote_1_344" class="fnanchor">[344]</a> -'Povodnji msh;' given in abstract by Haupt and Schmaler, I, 339, note +Korytko, [S,]lovénşke Péşmi krajnskiga Naróda, I, 30,<a name="FNanchor_1_344" id="FNanchor_1_344"></a><a href="#Footnote_1_344" class="fnanchor">[344]</a> +'Povodnji mósh;' given in abstract by Haupt and Schmaler, I, 339, note to No. 34. Mizika goes to a dance, in spite of her mother's forbidding. Her mother, in a rage, wishes that the merman may fetch her. A young man who dances with her whirls her round so furiously that she @@ -41123,7 +41083,7 @@ in the Scottish ballads:</p> III, 338; Swedish <b>A</b> by Stephens, Foreign Quarterly Review, XXV, 35; Swedish <b>C</b> by Keightley, Fairy<span class="pagenum"><a name="Pg_1-367" id="Pg_1-367">[Pg 367]</a></span> Mythology, p. 103. 'Agnes and the Merman,' Danish <b>A</b>, <b>C</b>, by Prior, III, 332, 335; some -copy of <b>A</b> by Borrow, p. 120; hlenschlger's ballad by Buchanan, +copy of <b>A</b> by Borrow, p. 120; Øhlenschlæger's ballad by Buchanan, p. 76.</p> <p>Scottish <b>B</b> is translated, after Allingham, by Knortz, Lieder @@ -41751,7 +41711,7 @@ to notice these mixed forms.</p></div> <div class="footnote"> -<p><a name="Footnote_1_338" id="Footnote_1_338"></a><a href="#FNanchor_1_338"><span class="label">[338]</span></a> In 'Nkkens Svig,' <b>C</b>, Grundtvig, No 39, the +<p><a name="Footnote_1_338" id="Footnote_1_338"></a><a href="#FNanchor_1_338"><span class="label">[338]</span></a> In 'Nøkkens Svig,' <b>C</b>, Grundtvig, No 39, the merman consults with his mother, and then, as also in other copies of the ballad, transforms himself into a knight. See the translation by Prior, III, 269; Jamieson, Popular Ballads, I, 210; Lewis, Tales of @@ -41787,7 +41747,7 @@ here, where the forgetful draught is administered; as Norwegian Grundtvig has not noticed two copies in Boisen's Nye og gamle Viser, 10th edition, p. 192, p. 194. The former of these is like <b>A</b>, with more resemblance here and there to other versions, and may be a -made-up copy; the other, 'Agnete og Bjrgmanden, fra Snderjylland,' +made-up copy; the other, 'Agnete og Bjærgmanden, fra Sønderjylland,' consists of stanzas 1-5 of <b>C</b>.</p></div> <div class="footnote"> @@ -41803,8 +41763,8 @@ the Norse ballads of bowing when the holy name is pronounced, occurs frequently in tradition, as might be expected. In a Swedish merman-ballad, 'Necken,' Afzelius, III, 133, the nix, who has attended to church the lady whom he is about to kidnap, makes off with his best -speed when the priest reads the benediction. See, further, rnason's -slenzkar jsgur, I, 73 f; Maurer's Islndische Volksagen, 19 f; +speed when the priest reads the benediction. See, further, Árnason's +Íslenzkar þjóðsögur, I, 73 f; Maurer's Isländische Volksagen, 19 f; Liebrecht, Gervasius, p. 26, LVII, and p. 126, note (Grundtvig).</p></div> <div class="footnote"> @@ -41910,7 +41870,7 @@ vowed to be hers as long as he lived; they exchanged kisses, and then she bade him mount his horse and go to mass. After the benediction he was to return home, and when he was alone in his chamber, and wished for her, she would come, and so always; that privilege God had given -her: "sw ich wil, d bin ich." They had their meeting when he returned +her: "swâ ich wil, dâ bin ich." They had their meeting when he returned from church: he redoubled his vows, she promised him all good things, and the bounties which he received from her overflowed upon all his friends and comrades.</p> @@ -41989,18 +41949,18 @@ Grundtvig, No 47, II, 109-19, 663-66; III, 824-25; IV, 835-74.<a name="FNanchor_ <p>The Scandinavian versions are:</p> -<p><b>Fre</b>, four: <b>A</b>, 39 sts, <b>B</b>, 24 sts, <b>C</b>, 18 +<p><b>Färöe</b>, four: <b>A</b>, 39 sts, <b>B</b>, 24 sts, <b>C</b>, 18 sts, <b>D</b>, 23 sts, Grundtvig, IV, 849-52.</p> <p><b>Icelandic</b>, twelve, differing slightly except at the very end: -<b>A</b>, 'Kvi af lafi Liljurs,' 24 sts, MS. of 1665; <b>B</b>, +<b>A</b>, 'Kvæði af Ólafi Liljurós,' 24 sts, MS. of 1665; <b>B</b>, <b>C</b>, MS. of about 1700, 20 sts, 1 st.; <b>D</b>, 18 sts; <b>E</b>, -17 sts; <b>F</b>, <b>G</b>, 16 sts; <b>H</b>, 'lafs kvi,' 22 sts; +17 sts; <b>F</b>, <b>G</b>, 16 sts; <b>H</b>, 'Ólafs kvæði,' 22 sts; <b>I a</b>, 18 sts;<b> I b</b>, 20 sts; <b>K</b>, 22 sts; <b>L</b>, 24 -sts; <b>M</b>, 25 sts. These in slenzk fornkvi, pp 4-10, <b>A a</b> +sts; <b>M</b>, 25 sts. These in Íslenzk fornkvæði, pp 4-10, <b>A a</b> in full, but only the variations of the other versions. <b>I b</b>, -previously, 'lafur og lfamr,' Berggreen, Danske Folke-Sange og -Melodier, 2d ed., pp 56, 57, No 20 d; and <b>M</b>, "Snt, p. 200."</p> +previously, 'Ólafur og álfamær,' Berggreen, Danske Folke-Sange og +Melodier, 2d ed., pp 56, 57, No 20 d; and <b>M</b>, "Snót, p. 200."</p> <p><b>Danish</b>, twenty-six: 'Elveskud' <b>A</b>, 54 sts, MS. of 1550, Grundtvig, II, 112; <b>B</b>, 25 sts, Syv No 87 (1695), Danske Viser, @@ -42010,8 +41970,8 @@ II, 117-19; <b>H</b>, <i>I</i>, 32, 25 sts, II, 663-64; <b>K</b>, 29 sts, <b>L</b>, 15 sts, <b>M</b>, 27 sts, <b>N</b>, 16 sts, <b>O</b>, 33 sts, <b>P</b>, 22 sts, <b>Q</b>, 7 sts, <b>R</b>, 22 sts, <b>S</b>, 32 sts, <b>T</b>, 27 sts, <b>U</b>, 25 sts, <b>V</b>, 18 sts, <b>X</b>, 11 -sts, <b>Y</b>, 11 sts, <b>Z</b>, 8 sts, <b></b>, 23 sts, IV, 835-47; -<b></b>, 10 sts, Boisen, Nye og gamle Viser, 1875, p. 191, No 98.</p> +sts, <b>Y</b>, 11 sts, <b>Z</b>, 8 sts, <b>Æ</b>, 23 sts, IV, 835-47; +<b>Ø</b>, 10 sts, Boisen, Nye og gamle Viser, 1875, p. 191, No 98.</p> <p><b>Swedish</b>, eight: <b>A</b>, 15 sts, 'Elf-Qvinnan och Herr Olof,' MS. of seventeenth century, Afzelius, III, 165; <b>B</b>, 12 sts, 'Herr @@ -42019,7 +41979,7 @@ Olof i Elfvornas dans,' Afzelius, III, 160; <b>C</b>, 18 sts, Afzelius, III, 162; <b>D</b>, 21 sts, 'Herr Olof och Elfvorna,' Arwidsson, II, 304; <b>E</b>, 20 sts, Arwidsson, II, 307; <b>F</b>, 19 sts, Grundtvig, IV, 848; <b>G</b>, 12 sts, 'Herr Olof och Elffrun,' Djurklou, p. 94; -<i>H</i>, 8 sts, Afzelius, Sago-Hfder, ed. 1844, ii, 157.</p> +<i>H</i>, 8 sts, Afzelius, Sago-Häfder, ed. 1844, ii, 157.</p> <p><b>Norwegian</b>, eighteen: <b>A</b>, 39 sts, 'Olaf Liljukrans,' Landstad, p. 355; <b>B</b>, 15 sts, Landstad, p. 843; <b>C-S</b>, @@ -42029,7 +41989,7 @@ sts, Grundtvig, III, 824-25, partly; <b>E</b>, 22 sts; <b>F</b>, 11 sts; <b>G</b>, 27 sts; <b>H</b>, 13 sts; <b>I</b>, 7 sts; <b>K</b>, 4 sts, two printed, <i>ib.</i>, p. 824.<a name="FNanchor_1_351" id="FNanchor_1_351"></a><a href="#Footnote_1_351" class="fnanchor">[351]</a></p> -<p>Of these the Fre versions are nearest to the English. Olaf's mother +<p>Of these the Färöe versions are nearest to the English. Olaf's mother asks him whither he means to ride; his corselet is hanging in<span class="pagenum"><a name="Pg_1-375" id="Pg_1-375">[Pg 375]</a></span> the loft; <b>A</b>, <b>C</b>, <b>D</b>. "I am going to the heath, to course the hind," he says. "You are not going to course the hind; you are @@ -42049,7 +42009,7 @@ He leaned over and kissed her, though little mind had he to it: she was beguiling him, him so sick a man. His mother came out to meet him: "Why are you so pale, as if you had been in an elf-dance?" "I have been in an elf-dance," he said,<a name="FNanchor_1_352" id="FNanchor_1_352"></a><a href="#Footnote_1_352" class="fnanchor">[352]</a> went to bed, turned his face to the wall, -and was dead before midnight. His mother and his love (moy, vv) died +and was dead before midnight. His mother and his love (moy, vív) died thereupon.</p> <p>Distinct evidence of previous converse with elves is lacking in the @@ -42126,12 +42086,12 @@ time, through his translation and others.<a name="FNanchor_1_354" id="FNanchor_1 have not been given, now remain to be noted.</p> <p>The hero's name is mostly Oluf, Ole, or a modification of this, Wolle, -Rolig, Volder; sometimes with an appendage, as Fre lavur Riddarars, -Rsinkrans, Icelandic lafur Liljurs, Norwegian Olaf Liljukrans, etc. +Rolig, Volder; sometimes with an appendage, as Färöe Ólavur Riddararós, +Rósinkrans, Icelandic Ólafur Liljurós, Norwegian Olaf Liljukrans, etc. It is Peder in Danish <b>H</b>, <b>I</b>, <b>O</b>, <b>P</b>, <b>Q</b>, -<b>R</b>, <b></b>.</p> +<b>R</b>, <b>Æ</b>.</p> -<p>Excepting the Fre ballads, Oluf is not distinctly represented as +<p>Excepting the Färöe ballads, Oluf is not distinctly represented as having had previous acquaintance with the elves. In Swedish <b>A</b> 5 he says, I cannot dance with you, my betrothed has forbidden me; in Danish <b>C</b>, I should be very glad if I could; to-morrow is my @@ -42141,7 +42101,7 @@ wedding-day.</p> b</b>, <b>E</b>, <b>F</b>, <b>I</b>, <b>R</b>, <b>T</b>, <b>X</b>, <b>Y</b>; to bid guests to his wedding, Danish <b>B</b>, <b>C</b>, <b>D a</b>, <b>G</b>, <b>H</b>, <b>K-N</b>, <b>P</b>, <b>S</b>, <b>U</b>, -<b>V</b>, <b></b>, Norwegian <b>A</b>, <b>B</b>.</p> +<b>V</b>, <b>Ø</b>, Norwegian <b>A</b>, <b>B</b>.</p> <p>He falls in with dwarfs, Danish <b>A</b>, <b>H</b>, Norwegian <i>A</i>; trolds, Danish <b>I</b>; elves and dwarfs, Norwegian <b>B</b>, and a @@ -42149,13 +42109,13 @@ variation of <b>A</b>: elsewhere it is elves.</p> <p>There is naturally some diversity in the gifts which the elf offers Oluf in order to induce him to dance with her. He more commonly replies -that the offer is a handsome one, 'kan jeg vel f,' but dance with her +that the offer is a handsome one, 'kan jeg vel få,' but dance with her he cannot; sometimes that his true-love has already given him that, or two, three, seven such, Danish <b>D a</b>, <b>I</b>, <b>T</b>, <b>X</b>, <b>Y</b>.</p> <p>If he will not dance with her, the elf threatens him with sore -sickness, Danish <b>B</b>, <b>E</b>, <b>H</b>, <b>Z</b>, <b></b>, +sickness, Danish <b>B</b>, <b>E</b>, <b>H</b>, <b>Z</b>, <b>Ø</b>, Norwegian <b>A</b>, Swedish <b>E</b>, <b>F</b>; a great misfortune, Danish <b>F</b>, Swedish <b>A</b>; sharp knives, Danish <b>P</b>; it shall cost him his young life, Danish <b>D a, b</b>, <b>T</b>, <b>Y</b>.</p> @@ -42169,7 +42129,7 @@ his boots are full of blood, <b>D a</b> 15, <b>D b</b> 4, <b>G</b> 5, long that he is nigh dead, <b>I</b> 12.</p> <p>The hard choice between dying at once or lying sick seven years is -found, out of the Fre ballads, only in Danish <b>H</b> 8, <b>M</b> +found, out of the Färöe ballads, only in Danish <b>H</b> 8, <b>M</b> 8, <b>O</b> 4, <b>Q</b> 2, <b>S</b> 8. Norwegian ballads, like English <b>C</b>, present an option between living with elves and dying, essentially a repetition of the terms under which Peter of Staufenberg @@ -42245,7 +42205,7 @@ with a gold band, her wand, hand, a branch or twig; gives him a blow on the cheek, between the shoulders, over his white neck; stabs him in the heart, gives him knife-strokes five, nine; sickness follows the stroke, or blood: Danish <b>A</b>, <b>B</b>, <b>F</b>, <b>N</b>, <b>O</b>, -<b>R</b>, <b>V</b>, <b>Z</b>, <b></b>, <b></b>, Swedish <b>D</b>, +<b>R</b>, <b>V</b>, <b>Z</b>, <b>Æ</b>, <b>Ø</b>, Swedish <b>D</b>, <b>G</b>, Norwegian <b>A-E</b>, <b>H</b>, <b>I</b>, Icelandic. The knife-stabs are delayed till the elves have put him on his horse in Danish <b>D</b>, <b>G</b>, <b>X</b>; as he sprang to his horse the @@ -42256,7 +42216,7 @@ Danish <b>E</b>; his cheek pales, Danish <b>E</b>, Norwegian <b>A</b>; sickness follows him home, Swedish <b>A</b>, <b>C</b>, <b>D</b>, <b>E</b>; the blood is running out of the wound in his heart, Swedish <b>G</b>; when he reaches his father's house both his boots are full of -blood, Danish <b>R</b>, <b></b>.</p> +blood, Danish <b>R</b>, <b>Æ</b>.</p> <p>His mother [father] is standing without, and asks, Why so pale? Why runs the blood from thy saddle? Oluf, in some instances, pretends that @@ -42274,7 +42234,7 @@ is widowed before marriage, occupies some thirty stanzas in Dan<span class="page <b>A</b>, the oldest of all copies; in Danish <b>B</b> it is reduced to six; in other Danish versions it has a range of from fifteen to two; but, shorter or longer, it is found in all versions but <b>R</b>, -<b></b>, and the fragments <b>G</b>, <b>L</b>, <b>Q</b>, <b>X</b>, +<b>Ø</b>, and the fragments <b>G</b>, <b>L</b>, <b>Q</b>, <b>X</b>, <b>Z</b>. All the Swedish versions have a similar scene, extending from three to nine stanzas, with the exception of <b>G</b> and of <b>A</b>, which latter should perhaps be treated as a fragment. In Norwegian @@ -42286,7 +42246,7 @@ it, and probably other unpublished copies.</p> <b>I</b>, <b>K</b>, <b>N</b>, <b>O</b>, <b>S</b>, <b>T</b>, <b>U</b>, Swedish <b>A</b>, <b>D</b>. In Danish <b>A</b> Oluf begs his brothers, shortly after his reaching home, to set out to meet her; he fears she -may arrive that very night, Danish <b></b>. "What shall I answer your +may arrive that very night, Danish <b>Æ</b>. "What shall I answer your young bride?" asks the mother, Danish <b>B</b>, <b>C</b>, <b>D</b>, etc., Swedish <b>H</b>. "Tell her that I have gone to the wood, to hunt and shoot, to try my horse and my dogs," Danish <b>B</b>, <b>C</b>, @@ -42308,7 +42268,7 @@ comes, Danish <b>A</b>, Swedish <b>B</b>. In Danish <b>H</b>, though it is day, she sees a light burning in Oluf's chamber, and this alarms her. When she comes to the house, Oluf's mother is weeping, all the ladies are weeping, or there are other signs of grief, Danish <b>A</b>, -<b>C</b>, <b>H</b>, <b>U</b>, <b></b>. When she asks the reason, no +<b>C</b>, <b>H</b>, <b>U</b>, <b>Æ</b>. When she asks the reason, no one can answer, or she is told that a woman, a fair knight, is dead, <b>A</b>, <b>C</b>, <b>H</b>. Now she asks, Where is Oluf, who should have come to meet me, should have been here to receive me? Danish @@ -42323,9 +42283,9 @@ for that than for his bride?" Danish <b>A</b>, <b>D</b>, <b>I</b>, <b>E</b>, <b>G</b>.</p> <p>The truth is now avowed that Oluf is dead, Danish <b>A</b>, <b>D</b>, -<b>I</b>, <b>T</b>, <b>Y</b>, <b></b>, Swedish <b>B</b>, Norwegian +<b>I</b>, <b>T</b>, <b>Y</b>, <b>Æ</b>, Swedish <b>B</b>, Norwegian <b>G</b>. The bride begs that she may see the dead, Danish <b>A</b>, -<b>C</b>, <b>P</b>, <b></b>, Swedish <b>F</b>, Norwegian <b>D</b>, +<b>C</b>, <b>P</b>, <b>Æ</b>, Swedish <b>F</b>, Norwegian <b>D</b>, <b>E</b>, and makes her way to the room where Oluf is lying. She puts aside the cloths that cover him, or the curtains, or the flowers, Danish <b>A</b>, <b>B</b>, <b>K</b>, <b>V</b>, etc., Swedish <b>C</b>, @@ -42348,11 +42308,11 @@ I have seen the following, all from recent tradition: <b>A</b>, 16/17, fifty-seven and fifty-nine two-line stanzas. <b>B</b>, 'Ann Aotro Nann,' 'Le Seigneur Nann,' Luzel, <b>I</b>, 10/11, fifty-seven stanzas.<a name="FNanchor_1_356" id="FNanchor_1_356"></a><a href="#Footnote_1_356" class="fnanchor">[356]</a> <b>D</b>, 'Aotrou Nann hag ar Gorrigan,' 'Le Seigneur -Nann et la Fe,' Villemarqu, p. 25, ed. 1867, thirty-nine stanzas. -<b>E</b>, 'Monsieur Nann,' Posies populaires de la France, MS., +Nann et la Fée,' Villemarqué, p. 25, ed. 1867, thirty-nine stanzas. +<b>E</b>, 'Monsieur Nann,' Poésies populaires de la France, MS., V, fol. 381, fifty-three verses. <b>F</b>, 'Sonen Gertrud guet hi -Vam,' 'Chant de Gertrude et de sa Mre,' L. Krardven [== Dufilhol], -Guionvac'h, tudes sur la Bretagne, 2d ed., Paris, 1835, p. 362, p. 13, +Vam,' 'Chant de Gertrude et de sa Mère,' L. Kérardven [== Dufilhol], +Guionvac'h, Études sur la Bretagne, 2d ed., Paris, 1835, p. 362, p. 13, eleven four-line stanzas. <b>G</b>, Rolland in Romania, XII, 117, a somewhat abridged literal translation, in French.</p> @@ -42406,58 +42366,58 @@ case. The versions that have been made<span class="pagenum"><a name="Pg_1-380" i come to my knowledge, are as follows, resemblance to the Breton ballad principally directing the arrangement.</p> -<p><b>A.</b> 'Le fils Louis,' Vende, pays de Retz, Posies populaires de +<p><b>A.</b> 'Le fils Louis,' Vendée, pays de Retz, Poésies populaires de la France, MS., III, fol. 118, printed in Romania, XI, 100, 44 verses. <b>B.</b> Normandy, 1876, communicated by Legrand to Romania, X, 372, -61 verses. <b>C.</b> "Forez, Frdric Nolas, Annales de la Socit -impriale d'agriculture, industrie, sciences, arts et belles-lettres du -dpartement de la Loire, Anne 1865, p. 210, 64 verses," Grundtvig, IV, +61 verses. <b>C.</b> "Forez, Frédéric Noëlas, Annales de la Société +impériale d'agriculture, industrie, sciences, arts et belles-lettres du +département de la Loire, Année 1865, p. 210, 64 verses," Grundtvig, IV, 867-70. <b>D.</b> Victor Smith, Chants populaires du Velay et du Forez, Romania, X, 583, 68 verses. <b>E.</b> The same, p. 581, 64 verses. -<b>F.</b> Saint-Denis, Pos. pop. de la France, III, fol. 103, Romania, +<b>F.</b> Saint-Denis, Poés. pop. de la France, III, fol. 103, Romania, XI, 98, 74 verses, as sung by a young girl, her mother and grandmother. -<b>G.</b> Poitou et Vende, tudes historiques et artistiques par B. +<b>G.</b> Poitou et Vendée, Études historiques et artistiques par B. Fillon et O. De Rochbrune, 7<sup>e</sup>-10<sup>e</sup> livraisons, Fontenay-le-Comte, 1865, article Nalliers, pp 17, 18, nineteen four-line stanzas and a -couplet; before by B. Fillon in "L'Histoire vridique des fraudes et -excrables voleries et subtilits de Guillery, depuis sa naissance -jusqu' la juste punition de ses crimes, Fontenay, 1848," extracted -in Pos, pop., III, fol. 112; other copies at fol. 108 and at fol. -116; Romania, XI, 101, 78 verses. <b>H.</b> Bourbonnais, Pos. pop. +couplet; before by B. Fillon in "L'Histoire véridique des fraudes et +exécrables voleries et subtilités de Guillery, depuis sa naissance +jusqu'à la juste punition de ses crimes, Fontenay, 1848," extracted +in Poés, pop., III, fol. 112; other copies at fol. 108 and at fol. +116; Romania, XI, 101, 78 verses. <b>H.</b> Bourbonnais, Poés. pop. III, fol. 91, Romania, XI, 103, 38 verses, sung by a woman seventy-two -years old. <b>I.</b> Bretagne, Loudac, Pos. pop., III, fol. 121, -Romania, XI, 103 f, 64 verses. <b>J.</b> Pos. pop., III, fol. 285, +years old. <b>I.</b> Bretagne, Loudéac, Poés. pop., III, fol. 121, +Romania, XI, 103 f, 64 verses. <b>J.</b> Poés. pop., III, fol. 285, Romania, XII, 115 (I), 50 verses. <b>K.</b> Bretagne (?), Romania, XII, 115 f, 36 verses. <b>L.</b> V. Smith, Chants pop. du Velay et du -Forez, Romania, X, 582. 57 verses. <b>M.</b> 'Le roi Renaud,' Flvy, -Puymaigre, I, 39, 78 verses. <b>N.</b> Touraine, Blr, Brachet in +Forez, Romania, X, 582. 57 verses. <b>M.</b> 'Le roi Renaud,' Flévy, +Puymaigre, I, 39, 78 verses. <b>N.</b> Touraine, Bléré, Brachet in Revue Critique, II, 125, 60 verses. <b>O.</b> The same, variations of a later version. <b>P.</b> 'L'Arnaud l'Infant,' Limoges, Laforest, -Limoges au XVII<sup>e</sup> sicle, 1862, p. 300, Pos. pop., III, fol. 95, -Romania, XI, 104, 82 verses. <b>Q.</b> Charente, Pos. pop., III, fol. +Limoges au XVII<sup>e</sup> siècle, 1862, p. 300, Poés. pop., III, fol. 95, +Romania, XI, 104, 82 verses. <b>Q.</b> Charente, Poés. pop., III, fol. 107, Romania, XI, 99, 60 verses. <b>R.</b> Cambes, Lot-et-Garonne, Romania, XII, 116, 46 verses. <b>S.</b> Jura, Revue des Deux Mondes, -1854, Aot, p. 486, 50 verses. <b>T.</b> Rouen, Pos. pop. III, fol. +1854, Août, p. 486, 50 verses. <b>T.</b> Rouen, Poés. pop. III, fol. 100, Romania, XI, 102, 60 verses, communicated by a gentleman who at the beginning of the century had learned the ballad from an aunt, who -had received it from an aged nun. <b>U. a</b>, Buchon, Nols et Chants -populaires de la Franche-Comt, p. 85, 34 verses; <b>b</b>, Tarb, +had received it from an aged nun. <b>U. a</b>, Buchon, Noëls et Chants +populaires de la Franche-Comté, p. 85, 34 verses; <b>b</b>, Tarbé, Romancero de Champagne, Vol. II, Chants Populaires, p. 125, 32 verses; -<b>c</b>, G. de Nerval, La Bohme Galante, ed. 1866, p. 77, Les Filles +<b>c</b>, G. de Nerval, La Bohème Galante, ed. 1866, p. 77, Les Filles du Feu, ed. 1868, p. 130, 30 verses; <b>d</b>, 'Jean Renaud,' Bujeaud, Chants et Chansons populaires des Provinces de l'Ouest, II, 213, 32 -verses. <b>V.</b> Pos. pop., III, fol. 122, Romania, XI, 100 f, 32 -verses. <b>W.</b> Le Blsois, Ampre, Instructions, etc., p. 37, 36 -verses. <b>X.</b> Provence, Pos. pop., III, fol. 114, Romania, XI, -105, 44 verses. <b>Y.</b> 'Lou Counte Arnaud,' Bivs, Gers, Blad, -Pos. pop. de la Gascogne, II, 134/135, 48 verses. <b>Z.</b> Vagney, -Vosges, Mlusine, p. 75, 44 verses. <b>AA.</b> Cambes, Lot-et-Garonne, -Romania, XII, 116 f, 40 verses. <b>BB.</b> Quercy, Srignac, Pos. -pop., Romania, XI, 106, 34 verses. <b>CC.</b> Quercy, Pos. pop., -Romania, XI, 107, 26 verses. <b>DD.</b> Bretagne, Villemarqu, -Barzaz-Breiz, ed. 1846, I, 46, 12 verses. <b>EE.</b> Orlans, Pos. +verses. <b>V.</b> Poés. pop., III, fol. 122, Romania, XI, 100 f, 32 +verses. <b>W.</b> Le Blésois, Ampère, Instructions, etc., p. 37, 36 +verses. <b>X.</b> Provence, Poés. pop., III, fol. 114, Romania, XI, +105, 44 verses. <b>Y.</b> 'Lou Counte Arnaud,' Bivès, Gers, Bladé, +Poés. pop. de la Gascogne, II, 134/135, 48 verses. <b>Z.</b> Vagney, +Vosges, Mélusine, p. 75, 44 verses. <b>AA.</b> Cambes, Lot-et-Garonne, +Romania, XII, 116 f, 40 verses. <b>BB.</b> Quercy, Sérignac, Poés. +pop., Romania, XI, 106, 34 verses. <b>CC.</b> Quercy, Poés. pop., +Romania, XI, 107, 26 verses. <b>DD.</b> Bretagne, Villemarqué, +Barzaz-Breiz, ed. 1846, I, 46, 12 verses. <b>EE.</b> Orléans, Poés. pop., III, fol. 102, Romania, XI, 107, 10 verses. <b>FF.</b> Auvergne, -Pos, pop., III, fol. 89, Romania, XI, 107 f, 6 verses. <b>GG.</b> +Poés, pop., III, fol. 89, Romania, XI, 107 f, 6 verses. <b>GG.</b> Boulonnais, 'La Ballade du Roi Renaud,' E. Hamy, in Almanach de Boulogne-sur-Mer pour 1863, p. 110 (compounded from several versions), 16 four-line stanzas.<a name="FNanchor_1_360" id="FNanchor_1_360"></a><a href="#Footnote_1_360" class="fnanchor">[360]</a></p> @@ -42477,13 +42437,13 @@ older fairy. He is mortally hurt, while hunting, by a wolf, <b>B</b>; by a boar, <b>DD</b>. But in more than twenty versions he returns from war, often with a horrible wound, "apportant son cœur dans sa main," <b>C</b>; "tenant ses tripes dans ses mains," <b>N</b>; "oque -ses tripes on sa main, sen estoumac on sen chapea, sen cr covert de +ses tripes on sa main, sen estoumac on sen chapea, sen cûr covert de sen mentea," <b>G</b>; etc. In <b>F</b>, <b>I</b>, <b>J</b> he comes home in a dying state from prison (to which he was consigned, according to <b>I</b>, for robbing a church!). In these versions the story is confused with that of another ballad, existing in Breton, and very likely in French, 'Komt ar Chapel,' 'Le Comte des Chapelles,' Luzel, -I, 456/457, or 'Le Page de Louis XIII,' Villemarqu, Barzaz-Breiz, p. +I, 456/457, or 'Le Page de Louis XIII,' Villemarqué, Barzaz-Breiz, p. 301. A fragment of a corresponding Italian ballad is given by Nigra, Romania, XI, 397, No 9.</p> @@ -42491,7 +42451,7 @@ Romania, XI, 397, No 9.</p> et chagrin, <b>F</b>, <b>P</b>, <b>U b, c</b>, triste et bien malau <b>Y</b>, receives on his arriving felicitations from his mother on account of the birth of a son. He has no heart to respond to these: "Ni -de ma femme, ni de mon fils, je ne saurais me rjoui." He asks that +de ma femme, ni de mon fils, je ne saurais me réjoui." He asks that his bed may be made, with precautions against his wife's hearing. At midnight he is dead.</p> @@ -42511,7 +42471,7 @@ It is a procession, making the tour of the house: <b>B</b>, <b>D-F</b>, church?" Black is the color for women at their churching, <b>B</b>, <b>F</b>, <b>I</b>, <b>L</b>, <b>M</b>, <b>O</b>, <b>P</b>, <b>V</b>, <b>Y</b>; black is more becoming, plus joli, plus convenant, plus -consquent, <b>A</b>, <b>D</b>, <b>H</b>, <b>K</b>, <b>N</b>, <b>R</b>, +conséquent, <b>A</b>, <b>D</b>, <b>H</b>, <b>K</b>, <b>N</b>, <b>R</b>, <b>X</b>, <b>BB</b>, <b>DD</b>, <b>GG</b>; "quittez le ros', quittez le gris, prenez le noir, pour mieux choisir," etc., <b>Q</b>, <b>W</b>, <b>U</b>, <b>E</b>, <b>S</b>, <b>T</b>.</p> @@ -42587,7 +42547,7 @@ above, p. 84, Rivista di Filologia romanza, II, 196, 36 verses. All these are from recent tradition.</p> <p>The name Rinaldo, Rinald, is found only in <i>I</i>, <b>C</b>, and the -latter has also Lis. Lis is the name in <b>E</b>; Carlino, Carlin, in +latter has also Lüis. Lüis is the name in <b>E</b>; Carlino, Carlin, in <b>J</b>, <b>H</b>; Angiolino, Anzolin, <b>L</b>, <b>G</b>; Cagnolino, <b>M</b>. The rank is king in <b>C</b>, <b>E</b>, <b>H-K</b>; prince, <b>D</b>; count, <b>G</b>, <b>L</b>, <b>M</b>.</p> @@ -42595,19 +42555,19 @@ latter has also Lis. Lis is the name in <b>E</b>; Carlino, Carlin, in <p><b>A</b> and <b>B</b>, corrupted fragments though they be, retain clear traces of the ancient form of the story, and of the English variety of that form. Under the bridge of the Rella [Diamantina] a woman is -washing clothes, gh' 'na lavandera. A knight passes, <b>B</b>, and +washing clothes, gh' è 'na lavandera. A knight passes, <b>B</b>, and apparently accosts the laundress. She moves into the water, and the knight after her; the knight embraces her, <b>A</b>. Dowy rade he -hame, el va a c tto moj, <b>A</b>. In <b>B</b> (passing over some +hame, el va a cà tüto mojà, <b>A</b>. In <b>B</b> (passing over some verses which have intruded) he has many knife-stabs, and his horse many also.<a name="FNanchor_1_362" id="FNanchor_1_362"></a><a href="#Footnote_1_362" class="fnanchor">[362]</a> He asks his mother to put him to bed and his horse into the stable, and gives directions about his funeral.</p> <p>All of the story which precedes the hero's return home is either omitted, <b>D</b>, <b>F</b>, <b>J</b>, <b>K</b>, <b>L</b>, or abridged -to a single stanza: ven da la cassa lo re Rinald, ven da la cassa, l' -tt fer, <b>C</b>; ven da la guerra re Rinaldo, ven da la guerra, l' -tt fer, <b>I</b>, <b>E</b>, <b>H</b>; save that <b>G</b>, which like +to a single stanza: ven da la cassa lo re Rinald, ven da la cassa, l'è +tüt ferì, <b>C</b>; ven da la guerra re Rinaldo, ven da la guerra, l'è +tüt ferì, <b>I</b>, <b>E</b>, <b>H</b>; save that <b>G</b>, which like <b>C</b> makes him to have been hunting (and to have been bitten by a mad dog), adds that, while he was hunting, his wife had given birth to a boy. <b>M</b> has an entirely false beginning: Count Cagnolino was @@ -42638,7 +42598,7 @@ A great lord is dead; in honor of somebody or something; <b>C</b>, <b>G</b>, <b>L</b>. What dress shall I put on to go to church? [When I get up I shall put on red, <b>F</b>, <b>I</b>.] You in black and I in gray, as in our country is the way, <b>C-F</b>, <b>H</b>, <b>I</b> -[<b>H</b> moda a <i>Paris</i>, by corruption of dl pais]; I white, you +[<b>H</b> moda a <i>Paris</i>, by corruption of dël pais]; I white, you gray, <b>J</b>; you will look well in black, <b>M</b>; put on red, or put on white, or put on black for custom's sake, <b>G</b>.</p> @@ -42654,7 +42614,7 @@ is corrupted in others. The widow commends her boy to her husband's mother, <b>G</b>, <b>M</b>, and says she will die with her dear one, <b>D</b>, <b>E</b>, <b>J</b>, <b>M</b>. In <b>C</b>, as in French <b>V</b>, she wishes to speak to her husband. If the dead ever spake -to the quick, she would speak once to her dear Lis; if the quick +to the quick, she would speak once to her dear Lüis; if the quick ever spake to the dead, she would speak once to her dear husband. In <b>G</b> she bids the grave unlock, that she may come into the arms of her beloved, and then bids it close, that in his arms she may stay: cf. @@ -42696,11 +42656,11 @@ that he can just drag himself home to die.</p> been found in Asturias. Since it is also known in Portugal, we may presume that it might be recovered in other parts of the peninsula. <b>A.</b> 'La bona viuda,' Briz, Cansons de la Terra, III, 155, 32 -verses. <b>B.</b> 'La Viuda,' 33 verses, Mil y Fontanals, Romancerillo +verses. <b>B.</b> 'La Viuda,' 33 verses, Milá y Fontanals, Romancerillo Catalan, 2d ed., p. 155, No 204. <b>C-I</b>. <i>Ib.</i> p. 156 f. <b>J.</b> -<i>Ib.</i> p. 157 f, No 204, 36 verses. <b>K.</b> 'Romance de Doa Ana,' +<i>Ib.</i> p. 157 f, No 204, 36 verses. <b>K.</b> 'Romance de Doña Ana,' Asturias, the argument only, Amador de los Rios, Historia Critica de la -Literatura Espaola, VII, 446, being No 30 of that author's unpublished +Literatura Española, VII, 446, being No 30 of that author's unpublished collection.</p> <p>The name of the husband is Don Joan de Sevilla, <b>D</b>, Don Joan, @@ -42727,7 +42687,7 @@ tradesfolk after forty days, etc.; she, as a great lady, will wait a year and a day, <b>A</b>, <b>D</b>, <b>I</b>, a year, <b>B</b>, a year and ten days, <b>J</b>. What dress should she wear, silk, gold tissue, silver? etc. Black would become her best, <b>A</b>, <b>J</b>, -<b>K</b>. [Doa Ana, in <b>K</b>, like the lady in Italian <b>G</b>, +<b>K</b>. [Doña Ana, in <b>K</b>, like the lady in Italian <b>G</b>, resists the suggestion of mourning, as proper only for a widow, and appears in a costume de Pascua florida: in some other copies also she seems to wear a gay dress.] The people, the children, point to @@ -42740,7 +42700,7 @@ mother's explanation follow upon the children's talk. In <b>K</b> the announcement is made first by a shepherd, then confirmed by gaping spectators and by a rejected lover. The widow commends her child to its grandmother, and says she will go to her husband in heaven, <b>A-D</b>; -dies on the spot, <b>K</b>; Don Francisco dies in March, Doa Ana in +dies on the spot, <b>K</b>; Don Francisco dies in March, Doña Ana in May, <b>J</b>.</p> <p>'Don Joan y Don Ramon' is a ballad in which a young man returns to his @@ -42748,7 +42708,7 @@ mother mortally wounded, and therefore would be likely to blend in the memory of reciters with any other ballad in which the same incident occurred. A version from the Balearic Islands may be put first, which has not yet taken up any characteristic part of the story of Renaud: -Recuerdos y Bellezas de Espaa, Mallorca, p. 336, 1842 == Mil, 1853, p. +Recuerdos y Bellezas de España, Mallorca, p. 336, 1842 == Milá, 1853, p. 114, No 15, Briz, III, 172; Die Balearen in Wort und Bild geschildert, by the Archduke Ludwig Salvator, Leipzig, 1871, II, 556.<a name="FNanchor_1_364" id="FNanchor_1_364"></a><a href="#Footnote_1_364" class="fnanchor">[364]</a></p> @@ -42764,43 +42724,43 @@ Eulalia; lay a sword crosswise over my grave, and if it is asked who killed me, let the answer be, Don Joan de la cassada."</p> <p>There are numerous Catalan versions, and most of them add something -to this story: Mil, 2d ed., 'El guerrero mal herido,' p. 171, No +to this story: Milá, 2d ed., 'El guerrero mal herido,' p. 171, No 210, <b>A-F</b>, <b>A<sub>1</sub>-G<sub>1</sub></b>, <b>A<sub>11</sub></b>; Briz, III, 171 f, two copies. These disagree considerably as to the cause of the hero's -death, and the names are not constant. In <b>A<sub>1</sub></b> of Mil, as in +death, and the names are not constant. In <b>A<sub>1</sub></b> of Milá, as in the Balearic ballad, Don Joan and Don Ramon are coming from the chase, and have a passage at lances; Don Joan is left dead, and Don Ramon is -little short of it. <b>A</b>, <b>B</b>, of Mil, tell us that Don Pedro +little short of it. <b>A</b>, <b>B</b>, of Milá, tell us that Don Pedro died on the field of battle and Don Joan came home mortally wounded. <b>E</b> says that Don Joan and Don Ramon come from the chase, but Don Joan immediately says that he comes from a great battle. It is battle -in <b>F<sub>1</sub></b>, in <b>E<sub>1</sub></b> (with Gast returning), and in both +in <b>F<sub>1</sub></b>, in <b>E<sub>1</sub></b> (with Gastó returning), and in both the Catalan copies of Briz, the hero being Don Joan in the first of these last, and in the other nameless. The wounded man says he has -been badly bled, Mil, <b>A</b>, <b>B</b>, <b>A<sub>1</sub></b>, <b>C<sub>1</sub></b>, +been badly bled, Milá, <b>A</b>, <b>B</b>, <b>A<sub>1</sub></b>, <b>C<sub>1</sub></b>, Briz 2; he and his horse have lance wounds fifty-nine, thirty-nine, -twenty-nine, etc., the horse nine and he the rest, Mil, <b>A</b>, +twenty-nine, etc., the horse nine and he the rest, Milá, <b>A</b>, <b>B</b>, <b>E</b>, <b>A<sub>1</sub></b>, Briz 1. His mother informs him that his wife has borne a child, "a boy like the morning star," Briz 1, and says that if he will go to the best chamber he will find her surrounded by dames and ladies. This gives him no pleasure; he does not care for -wife, nor dames, nor ladies, nor boys, nor morning stars: Briz 1, Mil, -<b>A<sub>1</sub>-G<sub>1</sub></b>. He asks to have his bed made, Mil, <b>A-D</b>, +wife, nor dames, nor ladies, nor boys, nor morning stars: Briz 1, Milá, +<b>A<sub>1</sub>-G<sub>1</sub></b>. He asks to have his bed made, Milá, <b>A-D</b>, <b>B<sub>1</sub></b>, <b>C<sub>1</sub></b>, Briz 1, 2, for he shall die at midnight and his horse at dawn, <b>A-D</b>, <b>A<sub>1</sub></b>, Briz 2, and gives directions for his burial and that of his horse. Let the bells toll when he is dead, and when people ask for whom it is, the answer will -be, For Don Joan, Briz 1, Gast, Mil, <b>E<sub>1</sub></b>, who was killed in +be, For Don Joan, Briz 1, Gastó, Milá, <b>E<sub>1</sub></b>, who was killed in battle. Let his arms be put over the place where his horse is buried, and when people ask whose arms they are his mother will say, My son's, -who died in battle, Mil <b>A</b>, <b>B<sub>1</sub></b>. Let a drawn sword be +who died in battle, Milá <b>A</b>, <b>B<sub>1</sub></b>. Let a drawn sword be laid across his grave, and let those that ask who killed him be told, -Don Joan, at the chase, Mil, <b>A<sub>1</sub></b>.<a name="FNanchor_1_365" id="FNanchor_1_365"></a><a href="#Footnote_1_365" class="fnanchor">[365]</a></p> +Don Joan, at the chase, Milá, <b>A<sub>1</sub></b>.<a name="FNanchor_1_365" id="FNanchor_1_365"></a><a href="#Footnote_1_365" class="fnanchor">[365]</a></p> <p>We have, probably, to do with two different ballads here, versions -<b>A-F</b> of Mil's 'Guerrero mal herido,' and Briz's second, +<b>A-F</b> of Milá's 'Guerrero mal herido,' and Briz's second, belonging with 'Don Joan y Don Ramon,' while <b>A<sub>1</sub>-G<sub>1</sub></b> of -Mil, and Briz's first, represent a ballad of the Renaud class. It is, +Milá, and Briz's first, represent a ballad of the Renaud class. It is, however, possible that the first series may be imperfect copies of the second.</p> @@ -42832,9 +42792,9 @@ makes the interest turn upon the gradual discovery of the hero's death, but in other respects agrees with northern tradition.</p> <p><b>Bohemian.</b> <b>A a.</b> Erben, p. 473, No 9, Heřman a -Dornička == Waldau, Bhmische Granaten, I, 73, No 100; <b>b.</b> +Dornička == Waldau, Böhmische Granaten, I, 73, No 100; <b>b.</b> Čelakowsky, I, 26 == Haupt u. Schmaler, I, 327. <b>B.</b> Erben, p. -475. <b>C.</b> Moravian, Sušil, p. 82, No 89 a, 'Nešt'astn +475. <b>C.</b> Moravian, Sušil, p. 82, No 89 a, 'Nešt'astná svatba,' 'The Doleful Wedding.' <b>D.</b> Sušil, p. 83, No 89 b. <b>E.</b> Slovak, Čelakowsky, I, 80.</p> @@ -42850,7 +42810,7 @@ him not to go himself with the bridal escort. Obviously she has a premonition of misfortune. Herman will never invite guests, and not go for them. The mother, in an access of passion, exclaims, If you go, may you break your neck, and never come back! Here we are reminded of -the Fre ballad. Bohemian <b>C</b>, <b>D</b> make the forebodings to +the Färöe ballad. Bohemian <b>C</b>, <b>D</b> make the forebodings to rise in Herman's mind, not in his mother's. The mother opposes the match in Bohemian <b>E</b>, and the sister wishes that he may break his neck. Wendish <b>A</b> has nothing of opposition or bodement before @@ -43251,7 +43211,7 @@ into Colin.</p></div> <p><a name="Footnote_1_346" id="Footnote_1_346"></a><a href="#FNanchor_1_346"><span class="label">[346]</span></a> Still, though these <i>particular verses</i> appear to have come from 'The Drowned Lovers,' they may represent other original ones which were to the same effect. See, further on, the beginning of some -Fre versions.</p></div> +Färöe versions.</p></div> <div class="footnote"> @@ -43265,14 +43225,14 @@ immiscuerunt. Des Gervasius von Tilbury Otia Imperialia (of about <div class="footnote"> <p><a name="Footnote_1_348" id="Footnote_1_348"></a><a href="#FNanchor_1_348"><span class="label">[348]</span></a> Der Ritter von Stauffenberg, from a MS. of perhaps -1437, C. M. Engelhardt, Strassburg, 1823. Edited by Oskar Jnicke, in -Altdeutsche Studien von O. Jnicke, E. Steinmeyer, W. Wilmanns, Berlin, +1437, C. M. Engelhardt, Strassburg, 1823. Edited by Oskar Jänicke, in +Altdeutsche Studien von O. Jänicke, E. Steinmeyer, W. Wilmanns, Berlin, 1871. Die Legende vom Ritter Herrn Peter Diemringer von Staufenberg in der Ortenau, reprint by F. Culemann of the Strassburg edition of Martin Schott, 1480-82. The old printed copy was made over by Fischart in 1588 (Jobin, Strassburg, in that year), and this 'ernewerte Beschreibung der alten Geschicht' is rehashed in seven 'Romanzen' in Wunderhorn, I, -407-18, ed. 1806, 401-12, ed. 1853. Simrock, Die deutschen Volksbcher, +407-18, ed. 1806, 401-12, ed. 1853. Simrock, Die deutschen Volksbücher, III, 1-48.</p></div> <div class="footnote"> @@ -43283,9 +43243,9 @@ Umgegend, Carlsruhe, 1834, pp 107-122.</p></div> <div class="footnote"> <p><a name="Footnote_1_350" id="Footnote_1_350"></a><a href="#FNanchor_1_350"><span class="label">[350]</span></a> Separately printed, under the title, Elveskud, dansk, -svensk, norsk, frsk, islandsk, skotsk, vendisk, bmisk, tysk, fransk, +svensk, norsk, færøsk, islandsk, skotsk, vendisk, bømisk, tysk, fransk, italiensk, katalonsk, spansk, bretonsk Folkevise, i overblik ved Svend -Grundtvig. Kjbenhavn, 1881.</p></div> +Grundtvig. Kjøbenhavn, 1881.</p></div> <div class="footnote"> @@ -43293,7 +43253,7 @@ Grundtvig. Kjbenhavn, 1881.</p></div> <div class="footnote"> -<p><a name="Footnote_1_352" id="Footnote_1_352"></a><a href="#FNanchor_1_352"><span class="label">[352]</span></a> In 'Jomfruen og Dvrgekongen,' <b>C</b> 25, 26, +<p><a name="Footnote_1_352" id="Footnote_1_352"></a><a href="#FNanchor_1_352"><span class="label">[352]</span></a> In 'Jomfruen og Dværgekongen,' <b>C</b> 25, 26, Grundtvig, No 37, the woman who has been carried off to the hill, wishing to die, asks that atter-corns may be put into her drink. She evidently gets, however, only the villar-konn, elvar-konn, of Landstad, @@ -43313,7 +43273,7 @@ the elf-flame, elvelogi.</p></div> <div class="footnote"> -<p><a name="Footnote_1_354" id="Footnote_1_354"></a><a href="#FNanchor_1_354"><span class="label">[354]</span></a> Grundtvig remarks that Herder's translation, 'Erlknigs +<p><a name="Footnote_1_354" id="Footnote_1_354"></a><a href="#FNanchor_1_354"><span class="label">[354]</span></a> Grundtvig remarks that Herder's translation, 'Erlkönigs Tochter,' Volkslieder, II, 158, took so well with the Germans that at last it came to pass for an original German ballad. The Wunderhorn, I, 261, ed. 1806, gives it with the title, 'Herr Olof,' as from a flying @@ -43326,7 +43286,7 @@ there, set to a "North German" and to a "Westphalian" air, p. 8, p. 9.</p></div> <div class="footnote"> <p><a name="Footnote_1_355" id="Footnote_1_355"></a><a href="#FNanchor_1_355"><span class="label">[355]</span></a> Owing to a close resemblance of circumstances in 'The -Elf-shot,' in 'Frillens Hvn' ('The Leman's Wreak'), Grundtvig, No 208, +Elf-shot,' in 'Frillens Hævn' ('The Leman's Wreak'), Grundtvig, No 208, and in 'Ribold og Guldborg,' Grundtvig, No 82, these ballads naturally have details in common. The pretence that the horse was not sure-footed and hurtled his rider against a tree; the request to mother, father, @@ -43335,8 +43295,8 @@ for a priest, etc.; the testament, the assignment of the bride by the dying man to his brother, and her declaration that she will never give her troth to two brothers; and the nearly simultaneous death of hero, bride, and mother, occur in many versions of both Elveskud and -Ribold, and most of them in Frillens Hvn. A little Danish ballad, 'Hr. -Olufs Dd,' cited by Grundtvig, IV, 847, seems to be Elveskud with the +Ribold, and most of them in Frillens Hævn. A little Danish ballad, 'Hr. +Olufs Død,' cited by Grundtvig, IV, 847, seems to be Elveskud with the elf-shot omitted.</p></div> <div class="footnote"> @@ -43362,7 +43322,7 @@ Observations, prefixed to the volume, expresses a conjecture that it must have been altered from <i>droged</i>, robe d'enfant, robe de femme, but we evidently want a color. Grundtvig remarks that <i>broget</i> would make sense in Danish, where it means party-colored. Scotch <i>broakit</i> -is black and white. Icelandic <i>brk</i>, tartan, party-colored cloth, is +is black and white. Icelandic <i>brók</i>, tartan, party-colored cloth, is said to be from Gaelic <i>breac</i>, versicolor (Vigfusson). This points to a suitable meaning for Breton <i>broget</i>.</p></div> @@ -43376,10 +43336,10 @@ and then took flight for the skies."</p></div> <div class="footnote"> <p><a name="Footnote_1_360" id="Footnote_1_360"></a><a href="#FNanchor_1_360"><span class="label">[360]</span></a> It will be observed that some of the Renaud ballads -in the Posies populaires de la France were derived from earlier +in the Poésies populaires de la France were derived from earlier publications: such as were communicated by collectors appear to have been sent in in 1852 or 1853. The versions cited by Rathery, -Revue Critique, II, 287 ff, are all from the MS. Posies populaires. +Revue Critique, II, 287 ff, are all from the MS. Poésies populaires. <b>BB</b>, <b>CC</b> have either been overlooked by me in turning over the first five volumes, or occur in vol. vi, which has not yet been received. <b>GG</b> came to hand too late to be ranked at its proper @@ -43392,19 +43352,19 @@ austerely: </p> <div class="poem"><div class="stanza"> -<span class="i0">Vous aurez plutt trouv un mari<br /></span> -<span class="i0">Que moi je n'aurai trouv un fils.<br /></span> +<span class="i0">Vous aurez plutôt trouvé un mari<br /></span> +<span class="i0">Que moi je n'aurai trouvé un fils.<br /></span> </div></div> <p> So <b>E</b>, nearly. A mother makes a like remark to the betrothed of a dead son in the Danish ballad of 'Ebbe Tygesen,' Grundtvig, Danske -Kmpeviser og Folkesange, fornyede i gammel Stil, 1867, p. 122, st. 14. +Kæmpeviser og Folkesange, fornyede i gammel Stil, 1867, p. 122, st. 14. <b>F</b> and <b>T</b> conclude with these words of the wife: </p> <div class="poem"><div class="stanza"> -<span class="i0">'Ma mre, dites au fossoyeur<br /></span> +<span class="i0">'Ma mère, dites au fossoyeur<br /></span> <span class="i0">Qu'il creuse une fosse pour deux;<br /></span> <span class="i0">'Et que l'espace y soit si grand<br /></span> <span class="i0">Que l'on y mette aussi l'enfant.'<br /></span> @@ -43441,7 +43401,7 @@ sixteenth century. Die Balearen, etc., is cited after Grundtvig.</p></div> <div class="footnote"> -<p><a name="Footnote_1_365" id="Footnote_1_365"></a><a href="#FNanchor_1_365"><span class="label">[365]</span></a> I do not entirely understand Professor Mil's +<p><a name="Footnote_1_365" id="Footnote_1_365"></a><a href="#FNanchor_1_365"><span class="label">[365]</span></a> I do not entirely understand Professor Milá's arrangement of those texts which he has not printed in full, and it is very likely that more of his copies than I have cited exhibit some of the traits specified.</p></div></div> @@ -43529,7 +43489,7 @@ of pleasant perfume in <b>F</b> 9, they serve only to prove that the lady had been there. An excrescence on the dog-rose, rosenschwamm, schlafkunz, kunz, schlafapfel, it is believed in Germany, if laid under a man's pillow, will make him sleep till it is taken away. Grimm, -Deutsche Mythologie, p. 1008, and Deutsches Wrterbuch (Hildebrand), V, +Deutsche Mythologie, p. 1008, and Deutsches Wörterbuch (Hildebrand), V, 2753 <i>e</i>.</p> <p><b>C</b> makes the lady hide in the broom to hear what the knight @@ -43549,9 +43509,9 @@ buckishness of the broadside does not necessarily make an impression. the broom on a man's head and feet, according to a witch's advice, is brought about in two Norse ballads by means not simply occult, but altogether preternatural; that is, by the power of runes. One of -these, 'Smn-runorna,' Arwidsson, II, 249, No 133, is preserved in +these, 'Sömn-runorna,' Arwidsson, II, 249, No 133, is preserved in a manuscript of the end of the seventeenth, or the beginning of the -eighteenth, century. The other, 'Svnerunerne,' Grundtvig, II, 337, No +eighteenth, century. The other, 'Sövnerunerne,' Grundtvig, II, 337, No 81, was taken down in 1847 from the singing of a woman seventy-five years of age.</p> @@ -43619,7 +43579,7 @@ ed. Oesterley, pp 57-59; Herbers, Li Romans de Dolopathos, Brunet et Montaiglon, vv 7096-7498, pp 244-59; Le Roux de Lincy, in a sequel to Loiseleur-Deslongchamps's Essai sur les Fables indiennes, pp 211 ff. This form of the tale is found in German, in a fifteenth-century -manuscript, from which it was printed by Haupt in Altdeutsche Bltter, +manuscript, from which it was printed by Haupt in Altdeutsche Blätter, I, 143-49; but here the sleep is produced by the use of <i>both</i> the means employed in the Gesta and in Dolopathos, letter (runes) and feather, "the wild man's feather."<a name="FNanchor_1_370" id="FNanchor_1_370"></a><a href="#Footnote_1_370" class="fnanchor">[370]</a></p> @@ -43630,25 +43590,25 @@ Giovanni Fiorentino, Giornata, IV<sup>a</sup>, Nov. 1_{a} (last quarter of the fourteenth century). Upon the third trial the man, warned by a friendly chambermaid not to drink, pours the medicated wine into his bosom. The account of Ser Giovanni is adopted in Les Adventures d'Abdalla fils -d'Hanif, etc., La Haye, 1713, Bibliothque de Romans, 1778, Janvier, I, +d'Hanif, etc., La Haye, 1713, Bibliothèque de Romans, 1778, Janvier, I, 112-14, 143 f.</p> <p>Ellin writes sleep-runes on the cushions on which her husband is to -sleep, in the Danish ballad 'Frndehvn,' Grundtvig, No 4, <b>A</b> 33 +sleep, in the Danish ballad 'Frændehævn,' Grundtvig, No 4, <b>A</b> 33 [<b>C</b> 45].</p> <p>In Icelandic tales a sleep-thorn<a name="FNanchor_1_371" id="FNanchor_1_371"></a><a href="#Footnote_1_371" class="fnanchor">[371]</a> is employed, probably a thorn inscribed with runes. The thorn is stuck into the clothes or into the head (the ears, according to the popular notion, Vigfusson), and the sleep lasts till the thorn is taken out. Odin stuck such a thorn into -Brynhild's garments: Ffnisml, 43; Sigrdrfuml, 7; Vlsnga Saga, -Fornaldar Sgur, I, 166. The thorn is put into the clothes also in -the Icelandic fairy-tale, Mrll, Maurer, Islndische Volkssagen, -p. 286. lf, to save herself from Helgi's violence, and to punish +Brynhild's garments: Fáfnismál, 43; Sigrdrífumál, 7; Völsúnga Saga, +Fornaldar Sögur, I, 166. The thorn is put into the clothes also in +the Icelandic fairy-tale, Mærþöll, Maurer, Isländische Volkssagen, +p. 286. Ólöf, to save herself from Helgi's violence, and to punish his insolence, sticks him with a sleep-thorn after he is dead drunk: -Hrlfs<span class="pagenum"><a name="Pg_1-393" id="Pg_1-393">[Pg 393]</a></span> Saga Kraka, Forn. S. I, 18f, Torfus, p. 32. Vilhjlmr sticks a -sleep-thorn into Hrlfr, and he lies as if dead so long as the thorn is -in him: Gaungu-Hrlfs Saga, Forn. S., III, 303, 306.</p> +Hrólfs<span class="pagenum"><a name="Pg_1-393" id="Pg_1-393">[Pg 393]</a></span> Saga Kraka, Forn. S. I, 18f, Torfæus, p. 32. Vilhjálmr sticks a +sleep-thorn into Hrólfr, and he lies as if dead so long as the thorn is +in him: Gaungu-Hrólfs Saga, Forn. S., III, 303, 306.</p> <p>A pillow of soporific quality, which Kamele, by Isot's direction, puts under Kaedin's head, assures her safety though she lies all night by @@ -43687,7 +43647,7 @@ indegna.' <b>I.</b> Ferraro, C. p. della Bassa Romagna, Rivista di Letteratura popolare, p. 57, 'La Ragazza onesta.' <b>J.</b> Casetti e Imbriani, C. p. della Provincie meridionali, p. 1, No 1 (Chieti), the first sixteen verses. <b>K.</b> Archivio per Tradizioni popolari, I, -89, No 4, 'La Fandll e lu Cavalre,' the first thirteen lines.</p> +89, No 4, 'La Fandéll e lu Cavalére,' the first thirteen lines.</p> <p>'The Sleepy Merchant,' a modern ballad, in Kinloch's MSS, V, 26, was perhaps fashioned on some traditional report of the story in Il @@ -43702,22 +43662,22 @@ some connection with those which we are considering. A hunter meets a girl on the heath, and takes her with him to his hut, where they pass the night. She rouses him in the morning, and proclaims herself still a maid. The hunter is so chagrined that he is of a mind to kill -her, but spares her life. 'Der Jger,' 'Der ernsthafte Jger,' 'Des -Jgers Verdruss,' 'Der Jger und die reine Jungfrau,' 'Der verschlafene -Jger:' Meinert, p. 203; Wunderhorn, 1857, I, 274, Birlinger u. -Crecelius, I, 190; Bsching u. von der Hagen, p. 134, No 51; Nicolai, +her, but spares her life. 'Der Jäger,' 'Der ernsthafte Jäger,' 'Des +Jägers Verdruss,' 'Der Jäger und die reine Jungfrau,' 'Der verschlafene +Jäger:' Meinert, p. 203; Wunderhorn, 1857, I, 274, Birlinger u. +Crecelius, I, 190; Büsching u. von der Hagen, p. 134, No 51; Nicolai, Almanach, I, 77 (fragment); Erk u. Irmer, ii, 12, No 15; Meier, p. 305, -No 170; Prhle, No 54, p. 81; Fiedler, p. 175; Erk, Liederhort, pp +No 170; Pröhle, No 54, p. 81; Fiedler, p. 175; Erk, Liederhort, pp 377 f, Nos 174, 174<sup>a</sup>; Hoffmann u. Richter, p. 202, No 176; Ditfurth, -Frnkische Volkslieder, II, 26 f, Nos 30, 31; Norrenberg, Des dlkener -Fiedlers Liederbuch, No 16, p. 20; J. A. E. Khler, Volksbrauch im -Voigtlande, p. 307; Jeitteles, Volkslied in Steiermark, Archiv fr Lit. +Fränkische Volkslieder, II, 26 f, Nos 30, 31; Norrenberg, Des dülkener +Fiedlers Liederbuch, No 16, p. 20; J. A. E. Köhler, Volksbrauch im +Voigtlande, p. 307; Jeitteles, Volkslied in Steiermark, Archiv für Lit. gesch., IX, 361, etc.; Uhland, No 104, Niederdeutsches Liederbuch, No -59, 'vermuthlich vom Eingang des 17.<span class="pagenum"><a name="Pg_1-394" id="Pg_1-394">[Pg 394]</a></span> Jhd.' Cf. Die Meget, Flemish, -Bsching u. von der Hagen, p. 311; Willems, p. 160, No 61.<a name="FNanchor_1_372" id="FNanchor_1_372"></a><a href="#Footnote_1_372" class="fnanchor">[372]</a></p> +59, 'vermuthlich vom Eingang des 17.<span class="pagenum"><a name="Pg_1-394" id="Pg_1-394">[Pg 394]</a></span> Jhd.' Cf. Die Mâeget, Flemish, +Büsching u. von der Hagen, p. 311; Willems, p. 160, No 61.<a name="FNanchor_1_372" id="FNanchor_1_372"></a><a href="#Footnote_1_372" class="fnanchor">[372]</a></p> <p><b>A a</b> is translated by Doenniges, p. 3; by Gerhard, p. 146; by -Arndt, Bltenlese, p. 226.</p> +Arndt, Blütenlese, p. 226.</p> <hr class="tb" /> @@ -44513,17 +44473,17 @@ stanzas: <div class="footnote"> -<p><a name="Footnote_1_370" id="Footnote_1_370"></a><a href="#FNanchor_1_370"><span class="label">[370]</span></a> Sy ... bereytte keyn abende das bette met der czberye +<p><a name="Footnote_1_370" id="Footnote_1_370"></a><a href="#FNanchor_1_370"><span class="label">[370]</span></a> Sy ... bereytte keyn abende das bette met der czöberye met der schryft und met des wylden mannes veddere, p. 145, lines 8, 10-12; das quam alles von der czoyberye, das die jungfrowe dy knaben -alle beczobert hatte met schryft und met bryven, dy sy en under dy hbt -leyte under dy kussen, und met den veddern von den wylden ruchen lten, +alle beczobert hatte met schryft und met bryven, dy sy en under dy höbt +leyte under dy kussen, und met den veddern von den wylden ruchen lüten, lines 1-5. Only <i>one</i> letter and one feather is employed in each case.</p></div> <div class="footnote"> -<p><a name="Footnote_1_371" id="Footnote_1_371"></a><a href="#FNanchor_1_371"><span class="label">[371]</span></a> Svefnorn, Danish svntorn, or svnpreen: blundstafir, -sleep-staves, rods (if not letters, runes) in Sigrdrfuml, 2.</p></div> +<p><a name="Footnote_1_371" id="Footnote_1_371"></a><a href="#FNanchor_1_371"><span class="label">[371]</span></a> Svefnþorn, Danish søvntorn, or søvnpreen: blundstafir, +sleep-staves, rods (if not letters, runes) in Sigrdrífumál, 2.</p></div> <div class="footnote"> @@ -44558,41 +44518,41 @@ sick; he will watch with her, or be her doctor. She will become a star; he a cloud, and muffle her. She will die; he will turn earth, into which they will put her, or St Peter, and receive her into Paradise. In the end she says, Since you are inevitable, you may as well have me -as another; or more complaisantly, Je me donnerai toi, puisque tu +as another; or more complaisantly, Je me donnerai à toi, puisque tu m'aimes tant.</p> <p>This ballad might probably be found anywhere in France, but most of the known versions are from south of the Loire. <b>A.</b> Romania, X, 390, E. Legrand, from Normandy; also known in Champagne. <b>B.</b> 'Les Transformations,' V. Smith, Vielles Chansons du Velay et du Forez, -Romania, VII, 61 ff. <b>C.</b> Posies populaires de la France, MS., -III, fol. 233, Vienne. <b>D.</b> The same, II, fol. 39, Guret, Creuse. +Romania, VII, 61 ff. <b>C.</b> Poésies populaires de la France, MS., +III, fol. 233, Vienne. <b>D.</b> The same, II, fol. 39, Guéret, Creuse. <b>E, F.</b> The same volume, fol. 41, fol. 42. <b>G.</b> 'La maitresse -gagne,' the same volume, fol. 38: "on chante cette chanson sur les -confines du dpartement de l'Ain qui le sparent de la Savoie."<a name="FNanchor_1_373" id="FNanchor_1_373"></a><a href="#Footnote_1_373" class="fnanchor">[373]</a> +gagnée,' the same volume, fol. 38: "on chante cette chanson sur les +confines du département de l'Ain qui le séparent de la Savoie."<a name="FNanchor_1_373" id="FNanchor_1_373"></a><a href="#Footnote_1_373" class="fnanchor">[373]</a> <b>H.</b> 'J'ai fait une maitresse,' Champfleury, Chansons populaires des Provinces, p. 90, Bourbonnais. <b>I.</b> 'Adiu, Margaridoto,' -Blad, Posies pop. de la Gascogne, II, 361. <b>J.</b> Mlusine, +Bladé, Poésies pop. de la Gascogne, II, 361. <b>J.</b> Mélusine, col. 338 f, Carcasonne. <b>K.</b> Montel et Lambert, Chansons pop. du Languedoc, p. 544-51, and Revue des Langues romanes, XII, 261-67, four copies. <b>L.</b> 'Les Transfourmatiens,' Arbaud, II, 128. The -Provenal ballad is introduced by Mistral into Mirio, Chant III, as +Provençal ballad is introduced by Mistral into Mirèio, Chant III, as the song of Magali. <b>M.</b> 'La Poursuite d'Amour,' Marelle, in -Archiv fr das Studium der neueren Sprachen, LVI, 191. <b>N.</b> 'J'ai +Archiv für das Studium der neueren Sprachen, LVI, 191. <b>N.</b> 'J'ai fait une maitresse,' Gagnon, Chansons populaires du Canada, p. 137, and Lovell, Recueil de Chansons canadiennes, 'Chanson de Voyageur,' p. 68. <b>O.</b> Gagnon, p. 78.</p> <p><b>Catalan.</b> Closely resembling the French: <b>A.</b> 'La Esquerpa,' Briz, Cansons de la Terra, I, 125. <b>B, C, D.</b> 'Las -Transformaciones,' Mil, Romancerillo Catalan, p. 393, No 513.</p> +Transformaciones,' Milá, Romancerillo Catalan, p. 393, No 513.</p> <p><b>Italian.</b> Reduced to a <i>rispetto</i>, Tigri, Canti popolari toscani, ed. 1860, p. 241, No 861.</p> <p><b>Roumanian.</b> 'Cucul si Turturica,' Alecsandri, Poesiĕ populare -ale Romnilor, p. 7, No 3; French version, by the same, Ballades et -Chants populaires, p. 35, No 7; Schuller, Romnische Volkslieder, p. +ale Românilor, p. 7, No 3; French version, by the same, Ballades et +Chants populaires, p. 35, No 7; Schuller, Romänische Volkslieder, p. 47. The cuckoo, or the lover under that style, asks the dove to be his mistress till Sunday. The dove, for his sake, would not say No, but because of his mother, who is a witch, if not let alone will change @@ -44622,7 +44582,7 @@ Revue Critique, II, 302.</p> <p>The ballad is well known to the Slavic nations.</p> -<p><b>Moravian.</b> Čelakovsk, p. 75, No 6, Wenzig, Slawische +<p><b>Moravian.</b> Čelakovský, p. 75, No 6, Wenzig, Slawische Volkslieder, p. 72, Bibliothek slavischer Poesien, p. 92. A youth threatens to carry off a maid for his wife. She will fly to the wood as a dove. He has a rifle that will bring her down. She will jump into @@ -44647,7 +44607,7 @@ Lud XII, 98, No 193. <b>B.</b> Pauli, Pieśńi ludu polskiego, I, 135. <b>C.</b> The same, p. 133. <b>D.</b> Kolberg, Lud, XII, 99, No 194. <b>E.</b> Lud, IV, 19, No 137. <b>F.</b> Lud, XII, 97, No 192. <b>G.</b> Lud, II, 134, No 161. <b>H.</b> Lud, VI, 130, No 258. -<b>I.</b> Woicicki, I, 141, Waldbrhl, Slawische Balalaika, p. 433. +<b>I.</b> Woicicki, I, 141, Waldbrühl, Slawische Balalaika, p. 433. <b>J. a, b.</b> Roger, p. 147, No 285, p. 148, No 286.</p> <p><b>Servian.</b> Karadshitch, I, 434, No 602; Talvj, II, 100; Kapper, @@ -44673,26 +44633,26 @@ by the fugitive's taking on the stronger figure and despatching his adversary.</p> <p>Specimens of the first kind are afforded by Gonzenbach, Sicilianische -Mrchen, Nos 14, 15, 54, 55; Grimms, Nos 51, 56, 113; Schneller, No 27; -Pitr, Fiabe, Novelle e Racconti siciliani, No 15; Imbriani, Novellaja -milanese, No 27, N. fiorentana, No 29; Maspons y Labrs, Rondallayre, +Märchen, Nos 14, 15, 54, 55; Grimms, Nos 51, 56, 113; Schneller, No 27; +Pitrè, Fiabe, Novelle e Racconti siciliani, No 15; Imbriani, Novellaja +milanese, No 27, N. fiorentana, No 29; Maspons y Labrós, Rondallayre, I, 85, II, 30; Cosquin, Contes lorrains, in Romania, V, 354; Ralston's Russian Folk-Tales, p. 129 f, from Afanasief V, No 23; Bechstein, -Mrchenbuch, p. 75, ed. 1879, which combines both. Others in Khler's +Märchenbuch, p. 75, ed. 1879, which combines both. Others in Köhler's note to Gonzenbach, No 14, at II, 214.</p> <p>Of the second kind, among very many, are Straparola, viii, 5, see Grimms, III, 288, Louveau et Larivey, II, 152; Grimms, Nos 68, 117; -Mllenhoff, No 27, p. 466; Prhle, Mrchen fr die Jugend, No 26; -Asbjrnsen og Moe, No 57; Grundtvig, Gamle danske Minder, 1854, Nos -255, 256; Hahn, Griechische Mrchen, No 68; the Breton tale Koadalan, -Luzel, in Revue Celtique, I, 106/107; the Schotts, Walachische Mrchen, +Müllenhoff, No 27, p. 466; Pröhle, Märchen für die Jugend, No 26; +Asbjørnsen og Moe, No 57; Grundtvig, Gamle danske Minder, 1854, Nos +255, 256; Hahn, Griechische Märchen, No 68; the Breton tale Koadalan, +Luzel, in Revue Celtique, I, 106/107; the Schotts, Walachische Mærchen, No 18;<a name="FNanchor_1_374" id="FNanchor_1_374"></a><a href="#Footnote_1_374" class="fnanchor">[374]</a> Woicicki, Klechdy, II, 26, No 4; Karadshitch, No 6; Afanasief, V, 95 f, No 22, VI,<span class="pagenum"><a name="Pg_1-402" id="Pg_1-402">[Pg 402]</a></span> 189 ff, No 45 a, b, and other Russian -and Little Russian versions, VIII, 340. Khler adds several examples +and Little Russian versions, VIII, 340. Köhler adds several examples of one kind or the other in a note to Koadalan, Revue Celtique, I, 132, and Wollner Slavic parallels in a note to Leskien und Brugman, -Litanische Volkslieder und Mrchen, p. 537 f.</p> +Litanische Volkslieder und Märchen, p. 537 f.</p> <p>The usual course of events in these last is that the prentice takes refuge in one of many pomegranate kernels, barley-corns, poppy-seeds, @@ -44702,7 +44662,7 @@ crow, cat, hawk, vulture, that kills the bird.</p> <p>The same story occurs in the Turkish Forty Viziers, Behrnauer, p. 195 ff, the last transformations being millet, cock, man, who tears off -the cock's head. Also in the introduction to Siddhi-Kr, Jlg, pp 1-3, +the cock's head. Also in the introduction to Siddhi-Kür, Jülg, pp 1-3, where there are seven masters instead of one, and the final changes are worms, instead of seeds, seven hens, a man with a cane who kills the hens.<a name="FNanchor_1_375" id="FNanchor_1_375"></a><a href="#Footnote_1_375" class="fnanchor">[375]</a></p> @@ -44712,7 +44672,7 @@ metamorphoses in the contest between the afrite and the princess in the tale of the Second Calender in the Arabian Nights.</p> <p>Entirely similar is the pursuit of Gwion the pigmy by the goddess -Koridgwen, cited by Villemarqu, Barzaz Breiz, p. lvi, ed. 1867, from +Koridgwen, cited by Villemarqué, Barzaz Breiz, p. lvi, ed. 1867, from the Myvyrian Archaiology of Wales, I, 17. Gwion having, by an accident, come to the knowledge of superhuman mysteries, Koridgwen wishes to take his life. He flees, and turns successively into a hare, fish, bird; @@ -44720,9 +44680,9 @@ she follows, in the form of hound, otter, hawk; finally he becomes a wheaten grain, she a hen, and swallows the grain.</p> <p>The ordinary tale has found its way into rhyme in a German broadside -ballad, Longard, Altrheinlndische Mhrlein und Liedlein, p. 76, No +ballad, Longard, Altrheinländische Mährlein und Liedlein, p. 76, No 40, 'Von einem gottlosen Zauberer und seiner unschuldigen Kindlein -wunderbarer Erlsung.' The two children of an ungodly magician, a boy +wunderbarer Erlösung.' The two children of an ungodly magician, a boy and a girl, are devoted by him to the devil. The boy had read in his father's books while his father was away. They flee, and are pursued: the girl becomes a pond, the boy a fish. The wicked wizard goes for @@ -44932,23 +44892,23 @@ extensive class. The oldest example is that of Samson's riddle, with a stake of thirty sheets (or shirts) and thirty change of garments: Judges, xiv, 12 ff. Another from Semitic tradition is what is related of Solomon and Hiram of Tyre, in Josephus against Apion, i, 17, 18, and -Antiquities, viii, 5. After the manner of Amasis and the thiopian king +Antiquities, viii, 5. After the manner of Amasis and the Æthiopian king in Plutarch (see p. 13), they send one another riddles, with a heavy fine for failure,—in this case a pecuniary one. Solomon at first poses Hiram; then Hiram guesses Solomon's riddles, by the aid of Abdemon (or the son of Abdemon), and in turn poses Solomon with riddles devised by Abdemon.<a name="FNanchor_1_380" id="FNanchor_1_380"></a><a href="#Footnote_1_380" class="fnanchor">[380]</a></p> -<p>'P grnaliheii,' Landstad, p. 369, is a contest in riddles between +<p>'Pá grönaliðheiði,' Landstad, p. 369, is a contest in riddles between two brothers (refreshingly original in some parts), introduced by three stanzas, in which it is agreed that the defeated party shall forfeit his share of their inheritance: and this the editor seems to take quite seriously.</p> <p>Death is the penalty attending defeat in many of these wit-contests. -Odin (Vafrnisml), jealous of the giant Vafrnir's wisdom, wishes +Odin (Vafþrúðnismál), jealous of the giant Vafþrúðnir's wisdom, wishes to put it to test. He enters the giant's hall, assuming the name of -Gagn<span class="pagenum"><a name="Pg_1-405" id="Pg_1-405">[Pg 405]</a></span>rr, and announces the object of his visit. The giant tells him +Gagn<span class="pagenum"><a name="Pg_1-405" id="Pg_1-405">[Pg 405]</a></span>ráðr, and announces the object of his visit. The giant tells him he shall never go out again unless he prove the wiser, asks a few questions to see whether he be worth contending with, and, finding him so, proposes a decisive trial, with their heads for the stake. Odin @@ -44956,19 +44916,19 @@ now propounds, first, twelve questions, mostly in cosmogony, and then five relating to the future of the universe; and all these the giant is perfectly competent to answer. The very unfair question is then put, What did Odin say in his son's ear ere Balder mounted the funeral pile? -Upon this Vafrnir owns himself vanquished, and we may be sure he was +Upon this Vafþrûðnir owns himself vanquished, and we may be sure he was not spared by his antagonist.</p> <p>The Hervarar saga contains a story which, in its outlines, approximates to that of our ballad until we come to the conclusion, where there is -no likeness. King Heirekr, after a long career of blood, gave up war +no likeness. King Heiðrekr, after a long career of blood, gave up war and took to law-making. He chose his twelve wisest men for judges, and swore, with one hand on the head and the other on the bristles of a huge hog which he had reared, that no man should do such things that he should not get justice from these twelve, while any one who preferred might clear himself by giving the king riddles which he could not guess. There was a man named Gestr, and surnamed the Blind, a very -bad and troublesome fellow, who had withheld from Heirekr tribute +bad and troublesome fellow, who had withheld from Heiðrekr tribute that was due. The king sent him word to come to him and submit to the judgment of the twelve: if he did not, the case would be tried with arms. Neither of these courses pleased Gestr, who was conscious of @@ -44984,21 +44944,21 @@ entered the king's hall, and said, Sire, I am come to make my peace. there not other ways?" inquired Gestr. "Yes: you shall give me riddles which I cannot guess, and so purchase your peace." Gestr assented, with feigned hesitation; chairs were brought, and everybody looked to -hear something fine. Gestr gave, and Heirekr promptly answered, some +hear something fine. Gestr gave, and Heiðrekr promptly answered, some thirty riddles.<a name="FNanchor_1_381" id="FNanchor_1_381"></a><a href="#Footnote_1_381" class="fnanchor">[381]</a> Then said Gestr: Tell thou me this only, since thou thinkest to be wiser than all kings: What said Odin in Balder's ear before he was borne to the pile? "Shame and cowardice," exclaimed -Heirekr, "and all manner of poltroonery, jugglery, goblinry! no one +Heiðrekr, "and all manner of poltroonery, jugglery, goblinry! no one knows those words of thine save thou thyself, evil and wretched wight!" -So saying, Heirekr drew Tyrfing, that never was bared but somebody +So saying, Heiðrekr drew Tyrfing, that never was bared but somebody must fall, to cut down Gestr. The disguised Odin changed to a hawk, and -made for the window, but did not escape before Heirekr's sword had -docked the bird's tail. For breaking his own truce Odin said Heirekr -should die by the hand of a slave, which came to pass. Fornaldar Sgur, +made for the window, but did not escape before Heiðrekr's sword had +docked the bird's tail. For breaking his own truce Odin said Heiðrekr +should die by the hand of a slave, which came to pass. Fornaldar Sögur, Rafn, I, 462 ff.</p> -<p>The same story has come down in a Fre ballad, 'Gtu rma,' -Hammershaimb, Friske Kvder, No 4, p. 26 (and previously published in +<p>The same story has come down in a Färöe ballad, 'Gátu ríma,' +Hammershaimb, Færöiske Kvæder, No 4, p. 26 (and previously published in the Antiquarisk Tidsskrift, 1849-51, pp 75-78), translated by Dr Prior, I, 336 ff. Gest promises Odin twelve gold marks to take his place. The riddles are announced as thirteen in number, but the ballad is slightly @@ -45035,8 +44995,8 @@ days' journey beth in the circle of the world? Answer: Only the space of one day.</p> <p>Much nearer to the ballad, and earlier than either of the preceding, is -the Stricker's tale of ms and the Bishop, in the Pfaffe ms, dated -at about 1236. ms, a learned and bountiful priest in England, excited +the Stricker's tale of Âmîs and the Bishop, in the Pfaffe Âmîs, dated +at about 1236. Âmîs, a learned and bountiful priest in England, excited the envy of his bishop, who sent for him, told him that he lived in better style than his superior, and demanded a subvention. The priest flatly refused to give the bishop anything but a good dinner. "Then @@ -45044,23 +45004,23 @@ you shall lose your church," said the bishop in wrath. But the priest, strong in a good conscience, felt small concern about that: he said the bishop might test his fitness with any examination he pleased. That I will do, said the bishop, and gave him five questions. "How much is -there in the sea?" "One tun," answered ms; "and if you think I am +there in the sea?" "One tun," answered Âmîs; "and if you think I am not right, stop all the rivers that flow in, and I will measure it and convince you." "Let the rivers run," said the bishop. "How many days from Adam to our time?" "Seven," said the parson; "for as soon as seven are gone, they begin again." The bishop, fast losing his temper, next demanded "What is the exact middle of the earth? Tell me, or lose your -church." "Why, my church stands on it," replied ms. "Let your men +church." "Why, my church stands on it," replied Âmîs. "Let your men measure, and take the church if it prove not so." The bishop declined the task, and asked once more: How far is it from earth to sky? and -then: What is the width of the sky? to which ms replied after the +then: What is the width of the sky? to which Âmîs replied after the same fashion.</p> <p>In this tale of the Stricker the parson answers for himself, and not by deputy, and none of the questions are those of our ballad. But in a tale of Franco Sacchetti,<a name="FNanchor_1_382" id="FNanchor_1_382"></a><a href="#Footnote_1_382" class="fnanchor">[382]</a> given in two forms, Novella iv<sup>a</sup>, we have both the abbot and his humble representative, and an agreement as -to one of the questions. Bernab Visconti († 1385) was offended with +to one of the questions. Bernabò Visconti († 1385) was offended with a rich abbot, who had neglected some dogs that had been entrusted to his care, and was minded to make the abbot pay him a fine; but so far yielded to the abbot's protest as to promise to release him from all @@ -45074,7 +45034,7 @@ himself as well as he could. The answers to the two first questions are not the usual ones: huge numbers are given, and the seigneur is told to measure for himself, if not willing to accept them. The answer to the fourth is twenty-nine deniers; for our Lord was sold for thirty,<span class="pagenum"><a name="Pg_1-407" id="Pg_1-407">[Pg 407]</a></span> -and you must be worth one less than he. Messer Bernab said the miller +and you must be worth one less than he. Messer Bernabò said the miller should be abbot, and the abbot miller, from that time forth. Sacchetti says that others tell the story of a pope and an abbot, adding one question. The gardener of the monastery presents the abbot, makes the @@ -45112,7 +45072,7 @@ all the sea-water? The answers are: A short day's journey, for Christ ascended in the morning and was in heaven before night; a stone's cast; one tub, if large enough.</p> -<p>Teofilo Folengo (1491-1544), as pointed out by Khler, has the story in +<p>Teofilo Folengo (1491-1544), as pointed out by Köhler, has the story in the 8th canto of his Orlandino; and here we find the third question of our ballad. There are three besides: How far from earth to heaven? From the east to the west?—a modification of the second question in the @@ -45128,17 +45088,17 @@ remain abbot, and the abbot the cook. (Stanzas 38, 39, 64-69, pp 186 f, <p>A capital Spanish story, 'Gramatica Parda, Trueba, Cuentos Populares, p. 287, has all three of the questions asked and answered as in our ballad. There is a curate who sets up to know everything, and the king, -"el rey que rabi," has found him out, and gives him a month to make +"el rey que rabió," has found him out, and gives him a month to make his three answers, with a premium and a penalty. The curate is forced to call in a despised goatherd, who also had all along seen through the -shallowness of the priest. The king makes the goatherd "archipmpano" +shallowness of the priest. The king makes the goatherd "archipámpano" of Seville, and condemns the curate to wear the herdsman's garb and tend his goats for a month.<a name="FNanchor_1_383" id="FNanchor_1_383"></a><a href="#Footnote_1_383" class="fnanchor">[383]</a></p> <p>The first and third questions of the ballad are found in the thirty-eighth tale of Le Grand Parangon des Nouvelles Nouvelles of -Nicolas de Troyes, 1536 (ed. Mabille, p. 155 ff); in<span class="pagenum"><a name="Pg_1-408" id="Pg_1-408">[Pg 408]</a></span> the Patrauelo of -Juan de Timoneda, 1576, Pat. 14, Novelistas anteriores Cervantes, in +Nicolas de Troyes, 1536 (ed. Mabille, p. 155 ff); in<span class="pagenum"><a name="Pg_1-408" id="Pg_1-408">[Pg 408]</a></span> the Patrañuelo of +Juan de Timoneda, 1576, Pat. 14, Novelistas anteriores á Cervantes, in the Rivadeneyra Biblioteca, p. 154 f; and in the Herzog Heinrich Julius von Braunschweig's comedy, Von einem Edelman welcher einem Abt drey Fragen auffgegeben, 1594, ed. Holland, p. 500 ff. The other question @@ -45148,29 +45108,29 @@ so rational as to say that the centre must be under the king's feet, seeing that the world is as round as a ball.<a name="FNanchor_1_384" id="FNanchor_1_384"></a><a href="#Footnote_1_384" class="fnanchor">[384]</a> The question Where is the middle of the earth? is replaced by How many stars are there in the sky? the other two remaining, in Balthasar Schupp, Schriften, -Franckfurt, 1701, I, 91 f (Khler), and in Gottlieb Cober († 1717), -Cabinet-prediger, 2<sup>r</sup> Theil, No 65, p. 323 (Grter, Idunna u. Hermode, +Franckfurt, 1701, I, 91 f (Köhler), and in Gottlieb Cober († 1717), +Cabinet-prediger, 2<sup>r</sup> Theil, No 65, p. 323 (Gräter, Idunna u. Hermode, 1814, No 33, p. 131, and p. 87). The abbot's miller gives a huge number, and bids the king (of France) verify it, if he wishes. This last is no doubt the version of the story referred to by the Grimms in -their note to K. u. H. mrchen, No 152.</p> +their note to K. u. H. märchen, No 152.</p> -<p>We encounter a slight variation, not for the better, in L'lite des -Contes du Sieur d'Ouville († 1656 or 1657), Rouen, 1699, I, 241; -la Haye, 1703, I, 296; ed. Ristelhuber, 1876, p. 46 (Khler); Nouveaux -Contes Rire, Cologne, 1709, p. 266; Contes Rire, Paris, 1781, I, +<p>We encounter a slight variation, not for the better, in L'Élite des +Contes du Sieur d'Ouville († 1656 or 1657), Rouen, 1699, I, 241; à +la Haye, 1703, I, 296; ed. Ristelhuber, 1876, p. 46 (Köhler); Nouveaux +Contes à Rire, Cologne, 1709, p. 266; Contes à Rire, Paris, 1781, I, 184. An ignorant and violent nobleman threatens a parson, who plumes himself on a little astrology, that he will expose him as an impostor if he does not answer four questions: Where is the middle of the world? What am I worth? What am I thinking? What do I believe? The village -miller answers for the cur. The reply to the third question is, +miller answers for the curé. The reply to the third question is, You are thinking more of your own interest than of mine; the others -as before. This story is retold, after tradition, by Cnac Moncaut, -Contes populaires de la Gascogne, p. 50, of a marquis, archiprtre, and +as before. This story is retold, after tradition, by Cénac Moncaut, +Contes populaires de la Gascogne, p. 50, of a marquis, archiprêtre, and miller. The query, What am I thinking of? with the answer, More of your interest than of mine (which is not exactly in the popular manner), is replaced by a logical puzzle, not found elsewhere: Quel est le nombre -qui se trouve renferm dans deux [oeufs]?</p> +qui se trouve renfermé dans deux [oeufs]?</p> <p>The King and the Abbot is preserved, in modern German tradition, in this form. An emperor, riding by a cloister, reads the inscription, @@ -45185,10 +45145,10 @@ p. 166, No 262, II. 'Gustav Adolf und der Abt von Benediktbeuern,' in Sepp's Altbayerischer Sagenschatz, p. 554, No 153, is another form of the same story, with a substitution of How far is it to heaven? for the first question, and the answers are given by a kitchie-boy.<a name="FNanchor_1_385" id="FNanchor_1_385"></a><a href="#Footnote_1_385" class="fnanchor">[385]</a> -In 'Hans ohne Sorgen,' Meier, Deutsche Volksmrchen aus Schwaben, p. +In 'Hans ohne Sorgen,' Meier, Deutsche Volksmärchen aus Schwaben, p. 305, the questions are, How far is it to heaven? How deep is the sea? How many leaves has a linden? and the shepherd again undertakes the -answers.<span class="pagenum"><a name="Pg_1-409" id="Pg_1-409">[Pg 409]</a></span><a name="FNanchor_1_386" id="FNanchor_1_386"></a><a href="#Footnote_1_386" class="fnanchor">[386]</a> 'Der Mller ohne Sorgen,' Mllenhoff, p. 153, 208, is a +answers.<span class="pagenum"><a name="Pg_1-409" id="Pg_1-409">[Pg 409]</a></span><a name="FNanchor_1_386" id="FNanchor_1_386"></a><a href="#Footnote_1_386" class="fnanchor">[386]</a> 'Der Müller ohne Sorgen,' Müllenhoff, p. 153, 208, is a mutilated variation of these. The abbot disappears, and the questions are put to the miller, who answers for himself. The second question is How much does the moon weigh? and the answer, Four quarters; if you @@ -45226,7 +45186,7 @@ account of variations in the setting.</p> <p>A prisoner is to be released if he can tell a queen how much she is worth, the centre of the world, and what she thinks. A peasant changes clothes with the prisoner, and answers <i>pro more</i>. Kurtzweiliger -Zeitvertreiber durch C. A. M. von W., 1668, p. 70 f, in Khler, Orient +Zeitvertreiber durch C. A. M. von W., 1668, p. 70 f, in Köhler, Orient u. Occident, I, 43.</p> <p>A scholar has done learning. His master says he must now answer three @@ -45252,13 +45212,13 @@ believe in him, but sent for him, and said, If you can answer three questions that I shall put, I will regard you as my own child, and you shall live<span class="pagenum"><a name="Pg_1-410" id="Pg_1-410">[Pg 410]</a></span> in my palace. The questions are, How many drops of water are there in the ocean? How many stars in the sky? How many seconds in -eternity? The Grimms, K. u. H. mrchen, No 152, 'Das Hirtenbblein.'</p> +eternity? The Grimms, K. u. H. märchen, No 152, 'Das Hirtenbüblein.'</p> <p>Three questions are put to a counsellor of the king's, of which the first two are, Where does the sun rise? How far from heaven to earth? -The answers, by a shepherd, are extraordinarily feeble. Jdisches -Maasbuch, cap. 126, cited from Helwigs Jdische Historien, No 39, in -the Grimms' note to Das Hirtenbblein.</p> +The answers, by a shepherd, are extraordinarily feeble. Jüdisches +Maasäbuch, cap. 126, cited from Helwigs Jüdische Historien, No 39, in +the Grimms' note to Das Hirtenbüblein.</p> <p>Three monks, who know everything, in the course of their travels come to a sultan's dominions, and he invites them to turn Mussulmans. This @@ -45288,16 +45248,16 @@ world end? "Here, where my horse is standing." How far is it to heaven? now? "He is thinking that I am one fool and you another." J. W. Wolf, Hessische Sagen, p. 165, No 262I.<a name="FNanchor_1_388" id="FNanchor_1_388"></a><a href="#Footnote_1_388" class="fnanchor">[388]</a></p> -<p>For the literature, see especially the Grimms' Kinder und Hausmrchen, -notes to No 152; R. Khler in Orient und Occident, I, 439-41; +<p>For the literature, see especially the Grimms' Kinder und Hausmärchen, +notes to No 152; R. Köhler in Orient und Occident, I, 439-41; Oesterley's note to Pauli's Schimpf und Ernst, No 55, p. 479.</p> <hr class="tb" /> <p>Translated, after Percy's Reliques, II, 302, 1765, by Bodmer, II, III; -by Doenniges, p. 152; by Ritter, Archiv fr das Studium der neueren -Sprachen, XXII, 222. Retold by Brger, 'Der Kaiser und der Abt,' -Gttinger Musenalmanach fr 1785, p. 177.</p> +by Doenniges, p. 152; by Ritter, Archiv für das Studium der neueren +Sprachen, XXII, 222. Retold by Bürger, 'Der Kaiser und der Abt,' +Göttinger Musenalmanach für 1785, p. 177.</p> <hr class="tb" /> @@ -45318,7 +45278,7 @@ Gttinger Musenalmanach fr 1785, p. 177.</p> <span class="i0">This noble prince was vexed in veretye,<br /></span> <span class="i0">For he was angry w<i>i</i>th the Bishopp of Canterbury;<br /></span> <span class="i0">Ffor his house-keeping and his good cheere,<br /></span> -<span class="i0">Th rode post for him, as you shall heare.<br /></span> +<span class="i0">Thé rode post for him, as you shall heare.<br /></span> </div><div class="stanza"> <span class="i0"><span class="linenum">3</span><br /></span> <span class="i0">They rode post for him verry hastilye;<br /></span> @@ -45767,8 +45727,8 @@ with the note, "meaning probably St Botolph:" why "probably"?</p></div> every device which shall be put to him by the cunning men of Jerusalem. The Queen of Sheba's hard questions to Solomon, not specified in 1 Kings, x, 1-13, were, according to tradition, of the same general -character as the Indian ones spoken of at p. 12. See Hertz, Die Rtsel -der Knigin von Saba, Zeitschrift fr deutsches Altertum, XXVII, 1 ff.</p></div> +character as the Indian ones spoken of at p. 12. See Hertz, Die Rätsel +der Königin von Saba, Zeitschrift für deutsches Altertum, XXVII, 1 ff.</p></div> <div class="footnote"> @@ -45786,11 +45746,11 @@ Heidrek's Riddles,' I, 86 ff.</p></div> <div class="footnote"> <p><a name="Footnote_1_383" id="Footnote_1_383"></a><a href="#FNanchor_1_383"><span class="label">[383]</span></a> The form of the third question is slightly varied at -first Cul es el error en que yo estoy pensando? But when put to -the herdsman the question is simply En qu estoy yo pensando? I was -pointed to this story by Seidemann, in Archiv fr Litteraturgeschichte, +first ¿Cuál es el error en que yo estoy pensando? But when put to +the herdsman the question is simply ¿En qué estoy yo pensando? I was +pointed to this story by Seidemann, in Archiv für Litteraturgeschichte, IX, 423. Trueba's C. P. forms vol. 19 of Brockhaus's Coleccion de -Autores Espaoles.</p></div> +Autores Españoles.</p></div> <div class="footnote"> @@ -45804,8 +45764,8 @@ took this answer to heart, and repented of his vanities. So an emperor is converted by this reply from a man-at-arms, Van den verwenden Keyser, Jan van Hollant, c. 1400, Willems, Belgisch Museum, X, 57; Thijm, p. 145. The like question and answer, as a riddle, in a German -MS. of the fifteenth century, and in Questions nigmatiques, Lyon, -1619; Khler, in Weimarisches Jahrbuch, V, 354 ff.</p></div> +MS. of the fifteenth century, and in Questions énigmatiques, Lyon, +1619; Köhler, in Weimarisches Jahrbuch, V, 354 ff.</p></div> <div class="footnote"> @@ -45827,7 +45787,7 @@ kein Tag, wie Sonn-tag, Mon-tag), neither is it night; and if you are to be neither clothed nor bare, put on a fishing-net; and if you are to go neither on foot nor on horseback, ride to him on an ass. All but the beginning of this is derived from the cycle of 'The Clever Wench:' -see No 2. Haltrich, Deutsche Volksmrchen in Siebenbrgen, No 45, which +see No 2. Haltrich, Deutsche Volksmärchen in Siebenbürgen, No 45, which is also of this cycle, has taken up a little of 'Hans ohne Sorgen.' A church has an inscription, Wir leben ohne Sorgen. This vexes the king, who says as before, Just wait, and I will give you reason for cares, p. @@ -45979,7 +45939,7 @@ Middle Ages, and is kept only too familiar by the play of Pericles.</p> <p><span class="pagenum"><a name="Pg_1-417" id="Pg_1-417">[Pg 417]</a></span></p> <p>More deserving of perpetuation is the charming Persian story of Prince -Calaf, in Ptis de La Croix's 1001 Days (45<sup>e</sup>-82<sup>e</sup> jour), upon which +Calaf, in Pétis de La Croix's 1001 Days (45<sup>e</sup>-82<sup>e</sup> jour), upon which Carlo Gozzi founded his play of "La Turandot," now best known through Schiller's translation. Tourandocte's riddles are such as we should call legitimate, and are three in number. "What is the being that is @@ -46014,7 +45974,7 @@ others.<a name="FNanchor_1_397" id="FNanchor_1_397"></a><a href="#Footnote_1_397 <p>A popular tale of this class is current in Russia, with this variation: that the hard-hearted princess requires her lovers to give her riddles, -and those who cannot pose her lose their heads. Foolish Ivn, the +and those who cannot pose her lose their heads. Foolish Iván, the youngest of three brothers, adventures after many have failed. On his way to the trial he sees a horse in a cornfield and drives it out with a whip, and further on kills a snake with a lance, saying in each case, @@ -46023,13 +45983,13 @@ came to you, I saw by the roadside what was good; and in the good was good; so I set to work, and with what was good I drove the good from the good. The good fled from the good out of the good. The princess pleads a headache, and puts off her answer till the next day, when -Ivn gives her his second enigma: As I came to you, I saw on the way +Iván gives her his second enigma: As I came to you, I saw on the way what was bad, and I struck the bad with a bad thing, and of what was bad the bad died. The princess, unable to solve these puzzles, is -obliged to accept foolish Ivn. (Afanasief, Skazki, II, 225 ff, No 20, +obliged to accept foolish Iván. (Afanasief, Skazki, II, 225 ff, No 20, in Ralston's Songs of the Russian People, p. 354 f.) Closely related to this tale, and still nearer to one another, are the Grimms' No 22, -'Das Rthsel' (see, also, the note in their third volume), and the +'Das Räthsel' (see, also, the note in their third volume), and the West Highland story, 'The Ridere (Knight) of Riddles,' Campbell, No 22, II, 27. In the former, as in the Russian tale, it is the princess that must be puzzled before she will yield her hand; in the latter, an @@ -46043,7 +46003,7 @@ in which a fool wins a princess by nonplussing her: 'The Three Questions,' Halliwell's Popular Rhymes and Nursery Tales, p. 32; a "schwank" of the fourteenth century, by Heinz der Kellner, von der Hagen's Gesammtabenteuer, No 63, III, 179 (there very improperly called -Turandot); 'Spurningen,' Asbjrnson og Moe, Norske Folkeeventyr, No 4, +Turandot); 'Spurningen,' Asbjørnson og Moe, Norske Folkeeventyr, No 4, Dasent, Popular Tales from the Norse, p. 148. According to the first of these, the king of the East Angles promises his clever daughter to any one who can answer three of her questions (in the other versions, more @@ -46108,21 +46068,21 @@ wins his wife.</p> and sum<span class="pagenum"><a name="Pg_1-419" id="Pg_1-419">[Pg 419]</a></span>mer snow." She meets a herdsman, and asks where she can find these. The herdsman offers to teach her these riddles in return for her love, and she complying with these terms, gives her the answers: The -evergreen tree is winter May, and sea-foam is summer snow. Beitrge zur +evergreen tree is winter May, and sea-foam is summer snow. Beiträge zur Kunde Preussens, I, 515 (Rhesa), and Ausland, 1839, p. 1230.</p> <p>The European tales, excepting the three drolleries (and even they are perhaps to be regarded only as parodies of the others), must be of Oriental derivation; but the far north presents us with a similar -story in the lay of Alvss, in the elder Edda. The dwarf Alvss comes +story in the lay of Alvíss, in the elder Edda. The dwarf Alvíss comes to claim Freya for his bride by virtue of a promise from the gods. Thor<a name="FNanchor_1_400" id="FNanchor_1_400"></a><a href="#Footnote_1_400" class="fnanchor">[400]</a> says that the bride is in his charge, and that he was from -home when the promise was made: at any rate, Alvss shall not have the +home when the promise was made: at any rate, Alvíss shall not have the maid unless he can answer all the questions that shall be put him. Thor -then requires Alvss to give him the names of earth, heaven, moon, sun, +then requires Alvíss to give him the names of earth, heaven, moon, sun, etc., ending with barley and the poor creature small beer, in all the worlds; that is, in the dialect of the gods, of mankind, giants, elves, -dwarfs, etc. Alvss does this with such completeness as to extort +dwarfs, etc. Alvíss does this with such completeness as to extort Thor's admiration, but is craftily detained in so doing till after sunrise, when Thor cries, You are taken in! Above ground at dawn! and the dwarf turns to stone.</p> @@ -46839,7 +46799,7 @@ you, aye or na</span>, or the like</i>.</p></div> <div class="footnote"> <p><a name="Footnote_1_389" id="Footnote_1_389"></a><a href="#FNanchor_1_389"><span class="label">[389]</span></a> This book has been pursued by me for years, with the -coperation of many friends and agents, but in vain.</p></div> +coöperation of many friends and agents, but in vain.</p></div> <div class="footnote"> @@ -46913,7 +46873,7 @@ John Sinclair of Herdmanstoun: Douglas's Peerage of Scotland, ed. Wood, <div class="footnote"> -<p><a name="Footnote_1_393" id="Footnote_1_393"></a><a href="#FNanchor_1_393"><span class="label">[393]</span></a> The difficulty here is the want of a [Greek: <i>pou st</i>], +<p><a name="Footnote_1_393" id="Footnote_1_393"></a><a href="#FNanchor_1_393"><span class="label">[393]</span></a> The difficulty here is the want of a [Greek: <i>pou stô</i>], from which to climb the tree.</p></div> <div class="footnote"> @@ -46931,8 +46891,8 @@ of Europe. E. g., Chambers' Popular Rhymes of Scotland, p. 44, ed. </div></div> <p> -See Khler in Orient u. Occident, II, 558-9. A dragon, in Hahn's -Griechische u. Albanesische Mrchen, II, 210, gives Penteklimas ten of +See Köhler in Orient u. Occident, II, 558-9. A dragon, in Hahn's +Griechische u. Albanesische Märchen, II, 210, gives Penteklimas ten of these number-riddles: if he answers them he is to have a fine castle; if not, he is to be eaten. An old woman answers for him: "One is God, two are the righteous, etc.; ten is your own word, and now burst, @@ -46943,7 +46903,7 @@ dragon!" The dragon bursts, and Penteklimas inherits his possessions.</p></div> <p><a name="Footnote_1_395" id="Footnote_1_395"></a><a href="#FNanchor_1_395"><span class="label">[395]</span></a> Gozzi retains the first and third riddles, Schiller only the third. By a happy idea, new riddles were introduced at the successive performances of Schiller's play. Turandot appears as a -traditional tale in Schneller's Mrchen u. Sagen aus Wlschtirol, No +traditional tale in Schneller's Märchen u. Sagen aus Wälschtirol, No 49, p. 132, "I tre Indovinelli."</p></div> <div class="footnote"> @@ -46952,13 +46912,13 @@ traditional tale in Schneller's Mrchen u. Sagen aus Wlschtirol, No palisade of stakes each crowned with a head, is all but a commonplace in such adventures. This grim stroke of fancy is best in 'La mule sanz frain,' where there are four hundred stakes, <i>all but one</i> surmounted -with a bloody head: Mon, Nouveau Recueil, 1, 15, vv 429-37. For these +with a bloody head: Méon, Nouveau Recueil, 1, 15, vv 429-37. For these parlous princesses, of all sorts, see Grundtvig, 'Den farlige Jomfru,' IV, 43 ff, No 184.</p></div> <div class="footnote"> -<p><a name="Footnote_1_397" id="Footnote_1_397"></a><a href="#FNanchor_1_397"><span class="label">[397]</span></a> Von Hammer, Geschichte der schnen Redeknste Persiens, +<p><a name="Footnote_1_397" id="Footnote_1_397"></a><a href="#FNanchor_1_397"><span class="label">[397]</span></a> Von Hammer, Geschichte der schönen Redekünste Persiens, p. 116, previously cited by von der Hagen, Gesammtabenteuer, III, lxii.</p></div> <div class="footnote"> @@ -47026,30 +46986,30 @@ corrupt condition of the texts of <b>A-D</b> forbids any confident opinion.</p> <p>A dead mistress similarly admonishes her lover, in a ballad from -Brittany, given in Ampre, Instructions relatives aux Posies +Brittany, given in Ampère, Instructions relatives aux Poésies populaires de la France, p. 36.</p> <div class="poem"><div class="stanza"> <span class="i0">"Non, je ne dors ni ne soumeille,<br /></span> -<span class="i0">Je sis dans l'enfer brler.<br /></span> +<span class="i0">Je sis dans l'enfer à brûler.<br /></span> </div><div class="stanza"> -<span class="i0">"Auprs de moi reste une place,<br /></span> -<span class="i0">C'est pour vous, Piar', qu'on l'a garde."<br /></span> +<span class="i0">"Auprès de moi reste une place,<br /></span> +<span class="i0">C'est pour vous, Piar', qu'on l'a gardée."<br /></span> </div><div class="stanza"> <span class="i0">"Ha! dites-moi plustot, ma Jeanne,<br /></span> <span class="i0">Comment fair' pour n'y point aller?"<br /></span> </div><div class="stanza"> -<span class="i0">"Il faut aller la grand-messe,<br /></span> -<span class="i0">Et aux vpres, sans y manquer.<br /></span> +<span class="i0">"Il faut aller à la grand-messe,<br /></span> +<span class="i0">Et aux vêpres, sans y manquer.<br /></span> </div><div class="stanza"> <span class="i0">"Faut point aller aux fileries,<br /></span> -<span class="i0">Comm' vous aviez d'accoutum.<br /></span> +<span class="i0">Comm' vous aviez d'accoutumé.<br /></span> </div><div class="stanza"> <span class="i0">"Ne faut point embrasser les filles<br /></span> <span class="i0">Sur l' bout du coffre au pied du lect."<br /></span> </div></div> -<p>So Beaurepaire, tude, p. 53; Puymaigre, 'La Damne,' Chants +<p>So Beaurepaire, Étude, p. 53; Puymaigre, 'La Damnée,' Chants populaires, I, 115; V. Smith, Chants du Velay et du Forez, Romania, IV, 449 f, 'La Concubine;' and Luzel, "Celui qui alla voir sa maitresse en enfer," I, 44, 45. In this last, a lover, whose mistress has died, @@ -47942,7 +47902,7 @@ will probably never be known.</p> <span class="i0"><span class="linenum">21</span><br /></span> <span class="i0">'And I haue seuen brethren,' shee sayes,<br /></span> <span class="i2">'And they are all hardy men and bold;<br /></span> -<span class="i0">Giff euer th doe yo<i>u</i>r body take,<br /></span> +<span class="i0">Giff euer thé doe yo<i>u</i>r body take,<br /></span> <span class="i2">You must neuer gang quicke ou<i>er</i> the mold.'<br /></span> </div><div class="stanza"> <span class="i0"><span class="linenum">22</span><br /></span> @@ -48035,7 +47995,7 @@ will probably never be known.</p> <span class="i0"><span class="linenum">36</span><br /></span> <span class="i0">Soe they ffought together like two lyons,<br /></span> <span class="i2">And fire betweene them two glashet out;<br /></span> -<span class="i0">Th raught eche other such a great rappe,<br /></span> +<span class="i0">Thé raught eche other such a great rappe,<br /></span> <span class="i2"><i>Tha</i>t there young Andrew was slaine, well I wott.<br /></span> </div><div class="stanza"> <span class="i0"><span class="linenum">37</span><br /></span> @@ -48218,15 +48178,15 @@ world with these words:</p> his servant:</p> <div class="poem"><div class="stanza"> -<span class="i0">'Faites mes compliments ma femme,<br /></span> -<span class="i0">Mais ne lui dites pas que j'ai t tu;<br /></span> -<span class="i0">Mais dites lui que je serai all Paris,<br /></span> +<span class="i0">'Faites mes compliments à ma femme,<br /></span> +<span class="i0">Mais ne lui dites pas que j'ai été tué;<br /></span> +<span class="i0">Mais dites lui que je serai allé à Paris,<br /></span> <span class="i0">Pour saluer le roi Louis.<br /></span> </div><div class="stanza"> -<span class="i0">'Dites que je serai all Paris,<br /></span> +<span class="i0">'Dites que je serai allé à Paris,<br /></span> <span class="i0">Pour saluer le roi Louis,<br /></span> -<span class="i0">Et que j'ai achet un nouveau cheval,<br /></span> -<span class="i0">Le petit cœur de mon cheval tait trop gai.'<br /></span> +<span class="i0">Et que j'ai acheté un nouveau cheval,<br /></span> +<span class="i0">Le petit cœur de mon cheval était trop gai.'<br /></span> </div></div> <p class="source">(Le Seigneur de Rosmadec, Luzel, I, 368/369, 374/375.)</p> @@ -48268,20 +48228,20 @@ the North of Scotland, 'Lord Jamie Douglas,' I, 232 f, Motherwell's Minstrelsy, Appendix, p. vii, Kinloch, Finlay, etc.; Pills to Purge Melancholy, V, 37; 'Der verwundete Knabe,' 'Die verwundete Dame,' Mittler, Nos 49-53, Erk's Liederhort, pp 111-115, Wunderhorn, IV, -358-63, Longard, p. 39, No 18, Prhle, Welt. u. geist. Volkslieder, p. +358-63, Longard, p. 39, No 18, Pröhle, Welt. u. geist. Volkslieder, p. 12, No 6; Meinert, pp 28, 60, 73; Uhland, p. 127, No 65; Wunderhorn (1857), II, 223, Reifferscheid, p. 23, Liederhort, p. 345, Erk, Neue Sammlung, ii, 39, Kretzschmer, I, 143; Zuccalmaglio, pp 103, 153, 595; -Peter, Volksthmliches aus st.-schlesien, I, 274; Ditfurth, II, 9, +Peter, Volksthümliches aus Öst.-schlesien, I, 274; Ditfurth, II, 9, No 10; Fiedler, p. 187; Des Turcken Vassnachtspiel, Tieck's Deutsches Theater, I, 8; Uhland, Zur Geschichte der Dichtung, III, 216 ff; Tigri, Canti popolari toscani (1860), pp 230-242, Nos 820, 822, 823, 832, 836-40, 857, 858, 862, 868; Visconti, Saggio dei Canti p. della Provincia di Marritima e Campagna, p. 21, No 18; Nino, Saggio di Canti -p. sabinesi, p. 28 f, p. 30 f; Pitr, Saggi di Critica letteraria, -p. 25; Braga, Cantos p. do Archipelago aoriano, p. 220; Mckesch, -Romnische Dichtungen, p. 6 f, No 2; Passow, p. 273 f, Nos 387, 388; B. -Schmidt, Griechische Mrchen, etc., p. 154, No 10, and note, p. 253; +p. sabinesi, p. 28 f, p. 30 f; Pitrè, Saggi di Critica letteraria, +p. 25; Braga, Cantos p. do Archipelago açoriano, p. 220; Möckesch, +Romänische Dichtungen, p. 6 f, No 2; Passow, p. 273 f, Nos 387, 388; B. +Schmidt, Griechische Märchen, etc., p. 154, No 10, and note, p. 253; Morosi, Studi sui Dialetti greci della Terra d'Otranto, p. 30, lxxv, p. 32, lxxix; Pellegrini, Canti p. dei Greci di Cargese, p. 21; De Rada, Rapsodie d'un Poema albanese, p. 29; Haupt u. Schmaler, Volkslieder @@ -48291,8 +48251,8 @@ Piesni galitzskoy i ugorskoy Rusi, II, 585, No 18, III, i, 12, No 9; Maximovitch, Sbornik ukrainskikh Pyesen, p. 7, No 1, p. 107, No 30; Dozon, Chansons p. bulgares, p. 283, No 57; Bodenstedt, Die poetische Ukraine, p. 46, No 14; Jordan, Ueber kleinrussische Volkspoesie, -Bltter fr lit. Unterhaltung, 1840, No 252, p. 1014 (Uhland); Rhesa, -Ueber litthauische Volkspoesie, in Beitrge zur Kunde Preussens, I, +Blätter für lit. Unterhaltung, 1840, No 252, p. 1014 (Uhland); Rhesa, +Ueber litthauische Volkspoesie, in Beiträge zur Kunde Preussens, I, 523; Aigner, Ungarische Volksdichtungen, pp 147, 149: etc.</p> <hr class="tb" /> @@ -49167,8 +49127,8 @@ ballads which follow, Nos <a href="#Ballad_51">51</a>, <a href="#Ballad_52">52</ <p>In the first half of the story 'The Bonny Hind' comes very near to the fine Scandinavian ballad of 'Margaret,' as yet known to be preserved -only in Fre and Icelandic. The conclusions differ altogether. -Margaret in the Fre ballad, 'Margretu kvi,' Friske Kvder, +only in Färöe and Icelandic. The conclusions differ altogether. +Margaret in the Färöe ballad, 'Margretu kvæði,' Færöiske Kvæder, Hammershaimb, No 18, is the only daughter of the Norwegian king Magnus, and has been put in a convent. After two or three months she longs to see her father's house again. On her way thither she is assaulted by a @@ -49194,8 +49154,8 @@ her in wrath, but returns presently, resolved to burn the convent, and Margaret in it, Olaf comes from the wood, tired and weary, sees the cloister burning, and quenches the flames with his heart's blood.</p> -<p>The Icelandic ballad, 'Margrtar kvi,' slenzk Fornkvi, Grundtvig -and Sigursson, No 14, has the same story. It is, however, the man who +<p>The Icelandic ballad, 'Margrètar kvæði,' Íslenzk Fornkvæði, Grundtvig +and Sigurðsson, No 14, has the same story. It is, however, the man who brings on the discovery by asking the woman's parentage. The editors inform us that the same subject is treated in an unprinted Icelandic ballad, less popular as to style and stanza, in the Arne Magnussen @@ -49264,10 +49224,10 @@ like to feed on guilty flesh and drink wicked blood. The sword said, Why should I not like to feed on guilty flesh and drink wicked blood, I that feed on the flesh of the good<span class="pagenum"><a name="Pg_1-446" id="Pg_1-446">[Pg 446]</a></span> and drink the blood of the sinless? Kullervo set the sword hilt in the earth, and threw himself on the -point. (Kalewala, bertragen von Schiefner, runes 35, 36.)</p> +point. (Kalewala, übertragen von Schiefner, runes 35, 36.)</p> <p>The dialogue between Kullervo and his mother is very like a passage -in another Finnish rune, 'Werinen Pojka,' 'The Bloody Son,' Schrter, +in another Finnish rune, 'Werinen Pojka,' 'The Bloody Son,' Schröter, Finnische Runen, 124, ed. 1819; 150, ed. 1834. This last is a form of the ballad known in Scottish as <a href="#Ballad_13">'Edward,' No 13</a>, or of <a href="#Ballad_49">'The Twa Brothers,' No 49</a>. Something similar is found in <a href="#Ballad_51">'Lizie Wan,' No 51</a>.</p> @@ -49288,7 +49248,7 @@ from 'The Knight and Shepherd's Daughter,' <b>A</b>:</p> <span class="i2">Tell me what is your name.<br /></span> </div></div> -<p>Much better with the solemn adjuration in the Fre 'Margaret,' or even +<p>Much better with the solemn adjuration in the Färöe 'Margaret,' or even this in 'Ebbe Galt,' Danske Viser, No 63, 8:</p> <div class="poem"><div class="stanza"> @@ -49473,7 +49433,7 @@ children, is asked by his mother why his hands are bloody, pretends to have slain a hind in the wood, and has his head struck off by order of his father.</p> -<p>'Herr Peder og hans Sster,' an unpublished Danish ballad, of which +<p>'Herr Peder og hans Söster,' an unpublished Danish ballad, of which Grundtvig obtained a single traditional version, has also a slight resemblance to 'Lizie Wan.' Kirsten invites<span class="pagenum"><a name="Pg_1-448" id="Pg_1-448">[Pg 448]</a></span> Sir Peter to her bed. He declines for various reasons, which she refutes. She discovers him to @@ -50521,17 +50481,17 @@ leg<span class="pagenum"><a name="Pg_1-459" id="Pg_1-459">[Pg 459]</a></span>end in one version or another, has them, as will be seen by referring to what has been said under 'Hind Horn,' pp 194 ff. Bekie and Beket go to the East, like Henry and Reinfrit of Brunswick, the Noble Moringer, the -good Gerhard, Messer Torello, the Sire de Crqui, Alexander of Metz, +good Gerhard, Messer Torello, the Sire de Créqui, Alexander of Metz, and others. Like the larger part of these, they are made prisoners by the Saracens. He will not bow the knee to Mahound; neither will the -Sire de Crqui, though he die for it.<a name="FNanchor_1_418" id="FNanchor_1_418"></a><a href="#Footnote_1_418" class="fnanchor">[418]</a> Beichan is made to draw +Sire de Créqui, though he die for it.<a name="FNanchor_1_418" id="FNanchor_1_418"></a><a href="#Footnote_1_418" class="fnanchor">[418]</a> Beichan is made to draw cart, plough, harrow, like a beast. So Henry of Brunswick in a Swedish and a Danish ballad,<a name="FNanchor_1_419" id="FNanchor_1_419"></a><a href="#Footnote_1_419" class="fnanchor">[419]</a> and Alexander von Metz, or the Graf von Rom, in his most beautiful and touching story.<a name="FNanchor_1_420" id="FNanchor_1_420"></a><a href="#Footnote_1_420" class="fnanchor">[420]</a> Henry of Brunswick is set free by a "heathen" lady in the Danish ballad. In one version of Beichan, <b>E</b>, the lady on parting with her love breaks her ring and gives him one half, as Henry, or his wife, Reinfrit, Gerhard, -Crqui, and others do. At this point in the story the woman pursues the +Créqui, and others do. At this point in the story the woman pursues the man, and parts are inverted. Susan Pye is warned that Beichan is to be married the next day, in <b>C</b> by a Billy-Blin, in <b>M</b> by a woman in green, or fairy, and is conveyed to Beichan's castle or hall @@ -50550,7 +50510,7 @@ versions, <b>A-G</b>, from manuscripts of the sixteenth and seventeenth centuries, <b>H</b>, <b>I</b>, from recent tradition. <b>B</b> is previously printed (with alterations) in Levninger, 'Jomfrue Ellensborg,' I, 66, No 12, Danske Viser, III, 268, No 213; I, 'Stalt -Ellen henter sin Fstemand' is in Kristensen, I, 89, No 36. Of the +Ellen henter sin Fæstemand' is in Kristensen, I, 89, No 36. Of the older texts, <b>A</b>, <b>B</b>, <b>C</b> are absolutely pure and true to tradition, <b>D-G</b> retouched or made over.</p> @@ -50560,7 +50520,7 @@ to tradition, <b>D-G</b> retouched or made over.</p> <p><b>Swedish</b>, from Cavallius and Stephens' collection, Grundtvig, p. 255, <b>K</b>.</p> -<p><b>Fre</b>, taken down in 1827, Grundtvig, p. 256, <b>L</b>.</p> +<p><b>Färöe</b>, taken down in 1827, Grundtvig, p. 256, <b>L</b>.</p> <p><b>Norwegian</b>, 'Herre Per i Riki,' Landstad, p. 596, No 76, <b>N</b>.</p> @@ -50577,9 +50537,9 @@ of their ware,—sendal, linen, and silk green as leek. She cares not for these things; have they not seen her sister's son [brother], for whom she is grieving to death? They know nothing of her sister's son, but well they know Sir Peter the rich: he has betrothed a lady in the -s<span class="pagenum"><a name="Pg_1-460" id="Pg_1-460">[Pg 460]</a></span>ter-king's realm;<a name="FNanchor_1_421" id="FNanchor_1_421"></a><a href="#Footnote_1_421" class="fnanchor">[421]</a> a heathen woman, "and you never came into +Øs<span class="pagenum"><a name="Pg_1-460" id="Pg_1-460">[Pg 460]</a></span>ter-king's realm;<a name="FNanchor_1_421" id="FNanchor_1_421"></a><a href="#Footnote_1_421" class="fnanchor">[421]</a> a heathen woman, "and you never came into his mind," <b>E</b> 13; he is to be married to-morrow, <b>K</b> 6. -A wee swain tells her, <b>M</b> 14, 16, that he sits in Austurrki +A wee swain tells her, <b>M</b> 14, 16, that he sits in Austurríki drinking the ale of forgetfulness, and will never come home; he shall not drink long, says she. Ellensborg asks her brother to undertake a voyage for her; he will go with her if she will wait till summer; @@ -50645,16 +50605,16 @@ other versions.</p> <p>As Ellensborg and Peter are making for the ship in <b>D</b> 30, 31 (and <b>G</b> 36, 37, borrowed from <b>D</b>), she says, Tell me, Sir Peter, why would you deceive me so? Sir Peter answers that he never -meant to deceive her; it was the lady of sterland that did it; she +meant to deceive her; it was the lady of Østerland that did it; she had changed his mind. A magical change is meant. This<span class="pagenum"><a name="Pg_1-461" id="Pg_1-461">[Pg 461]</a></span> agrees with what is said in <b>A</b> 24, 25 (also <b>F</b>, <b>G</b>), that when Ellensborg got Peter alone to herself, and said, You do not remember that you plighted your troth to me, everything came back to him as if -it had happened yesterday. And again in the Fre copy, <b>L</b> 49, -Ellensborg, from the prow, cries to Ingibjrg on the strand, Farewell -to thee with thy <i>elf-ways</i>, vi ttt elvargangi! I have taken to +it had happened yesterday. And again in the Färöe copy, <b>L</b> 49, +Ellensborg, from the prow, cries to Ingibjörg on the strand, Farewell +to thee with thy <i>elf-ways</i>, við títt elvargangi! I have taken to myself my true love that I lent thee so long; implying that Sir Peter -had been detained by Circean arts, by a sleepy drench of minnis l, +had been detained by Circean arts, by a sleepy drench of óminnis öl, or ale of forgetfulness, Icelandic <b>M</b> 14, which, in the light of the other ballads, is to be understood literally, and not figuratively. The feature of a man being made, by magical or other means, to forget a @@ -50704,11 +50664,11 @@ The bride he would have taken remained unmarried, for those that put on others' robes are sure to be stripped naked.</p> <p><b>B.</b> 'Gerineldo,' taken down in Asturias by Amador de los Rios, -Jahrbuch fr romanische u. englische Literatur, III, 290, 1861, and the +Jahrbuch für romanische u. englische Literatur, III, 290, 1861, and the same year (Nigra) in Revista Iberica, I, 51; a version far inferior to <b>A</b>, and differing in no important respect as to the story.</p> -<p><b>C.</b> 'La boda interrumpida,' Mil, Romancerillo Catalan, p. 221, +<p><b>C.</b> 'La boda interrumpida,' Milá, Romancerillo Catalan, p. 221, No 244, seven copies, A-G, none good. A, which is about one third Castilian, relates that war is declared between France and Portugal, and the son of Conde Burgos made general. The countess his wife does @@ -50770,7 +50730,7 @@ the lady, in his name, seek another lover, for he has another love. "Is she fairer than I, or<span class="pagenum"><a name="Pg_1-463" id="Pg_1-463">[Pg 463]</a></span> more powerful?" She is not fairer, but more powerful: she makes rosemary flower on the edge of her sleeve, changes the sea into wine and fish into flesh. Bujeaud, I, 203. In 'La Femme -Abandonne,' Puymaigre, I, 72, the lover is married to a Fleming:</p> +Abandonnée,' Puymaigre, I, 72, the lover is married to a Fleming:</p> <div class="poem"><div class="stanza"> <span class="i0">Elle fait venir le soleil<br /></span> @@ -50783,7 +50743,7 @@ Abandonne,' Puymaigre, I, 72, the lover is married to a Fleming:</p> the deserted woman is a king's daughter, and the new love,</p> <div class="poem"><div class="stanza"> -<span class="i0">Ell' fait neiger, ell' fait grler,<br /></span> +<span class="i0">Ell' fait neiger, ell' fait grêler,<br /></span> <span class="i0">Ell' fait le vent qui vente.<br /></span> <span class="i0">Ell' fait reluire le soleil<br /></span> <span class="i0">A minuit dans sa chambre.<br /></span> @@ -50792,7 +50752,7 @@ the deserted woman is a king's daughter, and the new love,</p> </div></div> <p>Puymaigre notes that there is a version very near to the Canadian in -the sixth volume of Posies populaires de la France, cinquime recueil, +the sixth volume of Poésies populaires de la France, cinquième recueil, Ardennes, No 2.<a name="FNanchor_1_425" id="FNanchor_1_425"></a><a href="#Footnote_1_425" class="fnanchor">[425]</a></p> <p>A broadside ballad, 'The Turkish Lady,' 'The Turkish Lady and the @@ -50820,14 +50780,14 @@ doors, and the three make off. They are followed; one of the Magyars kills all the pursuers but one, who is left to carry back the news. It is now proposed that there shall be a duel to determine who shall have the lady. She begs them rather to cut off her head than to fight -about her. Szilgyi Niklas says he has a love at home, and leaves the -sultan's daughter to his comrade, Hagymsi Lszl. Aigner, Ungarische +about her. Szilágyi Niklas says he has a love at home, and leaves the +sultan's daughter to his comrade, Hagymási László. Aigner, Ungarische Volksdichtungen, p. 93: see p. 107 of this volume.</p> <hr class="tb" /> -<p><b>C b</b> is translated by Love-Veimars, p. 330; <b>E</b> by Cesare -Cant, Documenti alla Storia Universale, Torino, 1858, Tomo V<sup>o</sup>, Parte +<p><b>C b</b> is translated by Loève-Veimars, p. 330; <b>E</b> by Cesare +Cantù, Documenti alla Storia Universale, Torino, 1858, Tomo V<sup>o</sup>, Parte III<sup>a</sup>, p. 796; <b>E</b>, as retouched by Allingham, by Knortz, L. u. R. Alt-Englands, p. 18.</p> @@ -53744,7 +53704,7 @@ and lights on a fifth.</p></div> <div class="footnote"> <p><a name="Footnote_1_411" id="Footnote_1_411"></a><a href="#FNanchor_1_411"><span class="label">[411]</span></a> In <b>C</b> 34, <b>M</b> 49, she is recognized by one -of the hounds which she had given him. So Bos, seigneur de Bnac, who +of the hounds which she had given him. So Bos, seigneur de Bénac, who breaks a ring with his wife, goes to the East, and is prisoner among the Saracens seven years, on coming back is recognized only by his greyhound: Magasin Pittoresque, VI, 56 b. It is scarcely necessary to @@ -53780,7 +53740,7 @@ in Cotton MS. Vitellius, C, <span class="smcap">XII</span>, from which it is pri Robertson, Materials for the History of Thomas Becket, II, 453 ff. It is found in Bromton's Chronicle, Twysden, Scriptores X, columns 1052-55, and in the First Quadrilogus, Paris, 1495, from which it is -reprinted by Migne, Patrologi Cursus Completus, CXC, cols 346 ff. +reprinted by Migne, Patrologiæ Cursus Completus, CXC, cols 346 ff. The tale has been accepted by many writers who would have been better historians for a little reading of romances. Angustin Thierry sees in Thomas Beket a Saxon contending in high place, for the interests @@ -53801,20 +53761,20 @@ most like himself in <b>M</b> 32 ff.</p></div> <p><a name="Footnote_1_416" id="Footnote_1_416"></a><a href="#FNanchor_1_416"><span class="label">[416]</span></a> Neither her old name nor her Christian name is told us in this legend. Gilbert Beket's wife was Matilda, according to most -authorities, but Rosa according to one: see Robertson, as above, -IV, 81; Migne, cols 278 f. Fox has made Rosa into Rose, Acts and +authorities, but Roësa according to one: see Robertson, as above, +IV, 81; Migne, cols 278 f. Fox has made Roësa into Rose, Acts and Monuments, I, 267, ed. 1641. </p> <p> -Gilbert and Rose (but Rosa is not Rose) recall to Hippeau, Vie de St +Gilbert and Rose (but Roësa is not Rose) recall to Hippeau, Vie de St Thomas par Garnier de Pont Sainte Maxence, p. xxiii, Elie de Saint Gille and Rosamonde, whose adventures have thus much resemblance with those of Beket and of Bekie. Elie de Saint Gille, after performing astounding feats of valor in fight with a horde of Saracens who have made a descent on Brittany, is carried off to their land. The amiral -Macabr requires Elie to adore Mahomet; Elie refuses in the most +Macabré requires Elie to adore Mahomet; Elie refuses in the most insolent terms, and is condemned to the gallows. He effects his escape, -and finds himself before Macabr's castle. Here, in another fight, he +and finds himself before Macabré's castle. Here, in another fight, he is desperately wounded, but is restored by the skill of Rosamonde, the amiral's daughter, who is Christian at heart, and loves the Frank. To save her from being forced to marry the king of Bagdad, Elie fights @@ -53822,13 +53782,13 @@ as her champion. In the end she is baptized, as a preparation for her union with Elie, but he, having been present at the ceremony, is adjudged by the archbishop to be gossip to her, and Elie and Rosamonde are otherwise disposed of. So the French romance, but in the Norse, -which, as Klbing maintains, is likely to preserve the original story +which, as Kölbing maintains, is likely to preserve the original story here, there is no such splitting of cumin, and hero and heroine are united.</p></div> <div class="footnote"> -<p><a name="Footnote_1_417" id="Footnote_1_417"></a><a href="#FNanchor_1_417"><span class="label">[417]</span></a> There is one in the Gesta Romanorum, cap. 5, sterley, +<p><a name="Footnote_1_417" id="Footnote_1_417"></a><a href="#FNanchor_1_417"><span class="label">[417]</span></a> There is one in the Gesta Romanorum, cap. 5, Österley, p. 278, of about the same age as the Beket legend. It is not particularly important. A young man is captured by a pirate, and his father will not send his ransom. The pirate's daughter often visits the @@ -53842,21 +53802,21 @@ flies with him to his native land.</p></div> <p><a name="Footnote_1_418" id="Footnote_1_418"></a><a href="#FNanchor_1_418"><span class="label">[418]</span></a> Nor Guarinos in the Spanish ballad, Duran, No 402, I, 265; Wolf and Hofmann, Primavera, II, 321. Guarinos is very cruelly treated, but it is his horse, not he, that has to draw carts. For the -Sire de Crqui see also Dinaux, Trouvres, III, 161 ff (Khler).</p></div> +Sire de Créqui see also Dinaux, Trouvères, III, 161 ff (Köhler).</p></div> <div class="footnote"> <p><a name="Footnote_1_419" id="Footnote_1_419"></a><a href="#FNanchor_1_419"><span class="label">[419]</span></a> And in 'Der Herr von Falkenstein,' a variety of the story, Meier, Deutsche Sagen aus Schwaben, p. 319, No 362. A Christian -undergoes the same hardship in Schppner, Sagenbuch, III, 127, No +undergoes the same hardship in Schöppner, Sagenbuch, III, 127, No 1076. For other cases of the wonderful deliverance of captive knights, -not previously mentioned by me, see Hocker, in Wolf's Zeitschrift fr +not previously mentioned by me, see Hocker, in Wolf's Zeitschrift für deutsche Mythologie, I, 306.</p></div> <div class="footnote"> <p><a name="Footnote_1_420" id="Footnote_1_420"></a><a href="#FNanchor_1_420"><span class="label">[420]</span></a> A meisterlied of Alexander von Metz, of the second half -of the fifteenth century, Krner, Historische Volkslieder, p. 49; the +of the fifteenth century, Körner, Historische Volkslieder, p. 49; the ballad 'Der Graf von Rom,' or 'Der Graf im Pfluge,' Uhland, p. 784, No 299, printed as early as 1493; De Historie van Florentina, Huysvrouwe van Alexander van Mets, 1621, van den Bergh, De nederlandsche @@ -53866,9 +53826,9 @@ pp 569, 574; Uhland, Schriften zur Geschichte der Dichtung, IV, <div class="footnote"> -<p><a name="Footnote_1_421" id="Footnote_1_421"></a><a href="#FNanchor_1_421"><span class="label">[421]</span></a> ster-kongens rige, sterige, sterland, Austrrki, -understood by Grundtvig as Gararki, the Scandinavian-Russian kingdom -of the tenth and eleventh centuries. Austrrki is used vaguely, but +<p><a name="Footnote_1_421" id="Footnote_1_421"></a><a href="#FNanchor_1_421"><span class="label">[421]</span></a> Øster-kongens rige, Østerige, Østerland, Austrríki, +understood by Grundtvig as Garðaríki, the Scandinavian-Russian kingdom +of the tenth and eleventh centuries. Austrríki is used vaguely, but especially of the east of Europe, Russia, Austria, sometimes including Turkey (Vigfusson).</p></div> @@ -53895,24 +53855,24 @@ Cf. <b>M</b> 28: <div class="footnote"> <p><a name="Footnote_1_423" id="Footnote_1_423"></a><a href="#FNanchor_1_423"><span class="label">[423]</span></a> See 'The Red Bull of Norroway,' Chambers, Popular -Rhymes of Scotland, 1870, p. 99; 'Mesterm,' Asbjrnsen og Moe, No +Rhymes of Scotland, 1870, p. 99; 'Mestermø,' Asbjørnsen og Moe, No 46; 'Hass-Fru,' Cavallius och Stephens, No 14; Powell, Icelandic Legends, Second Series, p. 377; the Grimms, Nos 56, 113, 186, 193; Pentamerone, <span class="smcap">II</span>, 7, <span class="smcap">III</span>, 9; Gonzenbach, Nos 14, 54, -55, and Khler's note; Hahn, Griechische u. Albanesische Mrchen, No +55, and Köhler's note; Hahn, Griechische u. Albanesische Märchen, No 54; Carleton, Traits and Stories of the Irish Peasantry, 10th ed., I, -23; Campbell, West Highland Tales, I, 25, No 2, and Khler's notes in +23; Campbell, West Highland Tales, I, 25, No 2, and Köhler's notes in Orient u. Occident, II, 103-114, etc., etc.</p></div> <div class="footnote"> <p><a name="Footnote_1_424" id="Footnote_1_424"></a><a href="#FNanchor_1_424"><span class="label">[424]</span></a> This passage leads the editors of Primavera to remark, -II, 52, that 'El Conde Sol' shows distinct traits of 'Le Chat Bott.' +II, 52, that 'El Conde Sol' shows distinct traits of 'Le Chat Botté.' Similar questions are asked in English <b>G</b>, the other Spanish versions, and the Italian, and in nearly all the Greek ballads referred to on pp 199, 200; always under the same circumstances, and to bring about the discovery which gives the turn to the story. The questions in -'Le Chat Bott' are introduced for an entirely different purpose, and +'Le Chat Botté' are introduced for an entirely different purpose, and cannot rationally suggest a borrowing on either side. The hasty note would certainly have been erased by the very distinguished editors upon a moment's consideration.</p></div> @@ -53932,13 +53892,13 @@ Rosalie,' I, 74: see his note.</p></div></div> <h4>1. Riddles Wisely Expounded.</h4> -<p>P. <a href="#Pg_1-1">1</a> b. <b>A.</b> Add: Mndel, Elsssische Volkslieder, p. 27, No 24. +<p>P. <a href="#Pg_1-1">1</a> b. <b>A.</b> Add: Mündel, Elsässische Volkslieder, p. 27, No 24. Second line from the bottom, for seven read ten.</p> <p><a href="#Pg_1-2">2</a> a. Add: <b>H.</b> J. H. Schmitz, Sitten u. s. w. des Eifler Volkes, -I, 159; five pairs of riddles and no conclusion. (Khler.) <b>I.</b> -Alfred Mller, Volkslieder aus dem Erzgebirge, p. 69; four pairs -of riddles, and no conclusion. <b>J.</b> Lemke, Volksthmliches in +I, 159; five pairs of riddles and no conclusion. (Köhler.) <b>I.</b> +Alfred Müller, Volkslieder aus dem Erzgebirge, p. 69; four pairs +of riddles, and no conclusion. <b>J.</b> Lemke, Volksthümliches in Ostpreussen, p. 152; seven riddles guessed, "nun bin ich Deine Frau."</p> <p><a href="#Pg_1-2">2</a> b. (The Russian riddle-ballad.) So a Kosak: "I give thee this riddle: @@ -53948,7 +53908,7 @@ Narodnyya yuzhnorusskiya Pyesni, pp 363 f. Cf. Snegiref, Russkie prostonarodnye Prazdniki, II, 101 f.</p> <p><a href="#Pg_1-2">2</a> b, <a href="#Footnote_1_11">note</a>. For Kaden substitute Casetti e Imbriani, C. p. delle -Provincie meridionali, I, 197 f. (Khler.)</p> +Provincie meridionali, I, 197 f. (Köhler.)</p> <h4>2. The Elfin Knight.</h4> @@ -53960,17 +53920,17 @@ p. 19 a. Add: <b>M.</b> Notes and Queries, 4th Series, III, 605.</p> 'Klosterrovet,' <b>C</b>, MSS of 1610, and later, communicated to me by Svend Grundtvig.</p> -<p><a href="#Pg_1-7">7</a> b. Add: <b>O.</b> 'Ehestandsaussichten' [Norrenberg], Des Dlkener -Fiedlers Liederbuch, 1875, p. 88, No 99. (Khler.)</p> +<p><a href="#Pg_1-7">7</a> b. Add: <b>O.</b> 'Ehestandsaussichten' [Norrenberg], Des Dülkener +Fiedlers Liederbuch, 1875, p. 88, No 99. (Köhler.)</p> -<p><a href="#Pg_1-8">8</a>-<a href="#Pg_1-12">12</a>. Jagić, in Archiv fr slavische Philologie, 'Aus dem -sdslavischen Mrchenschatz,' V, 47-50, adds five Slavic stories of -the wench whose ready wit helps her to a good marriage, and Khler, +<p><a href="#Pg_1-8">8</a>-<a href="#Pg_1-12">12</a>. Jagić, in Archiv für slavische Philologie, 'Aus dem +südslavischen Märchenschatz,' V, 47-50, adds five Slavic stories of +the wench whose ready wit helps her to a good marriage, and Köhler, in notes to Jagić, pp 50 ff, cites, in addition to nearly all those which I have mentioned, one Slavic, one German, five Italian, one French, one Irish, one Norwegian, besides very numerous tales in which there is a partial agreement. Wollner, in Leskien and Brugman's -Litauische Volkslieder und Mrchen, p. 573, cites Slavic parallels +Litauische Volkslieder und Märchen, p. 573, cites Slavic parallels to No 34, of which the following, not previously noted, and no doubt others, are apposite to this ballad: Afanasief, VI, 177, No 42, a, b; Trudy, II, 611-614, No 84, 614-616, No 85; Dragomanof, p. 347, No 29; @@ -53984,9 +53944,9 @@ Red Etin puts questions, too, in the Scottish tale, Chambers, Popular Rhymes, 1870, p. 92. There is certainly no occasion to scruple about elf or elf-knight. Line 16 f. The same in Snegiref, IV. 8.</p> -<p><a href="#Pg_1-14">14</a> b. For the legend of St Andrew, etc., see, further, Gering, slendzk -ventyri, I, 95, No 24, 'Af biskupi ok puka,' and Khler's references, -II, 80 f. (Khler.)</p> +<p><a href="#Pg_1-14">14</a> b. For the legend of St Andrew, etc., see, further, Gering, Íslendzk +Æventyri, I, 95, No 24, 'Af biskupi ok puka,' and Köhler's references, +II, 80 f. (Köhler.)</p> <p><a href="#Pg_1-15">15</a> a. <b>A, B.</b> Dr Davidson informs me that the introductory stanza, or burden-stem, exists in the form:</p> @@ -54090,8 +54050,8 @@ communicated by W. F., Glasgow, from a manuscript collection.</p></div> Macmath, of Edinburgh.</p> <p>For the fool getting the last word of the princess, see, further, -Khler, Germania, XIV, 271; Leskien u. Brugman, Litauische Volkslieder -u. Mrchen, p. 469, No 33, and Wollner's note, p. 573.</p> +Köhler, Germania, XIV, 271; Leskien u. Brugman, Litauische Volkslieder +u. Märchen, p. 469, No 33, and Wollner's note, p. 573.</p> <p><a href="#Pg_1-21">21</a>, note. I must retract the doubly hasty remark that the Shetland belief that witches may be baffled by fliting with them is a modern @@ -54104,11 +54064,11 @@ and told his attendants to do the same, for that was the resource, in such cases, against an attack. The empusa went off with a shriek. Philostratus's Life of Apollonius, II, 4. Mr Kittredge referred me later to what is said by Col. Yule (who also cites Philostratus), -Marco Polo, I, 183, that the wise, according to Mas'udi, revile ghls, -and the ghls vanish. Mr Kittredge also cites Luther's experience: +Marco Polo, I, 183, that the wise, according to Mas'udi, revile ghúls, +and the ghúls vanish. Mr Kittredge also cites Luther's experience: how, when he could not be rid of the Devil by the use of holy writ -and serious words, "so htte er ihn oft mit spitzigen Worten und -lcherlichen Possen vertrieben; ... quia est superbus spiritus, et non +and serious words, "so hätte er ihn oft mit spitzigen Worten und +lächerlichen Possen vertrieben; ... quia est superbus spiritus, et non potest ferre contemptum sui." Tischreden, in Auswahl, Berlin, 1877, pp 152-154.</p> @@ -54157,7 +54117,7 @@ Culzean,' an undated stall-copy.</p> <p><a href="#Pg_1-26">26</a> b. Another Dutch version (Frisian), spirited, but with gaps, is given by Dykstra and van der Meulen, In Doaze fol alde Snypsnaren, -Frjentsjer, 1882, p. 118, 'Jan Alberts,' 66 vv. (Khler.)</p> +Frjentsjer, 1882, p. 118, 'Jan Alberts,' 66 vv. (Köhler.)</p> <p><b>D.</b> Jan Alberts sings a song, and those that hear it know it not. It is heard by a king's daughter, who asks her mother's leave to go out @@ -54183,10 +54143,10 @@ father not bestirring himself, she swims the moat, and, the door not being open, goes through the glass. The next day she dries her clothes.</p> <p><a href="#Pg_1-30">30</a> a, <a href="#Pg_1-37">37</a> a. There is a Low German version of the first class, -<b>A-F</b>, in Spee, Volksthmliches vom Niederrhein, Kln, 1875, -Zweites Heft, p. 3, 'Schndili,' 50 vv. (Khler.)</p> +<b>A-F</b>, in Spee, Volksthümliches vom Niederrhein, Köln, 1875, +Zweites Heft, p. 3, 'Schöndili,' 50 vv. (Köhler.)</p> -<p><b>AA.</b> Schndili's parents died when she was a child. Schn-Albert, +<p><b>AA.</b> Schöndili's parents died when she was a child. Schön-Albert, knowing this, rides to her. She attires herself in silk, with a gold crown on her hair, and he swings her on to his horse. They ride three days and nights, with nothing to eat or drink. She asks whether it is @@ -54196,19 +54156,19 @@ the wale of tree, river, and sword. She chooses the sword; would be loath to spot his coat; whips off his head before the coat is half off. The head says there is a pipe in the saddle; she thinks no good can come of playing a murderer's pipe. She meets first the father, then the -mother; they think that must be Schn-Albert's horse. That may be, she +mother; they think that must be Schön-Albert's horse. That may be, she says; I have not seen him since yesterday. She sets the pipe to her mouth, when she reaches her father's gate, and the murderers come like hares on the wind.</p> -<p><b>BB.</b> Alfred Mller, Volkslieder aus dem Erzgebirge, p. 92, 'Schn -Ulrich' [und Trautendelein], 36 vv. (Khler.) Like <b>T</b>, without +<p><b>BB.</b> Alfred Müller, Volkslieder aus dem Erzgebirge, p. 92, 'Schön +Ulrich' [und Trautendelein], 36 vv. (Köhler.) Like <b>T</b>, without the song.</p> <p><b>CC.</b> A. Schlosser, Deutsche Volkslieder aus Steiermark, 1881, p. -338, No 309, 'Der Ritter und die Maid.' (Khler: not yet seen by me.)</p> +338, No 309, 'Der Ritter und die Maid.' (Köhler: not yet seen by me.)</p> -<p><b>DD.</b> Curt Mndel, Elsssische Volkslieder, p. 12, No 10, a +<p><b>DD.</b> Curt Mündel, Elsässische Volkslieder, p. 12, No 10, a fragment of fifteen verses. As Anna sits by the Rhine combing her hair, Heinrich comes along on his horse, sees her weep, and asks why. It is not for gold and not for goods, but because she is to die that day. @@ -54275,21 +54235,21 @@ Petersburg Academy, vol. <span class="smcap">XIX</span>, No 6, p. 11 f, a sixty- being required to rescue a prince from a well into which he had been thrown, and no rope forthcoming, the daughter of a sea-king makes a rope of the required length with her hair, and with this the prince -is drawn out. Dr Reinhold Khler, who pointed out this incident to +is drawn out. Dr Reinhold Köhler, who pointed out this incident to me, refers in his notes to the texts, at p. vii f, to the song of -Sdi Mrgn, Radloff, II, 627-31, where Sdi Mrgn's wife, having +Südäi Märgän, Radloff, II, 627-31, where Südäi Märgän's wife, having to rescue her husband from a pit, tries first his horse's tail, and finds it too short, then her hair, which proves also a little short. A maid is then found whose hair is a hundred fathoms long, and her hair being tied on to the horse's tail, and horse, wife, and maid pulling together, the hero is drawn out. For climbing up by a<span class="pagenum"><a name="Pg_1-487" id="Pg_1-487">[Pg 487]</a></span> maid's hair, -see, further, Khler's note to Gonzenbach, No 53, II, 236.</p> +see, further, Köhler's note to Gonzenbach, No 53, II, 236.</p> <p><a href="#Pg_1-40">40</a> b, line 7. A message is sent to a father by a daughter in the same way, in Chodzko, Les Chants historiques de l'Ukraine, p. 75; cf. p. 92, of the same. Tristram sends messages to Isonde by linden shavings -inscribed with runes: Sir Tristrem, ed. Klbing, p. 56, st. 187; -Tristrams Saga, cap. 54, p. 68, ed. Klbing; Gottfried von Strassburg, +inscribed with runes: Sir Tristrem, ed. Kölbing, p. 56, st. 187; +Tristrams Saga, cap. 54, p. 68, ed. Kölbing; Gottfried von Strassburg, vv 14427-441.</p> <p><a href="#Pg_1-40">40</a> b, line 36. For <b>G</b>, <b>I</b>, read <b>G</b>, <b>J</b>.</p> @@ -54319,13 +54279,13 @@ everywhere rivers are of water; very like the girl in Grundtvig, 82 <b>B</b>, st. 7; 183 <b>A</b> 6, <b>E</b> 5, 6.</p> <p><a href="#Pg_1-41">41</a> b, last paragraph. Several Bohemian versions are to be added to the -single example cited from Waldau's Bhmische Granaten. This version, +single example cited from Waldau's Böhmische Granaten. This version, which is presumed to have been taken down by Waldau himself, may -be distinguished as <b>A</b>. <b>B</b>, Sušil, Moravsk Nrodn -Psnĕ, No 189, p. 191, 'Vrah,' 'The Murderer,' is very like -<b>A</b>. <b>C</b>, Sušil, p. 193. <b>D</b>, Erben, Prostonrodni -česk Psnĕ a Řkadla, p. 480, No 16, 'Zabit dĕvče,' -'The Murdered Maid.' <b>E</b>, p. 479, No 15, 'Zabit sestra,' 'The +be distinguished as <b>A</b>. <b>B</b>, Sušil, Moravské Národní +Písnĕ, No 189, p. 191, 'Vrah,' 'The Murderer,' is very like +<b>A</b>. <b>C</b>, Sušil, p. 193. <b>D</b>, Erben, Prostonárodni +české Písnĕ a Říkadla, p. 480, No 16, 'Zabité dĕvče,' +'The Murdered Maid.' <b>E</b>, p. 479, No 15, 'Zabitá sestra,' 'The Murdered Sister.' <b>B</b> has a double set of names, beginning with Black George,—not the Servian, but "king of Hungary,"—and ending with Indriasch. The maid is once called Annie, otherwise Katie. At her first @@ -54394,23 +54354,23 @@ faith!</p> <p><a href="#Pg_1-42">42</a> a. <b>A</b>, line 2. Read: Puymaigre.</p> -<p><a href="#Pg_1-43">43</a> a. <b>D.</b> Add: Posies populaires de la France, IV, fol. 332, -Chanson de l'Aunis, Charente Infrieur; but even more of the story is +<p><a href="#Pg_1-43">43</a> a. <b>D.</b> Add: Poésies populaires de la France, IV, fol. 332, +Chanson de l'Aunis, Charente Inférieur; but even more of the story is lost.</p> <p><a href="#Pg_1-44">44</a> a. A ballad in Casetti e Imbriani, C. p. delle Provincie meridionali, II, 1, begins like 'La Contadina alla Fonte' (see p. 393 a), and ends like 'La Monferrina Incontaminata.' Of the same class as the last is, I suppose, Nannarelli, Studio comparativo sui Canti -popolari di Arlena, p. 51, No 50 (Khler), which I regret not yet to +popolari di Arlena, p. 51, No 50 (Köhler), which I regret not yet to have seen.</p> <p><a href="#Pg_1-45">45</a> a. Portuguese <b>C, D</b>, in Alvaro Rodrigues de Azevedo, Romanceiro do Archipelago da Madeira, p. 57, 'Estoria do Bravo-Franco,' p. 60, 'Gallo-frango.'</p> -<p><a href="#Pg_1-47">47</a>. A story from Neumnster about one Grtmicheel, a famous robber, in -Mllenhoff, p. 37, No 2, blends features of 'Hind Etin,' or 'The Maid +<p><a href="#Pg_1-47">47</a>. A story from Neumünster about one Görtmicheel, a famous robber, in +Müllenhoff, p. 37, No 2, blends features of 'Hind Etin,' or 'The Maid and the Dwarf-King,' No 41, with others found in the Magyar ballad, p. 45 f. A handsome wench, who had been lost seven years, suddenly reappeared at the home of her parents. She said that she was not at @@ -54431,11 +54391,11 @@ remorseful tears dropped on his face. "So you have told of me!" cried the astute robber, springing up. He cut off the children's heads and strung them on a willow-twig before her eyes, and was now coming to her, when people arrived, under the mother's conduct, who put a stop to -his further revenge, and took their own. See the note, Mllenhoff, p. +his further revenge, and took their own. See the note, Müllenhoff, p. 592 f.</p> <p><a href="#Pg_1-57">57</a> a. <b>D.</b> Insert: <b>d.</b> A stall-copy lent me by Mrs Alexander -Forbes, Liberton, Edinburgh. (See p. 23, note .)</p> +Forbes, Liberton, Edinburgh. (See p. 23, note §.)</p> <p><a href="#Pg_1-62">62</a> b. Insert after <b>c</b>:</p> @@ -54550,32 +54510,32 @@ versions of both.</p> <p><a href="#Pg_1-66">66</a> b, last line. For other cases of this substitution see Legrand, Recueil de Contes populaires grecs, p. 257, 'La Princesse et sa -Nourrice;' Khler, Romania, XI, 581-84, 'Le conte de la reine qui tua -son snchal;' Neh-Manzer, ou Les Neuf Loges, conte, traduit du persan -par M. Lescallier, Gnes, 1808, p. 55, 'Histoire du devin Afezzell.' -(Khler.) The last I have not seen.</p> +Nourrice;' Köhler, Romania, XI, 581-84, 'Le conte de la reine qui tua +son sénéchal;' Neh-Manzer, ou Les Neuf Loges, conte, traduit du persan +par M. Lescallier, Gènes, 1808, p. 55, 'Histoire du devin Afezzell.' +(Köhler.) The last I have not seen.</p> <p><a href="#Pg_1-67">67</a> a, note *, line 37. Read: a Scotch name.</p> <p>84 b. The same artifice is tried, and succeeds, in a case of birth -delayed by a man's clasping his hands round his knees, in Asbjrnsen, +delayed by a man's clasping his hands round his knees, in Asbjørnsen, Norske Huldre-Eventyr, I, 20, 2d ed.</p> <p><a href="#Pg_1-85">85</a> a, first paragraph. A story closely resembling Heywood's is told in the Zimmerische Chronik, ed. Barack, IV, 262-64, 1882, of Heinrich -von Dierstein; Liebrecht in Germania XIV, 404. (Khler.) As the author +von Dierstein; Liebrecht in Germania XIV, 404. (Köhler.) As the author of the chronicle remarks, the tale (Heywood's) is in the Malleus Maleficarum (1620, I, 158 f).</p> <p><a href="#Pg_1-85">85</a> a, third paragraph. Other cases resembling Gonzenbach, No 54, in -Pitr, Fiabe, Novelle, etc., I, 173, No 18; Comparetti, Novelline -popolari, No 33, p. 139. (Khler.)</p> +Pitré, Fiabe, Novelle, etc., I, 173, No 18; Comparetti, Novelline +popolari, No 33, p. 139. (Köhler.)</p> -<p><a href="#Pg_1-85">85</a>, note. Add: (Khler.)</p> +<p><a href="#Pg_1-85">85</a>, note. Add: (Köhler.)</p> <p><a href="#Pg_1-85">85</a> b. Birth is sought to be maliciously impeded in Swabia by crooking together the little fingers. Lammert, Volksmedizin in Bayern, etc., p. -165. (Khler.)</p> +165. (Köhler.)</p> <h4>7. Earl Brand.</h4> @@ -54596,25 +54556,25 @@ single volume of the Paisley Magazine, a now somewhat scarce book. I am indebted for the information and for a transcript to Mr Murdoch, of Glasgow, and for a second copy to Mr Macmath, of Edinburgh.</p> -<p><a href="#Pg_1-92">92</a> a. Add: <b>I.</b> 'Hildebrand,' Wigstrm, Folkdiktning, II, 13. -<b>J.</b> 'Frken Gyllenborg,' the same, p. 24.</p> +<p><a href="#Pg_1-92">92</a> a. Add: <b>I.</b> 'Hildebrand,' Wigström, Folkdiktning, II, 13. +<b>J.</b> 'Fröken Gyllenborg,' the same, p. 24.</p> -<p><a href="#Pg_1-96">96</a> a. Bvar Bjarki, fighting with great effect as a huge bear for -Hrlfr Kraki, is obliged to return to his ordinary shape in consequence +<p><a href="#Pg_1-96">96</a> a. Böðvar Bjarki, fighting with great effect as a huge bear for +Hrólfr Kraki, is obliged to return to his ordinary shape in consequence of Hjalti, who misses the hero from the fight, mentioning his name: -Saga Hrlfs Kraka, c. 50, Fornaldar Sgur, I, 101 ff. In Hjlmtrs -ok lvers Saga, c. 20, F. S. III, 506 f, Hrr bids his comrades not +Saga Hrólfs Kraka, c. 50, Fornaldar Sögur, I, 101 ff. In Hjálmtèrs +ok Ölvers Saga, c. 20, F. S. III, 506 f, Hörðr bids his comrades not call him by name while he is fighting, in form of a sword-fish, with a walrus, else he shall die. A prince, under the form of an ox, fighting with a six-headed giant, loses much of his strength, and is nigh being conquered, because a lad has, contrary to his prohibition, called him -by name. Asbjrnsen og Moe, Norske Folkeeventyr, 2d ed., p. 419. All +by name. Asbjørnsen og Moe, Norske Folkeeventyr, 2d ed., p. 419. All these are cited by Moe, in Nordisk Tidskrift, 1879, p. 286 f. Certain kindly domestic spirits renounce relations with men, even matrimonial, if their name becomes known: Mannhardt, Wald- und Feldkulte, I, 103.</p> -<p><a href="#Pg_1-97">97</a> b. Insert: <b>Spanish.</b> Mil, Romancerillo Catalan, 2d ed., No -206, <b>D</b>, p. 164: olivera y oliver, which, when grown tall, join.</p> +<p><a href="#Pg_1-97">97</a> b. Insert: <b>Spanish.</b> Milá, Romancerillo Catalan, 2d ed., No +206, <b>D</b>, p. 164: olivera y oliverá, which, when grown tall, join.</p> <p><b>Servian.</b> Add: Karadshitch, I, 345, vv 225 ff, two pines, which intertwine. In <b>I</b> 309, No 421, they plant a rose over the maid, a @@ -54634,14 +54594,14 @@ mother, thou wouldst not let us <i>live</i> together; let us rest together. Golovatsky, I, 186, No 8: a maple from the man's grave, white birch from the woman's, which mingle their leaves.</p> -<p><b>Slovenian.</b> Štr, O nrodnich Psnch a Povĕstech Plemen -slovanskch, p. 51: the lovers are buried east and west, a rose springs +<p><b>Slovenian.</b> Štúr, O národnich Písních a Povĕstech Plemen +slovanských, p. 51: the lovers are buried east and west, a rose springs from the man's grave, a lily from the maid's, which mingle their growth.</p> <p><b>Wend.</b> Add: Haupt and Schmaler, II, 310, No 81.</p> -<p><b>Breton.</b> Add: Villemarqu, Barzaz Breiz, 'Le Seigneur Nann et La -Fe,' see p. 379, note , of this volume.</p> +<p><b>Breton.</b> Add: Villemarqué, Barzaz Breiz, 'Le Seigneur Nann et La +Fée,' see p. 379, note §, of this volume.</p> <p><a href="#Pg_1-98">98</a> a. <b>Armenian.</b> The ashes of two lovers who have been literally consumed by a mutual passion are deposited by sympathetic hands in one @@ -54649,11 +54609,11 @@ grave. Two rose bushes rise from the grave and seek to intertwine, but a thorn interposes and makes the union forever impossible. (The thorn is <i>creed</i>. The young man was a Tatar, and his religion had been an insuperable obstacle in the eyes of the maid's father.) Baron von -Haxthausen, Transkaukasia, I, 315 f. (Khler.)</p> +Haxthausen, Transkaukasia, I, 315 f. (Köhler.)</p> <p>A Middle High German poem from a MS. of the end of the 14th century, printed in Haupt's Zeitschrift, VI, makes a vine rise from the common -grave of Pyramus and Thisbe and descend into it again: p. 517. (Khler.)</p> +grave of Pyramus and Thisbe and descend into it again: p. 517. (Köhler.)</p> <p>J. Grimm notes several instances of this marvel (not from ballads), Ueber Frauennamen aus Blumen, Kleinere Schriften, II, 379 f, note **.</p> @@ -55111,13 +55071,13 @@ p. 7, one stanza.</p> <p><a href="#Pg_1-119">119</a> a. Note <a href="#Footnote_1_127" class="fnanchor">[127]</a>, first line. Read: I, 315.</p> <p><a href="#Pg_1-120">120</a> a, first paragraph. "A very rare but very stupid modern adaptation, -founded on the tradition as told in Smland, appeared in Gtheborg, +founded on the tradition as told in Småland, appeared in Götheborg, 1836, small 8vo, pp 32: Antiquiteter i Thorskinge. Fornminnet eller -Kummel-Runan, tolkande Systersveket Brllopps-dagen." The author was C. +Kummel-Runan, tolkande Systersveket Bröllopps-dagen." The author was C. G. Lindblom, a Swedish priest. The first line is:</p> <div class="poem"><div class="stanza"> -<span class="i0">"En Nskonung bodde p Illvedens fjll."<br /></span> +<span class="i0">"En Näskonung bodde på Illvedens fjäll."<br /></span> </div></div> <p class="source">Professor George Stephens.</p> @@ -55131,28 +55091,28 @@ linden with nine branches: from the ninth her brother carves a harp. "Sweet the tone," he says, as he plays. The mother calls out through her tears, So sang my youngest daughter. G. Tillemann, in Livona, ein historisch-poetisches Taschenbuch, Riga u. Dorpat, 1812, p. 187, Ueber -die Volkslieder der Letten. Dr R. Khler points out to me a version of +die Volkslieder der Letten. Dr R. Köhler points out to me a version of this ballad given with a translation by Bishop Carl Chr. Ulmann in the -Dorpater Jahrbcher, II, 404, 1834, 'Die Lindenharfe,' and another by -Pastor Karl Ulmann in his Lettische Volkslieder, bertragen, 1874, p. -199, No 18, 'Das Lied von der Jngsten.' In the former of these the +Dorpater Jahrbücher, II, 404, 1834, 'Die Lindenharfe,' and another by +Pastor Karl Ulmann in his Lettische Volkslieder, übertragen, 1874, p. +199, No 18, 'Das Lied von der Jüngsten.' In the former of these the brother says, Sweet sounds my linden harp! The mother, weeping, It is not the linden harp; it is thy sister's soul that has swum through the water to us; it is the voice of my youngest daughter.</p> -<p><a href="#Pg_1-124">124</a> b, first paragraph. In Bohemian, 'Zaklet dcera,' 'The Daughter +<p><a href="#Pg_1-124">124</a> b, first paragraph. In Bohemian, 'Zakletá dcera,' 'The Daughter Cursed,' Erben, 1864, p. 466 (with other references); Moravian, -Sušil, p. 143, No 146. Dr R. Khler further refers to Peter, -Volksthmliches aus sterreichisch-Schlesien, I, 209, 'Die drei +Sušil, p. 143, No 146. Dr R. Köhler further refers to Peter, +Volksthümliches aus Österreichisch-Schlesien, I, 209, 'Die drei Spielleute;' Meinert, p. 122, 'Die Erle;' Vernaleken, Alpensagen, p. 289, No 207, 'Der Ahornbaum.'</p> -<p><a href="#Pg_1-125">125</a> b. Add to the citations: 'Le Sifflet enchant,' E. Cosquin, Contes +<p><a href="#Pg_1-125">125</a> b. Add to the citations: 'Le Sifflet enchanté,' E. Cosquin, Contes populaires lorrains, No 26, Romania, VI, 565, with annotations, pp 567 -f; Khler's Nachtrge in Zeitschrift fr romanische Philologie, II, 350 +f; Köhler's Nachträge in Zeitschrift für romanische Philologie, II, 350 f; Engelien u. Lahn, Der Volksmund in der Mark Brandenburg, I, 105, -'Di 3 Brder;' Sbillot, Littrature orale de la Haute-Bretagne, p. -220, Les Trois Frres, p. 226, 'Le Sifflet qui parle.' (Khler.)</p> +'Diä 3 Brüöder;' Sébillot, Littérature orale de la Haute-Bretagne, p. +220, Les Trois Frères, p. 226, 'Le Sifflet qui parle.' (Köhler.)</p> <p><a href="#Pg_1-132">132</a>. <b>I.</b> 10<sup>2</sup>. Read: for water.</p> @@ -55489,10 +55449,10 @@ neck, and mouth.</p> to the Rassegna Settimanale, Rome, 1879, June 22, No 77, p. 485; reprinted in Romania, XI, 391, note.</p> -<p><b>C.</b> 'Rizzl d'Amor,' Guerrini, Alcuni Canti p. romagnoli, p. 3, +<p><b>C.</b> 'Rizzôl d'Amor,' Guerrini, Alcuni Canti p. romagnoli, p. 3, 1880.</p> -<p><b>D.</b> 'La Canzne de 'Nucnzie,' Pitr e Salomone-Marino, Archivio +<p><b>D.</b> 'La Canzóne de 'Nucénzie,' Pitré e Salomone-Marino, Archivio per Tradizioni popolari, I, 213, 1882.</p> <p><a href="#Pg_1-143">143</a>. Slavic ballads resembling 'Graf Friedrich.'</p> @@ -55534,10 +55494,10 @@ expires. Dozon, Chansons p. bulgares, 'Le baiser fatal,' p. 270, No 49.</p> <p><a href="#Pg_1-143">143</a> b, sixth line of the third paragraph. Read: 'Lord Randal.'</p> -<p><a href="#Pg_1-144">144</a> a, line 4. 'Catarina de Li;' in Mil, Romancerillo Catalan, 2d +<p><a href="#Pg_1-144">144</a> a, line 4. 'Catarina de Lió;' in Milá, Romancerillo Catalan, 2d ed., No 307, p. 291, 'Trato feroz,' seven versions.</p> -<p>Line 15. Cf. Blad, Posies p. de la Gascogne, II, 51.</p> +<p>Line 15. Cf. Bladé, Poésies p. de la Gascogne, II, 51.</p> <p><a href="#Pg_1-144">144</a> b, first paragraph. A mother, not liking her son's wife, puts before him a glass of mead, and poison before the wife. God exchanges @@ -55833,7 +55793,7 @@ his Poesia popolare Italiana, pp 106 ff.</p> <p><b>D.</b> The Canon Lorenzo Panciatichi refers to the ballad in a 'Cicalata in lode della Padella e della Frittura,' recited at the Crusca, September 24, 1656, and in such manner as shows that it was -well known. He quotes the first question of the mother, "Dove andast +well known. He quotes the first question of the mother, "Dove andastù a cena," etc. To this the son answered, he says, that he had been poisoned with a roast eel: and the mother asking what the lady had cooked it in, the reply was, In the oil pot.</p> @@ -55852,7 +55812,7 @@ had cooked the eel himself, and, appropriately, in a gold pan.</p> <p><a href="#Pg_1-154">154</a> a, first paragraph. <b>F</b> is given by Meltzl, Acta Comparationis, 1880, columns 143 f, in another dialect.</p> -<p><a href="#Pg_1-154">154</a> b. <b>Magyar.</b> The original of this ballad, 'A megtett Jnos,' +<p><a href="#Pg_1-154">154</a> b. <b>Magyar.</b> The original of this ballad, 'A megétett János,' 'Poisoned John' (as would appear, in the Szekler idiom), was discovered by the Unitarian bishop Kriza, of Klausenburg, and was published by him in J. Arany's 'Koszoru,' in 1864. It is more exactly translated @@ -55868,7 +55828,7 @@ horses to his younger brother. Also translated in Ungarische Revue, <p><b>B</b>, another Szekler version, taken down by Meltzl from the mouth of a girl, is in seven two-line stanzas, with the burden, Make my bed, -sweet mother! 'Jnos,' Acta, cols 140 f, with a German translation. +sweet mother! 'János,' Acta, cols 140 f, with a German translation. John has been at his sister-in-law's, and had a stuffed chicken and a big cake. At his elder sister's they gave him the back of the axe, bloody stripes. He bequeaths to his elder sister remorse and sickness; @@ -55878,9 +55838,9 @@ poverty; to his mother kindness and beggary.</p> <p><a href="#Pg_1-156">156</a> b, second paragraph. Polish: add Roger, p. 66, No 119. Add further: Little Russian, Golovatsky, Part I, pp 206, 207, 209, Nos 32, 33, 35. Masovian, Kozlowski, No 14, p. 52, p. 53. (Sacharof, IV, -7 == Čelakovsk, III, 108.)</p> +7 == Čelakovský, III, 108.)</p> -<p><a href="#Pg_1-157">157</a> a, second paragraph. Kaden translates Nannarelli, p. 52. (Khler.)</p> +<p><a href="#Pg_1-157">157</a> a, second paragraph. Kaden translates Nannarelli, p. 52. (Köhler.)</p> <p><a href="#Pg_1-157">157</a> b. Italian <b>A</b> is translated by Evelyn Carrington in The Antiquary, III, 156 f. <b>D</b> also by Freiligrath, II, 226, ed. @@ -56122,7 +56082,7 @@ Kent, April 19, 1775: taken down by a friend of Mr Parsons <p>1<sup>4</sup>. sick at heart, and fain.</p> -<p>2<sup>3</sup>. Stripd eels fried.</p> +<p>2<sup>3</sup>. Stripëd eels fried.</p> <p>3 == <b>a</b> 6, <b>d</b> 5, <b>h</b> 3.</p> @@ -56177,27 +56137,27 @@ Robertson was hurried he did not take down the precise words." MS., p. <h4>13. Edward.</h4> <p>P. <a href="#Pg_1-168">168</a> a, first paragraph. Add: Swedish <b>E</b>, Aminson, Bidrag -till Sdermanlands Kulturhistoria, <span class="smcap">III</span>, 37, eight stanzas. +till Södermanlands Kulturhistoria, <span class="smcap">III</span>, 37, eight stanzas. Nine stanzas of Finnish <b>B</b> are translated by Schott, Acta Comparationis, 1878, IV, cols 132, 133. The murder here is for wife-seduction, a peculiar and assuredly not original variation.</p> -<p><a href="#Pg_1-168">168</a> b. <b>B</b> is translated by Adolph von Mares, p. 27; by Graf von +<p><a href="#Pg_1-168">168</a> b. <b>B</b> is translated by Adolph von Marées, p. 27; by Graf von Platen, II, 329, Stuttgart, 1847; after Herder into Magyar, by Dr Karl -von Szsz.</p> +von Szász.</p> <h4>14. Babylon; or, The Bonnie Banks o Fordie.</h4> <p>P. <a href="#Pg_1-172">172</a> a. <b>Swedish.</b> Professor George Stephens points me to two -localized prose outlines of the story, one from Smland, the other from -Skne; 'Truls och hans barn,' in the Svenska Fornminnesfreningens +localized prose outlines of the story, one from Småland, the other from +Skåne; 'Truls och hans barn,' in the Svenska Fornminnesföreningens Tidskrift, II, 77 f.</p> <h4>15. Leesome Brand.</h4> -<p>P. <a href="#Pg_1-179">179</a> <b>a.</b> Swedish. II. Add: <b>I</b>, 'Risa lill,' Wigstrm, +<p>P. <a href="#Pg_1-179">179</a> <b>a.</b> Swedish. II. Add: <b>I</b>, 'Risa lill,' Wigström, Folkdiktning, II, 28.</p> <p><span class="pagenum"><a name="Pg_1-502" id="Pg_1-502">[Pg 502]</a></span></p> @@ -56206,29 +56166,29 @@ Folkdiktning, II, 28.</p> <p><a href="#Pg_1-181">181</a> a. <b>German.</b> Add: <b>D</b>, 'Der Ritter und seine Geliebte,' Ditfurth, Deutsche Volks- und Gesellschaftslieder des 17. und 18. -Jahrhunderts, p. 14, No 13. (Khler.)</p> +Jahrhunderts, p. 14, No 13. (Köhler.)</p> -<p><a href="#Pg_1-181">181</a> b. <b>French.</b> <b>C.</b> A still more corrupted copy in Posies +<p><a href="#Pg_1-181">181</a> b. <b>French.</b> <b>C.</b> A still more corrupted copy in Poésies populaires de la France, III, fol. 143, 'La fausse morte.' <b>D.</b> -Fol. 215 of the same volume, a very pretty ballad from Prigord, which +Fol. 215 of the same volume, a very pretty ballad from Périgord, which has lost most of the characteristic incidents, but not the tragic conclusion.</p> <p><a href="#Pg_1-182">182</a> b, first paragraph. A similar scene, ending happily, in I Complementi della Chanson d'Huon de Bordeaux, pubblicati da A. Graf, pp -26 ff. (Khler.)</p> +26 ff. (Köhler.)</p> <p><a href="#Pg_1-183">183</a> b, stanzas 27, 28. Compare:</p> <div class="poem"><div class="stanza"> -<span class="i0">Modhreu lrde sonnenn sinn:<br /></span> -<span class="i0">'Skiuter tu diur och skiuter tu r;<br /></span> +<span class="i0">Modhreu lärde sonnenn sinn:<br /></span> +<span class="i0">'Skiuter tu diur och skiuter tu råå;<br /></span> </div><div class="stanza"> -<span class="i0">'Skiuter tu diur och skiuter tu r,<br /></span> -<span class="i0">Then salige hindenn ltt tu g!'<br /></span> +<span class="i0">'Skiuter tu diur och skiuter tu råå,<br /></span> +<span class="i0">Then salige hindenn lätt tu gå!'<br /></span> </div></div> -<p>'Den frtrollade Jungfrun,' Arwidsson, II, 260, No 136, <b>A</b> I, 2.</p> +<p>'Den förtrollade Jungfrun,' Arwidsson, II, 260, No 136, <b>A</b> I, 2.</p> <h4>17. Hind Horn.</h4> @@ -56262,8 +56222,8 @@ king's court,</p> <p><a href="#Pg_1-193">193</a> b (2). Add: 'Herr Lovmand,' Kristensen, I, 136, No 52.</p> -<p><a href="#Pg_1-194">194</a>. A corrupt fragment of a ballad, 'Der Bettler,' in Schrer's -Ausflug nach Gottschee, p. 210 f (Khler), retains features like 'Hind +<p><a href="#Pg_1-194">194</a>. A corrupt fragment of a ballad, 'Der Bettler,' in Schröer's +Ausflug nach Gottschee, p. 210 f (Köhler), retains features like 'Hind Horn.' The beggar comes to a wedding, and sits by the stove. The bride kindly says, Nobody is thinking of the beggar, and hands him a glass of wine. He says, Thanks, fair bride; thou wast my first wife. Upon this @@ -56279,28 +56239,28 @@ to a distinct class of songs. Dozon, Chansons populaires bulgares, p. 294, note.</p> <p><a href="#Pg_1-195">195</a> b (5). The German popular rhymed tale of Henry the Lion is now -known to have been composed by the painter Heinrich Gtting, Dresden, +known to have been composed by the painter Heinrich Götting, Dresden, 1585. Germania, XXVI, 453, No 527.</p> <p><a href="#Pg_1-198">198</a> a, to first paragraph. For the marvellous transportation in these -stories, see a note by Liebrecht in Jahrbcher fr rom. u. eng. +stories, see a note by Liebrecht in Jahrbücher für rom. u. eng. Literatur, III, 147. In the same, IV, 110, Liebrecht refers to the legend of Hugh of Halton, recounted by Dugdale in his Antiquities of Warwickshire, II, 646, ed. of 1730, and Monasticon Anglicanum, IV, 90 f, ed. 1823 (and perhaps in Dugdale's Baronage of England, but I have not found it there). Hugo is another Gerard: the two half-rings -miraculously unite. (Khler.) See, also, Landau on Torello, 'Der +miraculously unite. (Köhler.) See, also, Landau on Torello, 'Der Wunderritt,' Quellen des Dekameron 1884, pp 193-218.</p> <p><a href="#Pg_1-198">198</a> b, third paragraph. Other versions of 'Le Retour du Mari:' Fleury, -Littrature Orale de la Basse-Normandie, p. 268; E. Legrand, Romania, +Littérature Orale de la Basse-Normandie, p. 268; E. Legrand, Romania, X, 374, also from Normandy.</p> <p>A ballad of the nature of 'Le Retour du Mari' is very popular in Poland: Kolberg, No 22, pp 224 ff, some dozen copies; Wojcicki, I, 287; Wojcicki, II, 311 == Kolberg's <b>c</b>; Lipinski, p. 159 == Kolberg's i; Konopka, p. 121, No 20; Kozłowski, No 5, p. 35, p. 36, two copies. -In Moravian, 'Prvn milejš,' 'The First Love,' Sušil, No 135, +In Moravian, 'První milejší,' 'The First Love,' Sušil, No 135, p. 131. The general course of the story is that a young man has to go to the war the day of his wedding or the day after. He commits his bride to her mother, saying, Keep her for me seven years; and if I @@ -56322,15 +56282,15 @@ the nuptials, and is not known. She throws the half ring into a cup, drinks, and hands the cup to him. He sees the half ring, and joins it to his own. This is my wife, he says. She delivered me from death. He annuls his<span class="pagenum"><a name="Pg_1-503" id="Pg_1-503">[Pg 503]</a></span> marriage, and espouses the right woman. Miklosisch, Ueber -die Mundarten der Zigeuner, IV, Mrchen u. Lieder, 15th Tale, pp 52-55, -at the end of a story of the class referred to at p. 401 f. (Khler.)</p> +die Mundarten der Zigeuner, IV, Märchen u. Lieder, 15th Tale, pp 52-55, +at the end of a story of the class referred to at p. 401 f. (Köhler.)</p> <p>A personage appeared at Magdeburg in 1348 in the disguise of a pilgrim, asked for a cup of wine from the archbishop's table, and, in drinking, dropped into the cup from his mouth the seal ring of the margrave Waldemar, supposed to have been long dead, but whom he confessed or -avowed himself to be. Klden, Diplomatische Geschichte des fr falsch -erklrten Markgrafen Waldemar, p. 189 f. (Khler.)</p> +avowed himself to be. Klöden, Diplomatische Geschichte des für falsch +erklärten Markgrafen Waldemar, p. 189 f. (Köhler.)</p> <p>A wife who long pursues her husband, lost to her through spells, drops a ring into his broth at the feast for his second marriage, is @@ -56341,13 +56301,13 @@ Campbell, West Highland Tales, I, 63-66.</p> languages, a long-absent husband, after tormenting his wife by telling her that she is a widow, legitimates himself by saying, Where is your half of the ring which we parted? Here is mine: 'Bella Infanta,' -Almeida-Garrett, II, 11, 14, Braga, Cantos p. do Archipelago Aoriano, +Almeida-Garrett, II, 11, 14, Braga, Cantos p. do Archipelago Açoriano, p. 300; 'Dona Infanta,' 'Dona Catherina,' Braga, Romanceiro Geral, pp 3 f, 7.</p> -<p>See, further, for ring stories, Wesselofsky, Neue Beitrge zur -Geschichte der Salomonsage, in Archiv fr Slavische Philologie, VI, 397 -f; Hahn, Neugriechische Mrchen, No 25.</p> +<p>See, further, for ring stories, Wesselofsky, Neue Beiträge zur +Geschichte der Salomonsage, in Archiv für Slavische Philologie, VI, 397 +f; Hahn, Neugriechische Märchen, No 25.</p> <p>The cases in which a simple ring is the means of recognition or confirmation need, of course, not be multiplied.</p> @@ -56487,7 +56447,7 @@ Communicated by Mr Macmath, of Edinburgh.</p></div> </div></div> <p><a href="#Pg_1-216">216</a> a. Sir Orfeo has been lately edited by Dr Oscar Zielke: Sir Orfeo, -ein englisches Feenmrchen aus dem Mittelalter, mit Einleitung und +ein englisches Feenmärchen aus dem Mittelalter, mit Einleitung und Anmerkungen, Breslau, 1880.</p> @@ -56502,11 +56462,11 @@ Anmerkungen, Breslau, 1880.</p> <p>Add: <b>N.</b> 'The Loch o the Loanie,' Campbell MSS, II, 264.</p> <p><a href="#Pg_1-219">219</a> b. Add to the German versions of 'The Cruel Mother:' <b>M.</b> -Pater Amand Baumgarten, Aus der volksmssigen Ueberlieferung der +Pater Amand Baumgarten, Aus der volksmässigen Ueberlieferung der Heimat: IX, Geburt, Heirat, Tod, mit einem Anhang von Liedern, p. 140. ['Das ausgesetzte Kind.'] <b>N.</b> A. Schlosser, Deutsche Volkslieder aus Steiermark, p. 336, No 306, 'Der alte Halter und das Kind' (not yet -seen by me). (Khler.)</p> +seen by me). (Köhler.)</p> <p>220 a. A ballad of Slavic origin in Nesselmann's Littauische Volkslieder, No 380, p. 322, resembles the German and Wendish versions @@ -56593,7 +56553,7 @@ romagnoli, p. 7, there is no penance.</p> <h4>22. St Stephen and Herod.</h4> -<p>P. <a href="#Pg_1-236">236</a> a. <b>Spanish.</b> Mil's new edition, Romancerillo Catalan, +<p>P. <a href="#Pg_1-236">236</a> a. <b>Spanish.</b> Milá's new edition, Romancerillo Catalan, No 31, 'El romero acusado de robo,' pp 36-38, adds six copies, not differing in anything important. In <b>C</b>, the youth, un estudiant, n'era ros com un fil d'or, blanch com Santa Catarina.</p> @@ -56602,7 +56562,7 @@ n'era ros com un fil d'or, blanch com Santa Catarina.</p> the gallows as effectually as St James. See Robertson, Materials, etc., I, 369, 471, 515, 524.</p> -<p><a href="#Pg_1-238">238</a>. Note <a href="#Footnote_1_195" class="fnanchor">[195]</a> should have been credited to R. Khler.</p> +<p><a href="#Pg_1-238">238</a>. Note <a href="#Footnote_1_195" class="fnanchor">[195]</a> should have been credited to R. Köhler.</p> <p><a href="#Pg_1-238">238</a> b, second paragraph. Professor George Stephens informs me that the miracle of the cock is depicted, among scenes from the life of Jesus, @@ -56618,17 +56578,17 @@ say, but there can be no connection with St James. The work is assigned to the last part of the fourteenth century.</p> <p><a href="#Pg_1-239">239</a>. Most of the literature on the topic of the restoration of the -roasted cock to life is collected by Dr R. Khler and by Ferdinand -Wolf, in Jahrbcher fr romanische u. englische Literatur, III, 58 -ff, 67 f. Dr Khler now adds these notes: The miracle of St James, in +roasted cock to life is collected by Dr R. Köhler and by Ferdinand +Wolf, in Jahrbücher für romanische u. englische Literatur, III, 58 +ff, 67 f. Dr Köhler now adds these notes: The miracle of St James, in Hermann von Fritslar's Heiligenleben, Pfeiffer's Deutsche Mystiker des vierzehnten Jahrhunderts, I, 168 f; Hahn, Das alte Passional (from the -Golden Legend), p. 223, v. 47-p. 225, v. 85; Ltolf, Sagen, Bruche und +Golden Legend), p. 223, v. 47-p. 225, v. 85; Lütolf, Sagen, Bräuche und Legenden aus Lucern, u. s. w., p. 367, No 334; von Alpenburg, Deutsche Alpensagen, p. 137, No 135; Sepp, Altbayerischer Sagenschatz, pp 652 ff, 656 f.</p> -<p><a href="#Pg_1-239">239</a> b. Three stone partridges on a buttress of a church at Mhlhausen +<p><a href="#Pg_1-239">239</a> b. Three stone partridges on a buttress of a church at Mühlhausen are thus accounted for. In the early days of the Reformation a couple of orthodox divines, while waiting dinner, were discussing the prospect of the infection spreading to their good city. One of them, growing @@ -56637,14 +56597,14 @@ partridges that were roasting in the kitchen taking flight from the spit. Immediately there was heard a fluttering and a cooing in the region of the kitchen, the three birds winged their way from the house, and, lighting on the buttress of Mary Kirk, were instantly -turned to stone, and there they are. Thringen und der Harz, mit ihren -Merkwrdigkeiten, u. s. w., VI, 20 f. (Khler.)</p> +turned to stone, and there they are. Thüringen und der Harz, mit ihren +Merkwürdigkeiten, u. s. w., VI, 20 f. (Köhler.)</p> <p><a href="#Pg_1-240">240</a> a. The monk Andrius has the scene between Judas and his mother as in Cursor Mundi, and attributes to Greek writers the opinion that the roasted cock was the same that caused Peter's compunction. Mussafia, Sulla legenda del legno della Croce, Sitz. Ber. der phil.-hist. Classe -der Wiener Akad., LXIII, 206, note. (Khler.)</p> +der Wiener Akad., LXIII, 206, note. (Köhler.)</p> <p>"About the year 1850 I was on a visit to the rector of Kilmeen, near Clonakilty, in the county of Cork. My friend brought me to visit the @@ -56659,32 +56619,32 @@ what it meant. I confessed my ignorance. 'That,' said he, 'is the cock. The servants were boiling him for supper, but when the moment came to convict the <i>apostle</i> he started up, perched on the side of the pot, and astonished the assembly by his salutation of the morning.'" Notes -and Queries, 5th series, IX, 412 a. (Khler.)</p> +and Queries, 5th series, IX, 412 a. (Köhler.)</p> <p>A heathen in West Gothland (Vestrogothia) had killed his herdsman, Torsten, a Christian, and was reproached for it by Torsten's wife. Pointing to an ox that had been slaughtered, the heathen answered: Tam Torstenum tuum, quem sanctum et in cœlis vivere existimas, plane -ita vivum credo prout hunc bovem quem in frusta cdendum conspicis. +ita vivum credo prout hunc bovem quem in frusta cædendum conspicis. Mirum dictu, vix verba finiverat, cum e vestigio bos in pedes se erexit vivus, stupore omnibus qui adstabant attonitis. Quare sacellum in loco -eodem erectum, multaque miracula, prsertim in pecorum curatione, -patrata. Ioannis Vastovii Vitis Aquilonia, sive Vit Sanctorum regni -Sveo-gothici, emend. et illustr. Er. Benzelius filius, Upsali, 1708, -p. 59. (Khler.)</p> +eodem erectum, multaque miracula, præsertim in pecorum curatione, +patrata. Ioannis Vastovii Vitis Aquilonia, sive Vitæ Sanctorum regni +Sveo-gothici, emend. et illustr. Er. Benzelius filius, Upsaliæ, 1708, +p. 59. (Köhler.)</p> <p><a href="#Pg_1-240">240</a> b. Man begegnet auf alten Holzschnitten einer Abbildung von Christi -Geburt, welche durch die dabei stehenden Thiere erklrt werden soll. -Der Hahn auf der Stange krhet da: <i>Christus natus est!</i> der Ochse -brllt mit berschnappender Stimme drein: <i>Ubi?</i> und das Lammlein -blheret die Antwort: <i>Bethlehem!</i> Rochholz, Alemannisches Kinderlied -und Kinderspiel aus der Schweiz, p. 69 f. (Khler.)</p> +Geburt, welche durch die dabei stehenden Thiere erklärt werden soll. +Der Hahn auf der Stange krähet da: <i>Christus natus est!</i> der Ochse +brüllt mit überschnappender Stimme drein: <i>Ubi?</i> und das Lammlein +bläheret die Antwort: <i>Bethlehem!</i> Rochholz, Alemannisches Kinderlied +und Kinderspiel aus der Schweiz, p. 69 f. (Köhler.)</p> <p><a href="#Pg_1-241">241</a> a. Wer sind die ersten Vorbothen Gottes? Der Hahn, weil er -krht, "Christ ist geboren." Der Tauber, weil er ruft, "Wo?" Und der +kräht, "Christ ist geboren." Der Tauber, weil er ruft, "Wo?" Und der Ziegenbock, weil er schreit, "Z' Bethlehem." Pater Amand Baumgarten, -Aus der volksmssigen Ueberlieferung der Heimat, I, Zur volksthmlichen -Naturkunde, p. 94. (Khler.)</p> +Aus der volksmässigen Ueberlieferung der Heimat, I, Zur volksthümlichen +Naturkunde, p. 94. (Köhler.)</p> <p>Hahn: Kikeriki! Gott der Herr lebt!</p> @@ -56692,17 +56652,17 @@ Naturkunde, p. 94. (Khler.)</p> <p>Ochs: Wo? Wo?</p> -<p>Geiss: Mh! zu Bethlehem!</p> +<p>Geiss: Mäh! zu Bethlehem!</p> <p>Simrock, Das deutsche Kinderbuch, 2d ed., p. 173, No 719; 3d ed., p. -192, No 787. (Khler.)</p> +192, No 787. (Köhler.)</p> -<p>Quando Christo nasceu disse o gallo: <i>Jesus-Christo e n ... ... - ... do</i> (ndo). J. Leite de Vasconcellos, Tradies populares de +<p>Quando Christo nasceu disse o gallo: <i>Jesus-Christo e ná ... á ... +á ... do</i> (nádo). J. Leite de Vasconcellos, Tradiçôes populares de Portugal, p. 148, No 285 b.</p> <p><a href="#Pg_1-242">242</a>. Note. Add: W. Creizenach, Judas Ischarioth in Legende und Sage des -Mittelalters, in Paul and Braune's Beitrge, II, 177 ff.</p> +Mittelalters, in Paul and Braune's Beiträge, II, 177 ff.</p> <h4>25. Willie's Lyke-Wake.</h4> @@ -56712,12 +56672,12 @@ Ballads of the North of Scotland, II, 51. <b>b.</b> Christie, Traditional Ballad Airs, I, 122.</p> <p><a href="#Pg_1-249">249</a> b. <b>Swedish.</b> Add: <b>D.</b> Aminson, Bidrag till -Sdermanlands Kulturhistoria, <span class="smcap">II</span>, 18.</p> +Södermanlands Kulturhistoria, <span class="smcap">II</span>, 18.</p> <p><b>French.</b> 'Le Soldat au Convent,' Victor Smith, Vielles Chansons recueillies en Velay et en Forez, p. 24, No 21, or Romania, VII, -73; Fleury, Littrature Orale de la Basse Normandie, p. 310, 'La -Religieuse;' Posies populaires de la France, III, fol. 289, fol. +73; Fleury, Littérature Orale de la Basse Normandie, p. 310, 'La +Religieuse;' Poésies populaires de la France, III, fol. 289, fol. 297. A soldier who has been absent some years in the wars returns to find his mistress in a convent; obtains permission to see her for a last time, puts a ring on her finger, and then "falls dead." His @@ -56730,8 +56690,8 @@ translated by G. Heinrich, in Ungarische Revue, 1883, p. 155.</p> <p>The same story, perverted to tragedy at the end, in Golovatsky, II, 710, No 13, a ballad of the Carpathian Russians in Hungary.</p> -<p><a href="#Pg_1-250">250</a>. Dr R. Khler points out to me a German copy of <b>A</b>, <b>B</b>, -<b>C</b>, which I had overlooked, in Schrer, Ein Ausflug nach +<p><a href="#Pg_1-250">250</a>. Dr R. Köhler points out to me a German copy of <b>A</b>, <b>B</b>, +<b>C</b>, which I had overlooked, in Schröer, Ein Ausflug nach Gottschee, p. 266 ff, 'Hansel june.' The mother builds a mill and a church, and then the young man feigns death, as before. But a very cheap tragic turn is given to the conclusion when the young man springs @@ -56872,8 +56832,8 @@ Phillipps, at Cheltenham. Romania, XII, 5.</p> <h4>31. The Marriage of Sir Gawain.</h4> -<p>P. <a href="#Pg_1-292">292</a> b, last paragraph but one. Add: 'Gorvmb,' Arnason, II, 375, -Powell, Icelandic Legends, Second Series, 366, 'The Paunch.' Gorvmb, +<p>P. <a href="#Pg_1-292">292</a> b, last paragraph but one. Add: 'Gorvömb,' Arnason, II, 375, +Powell, Icelandic Legends, Second Series, 366, 'The Paunch.' Gorvömb, a monstrous creature, in reward for great services, asks to have the king's brother for husband, and in bed turns into a beautiful princess. She had been suffering under the spells of a step-mother.</p> @@ -57020,39 +56980,39 @@ Mrs Robertson (Christian Leslie), mother of Dr Joseph Robertson.</p></div> <h4>43. The Broomfield Hill.</h4> -<p>P. <a href="#Pg_1-393">393</a> a, first paragraph. In Gongu-Rlvs kvi, Hammershaimb, Friske -Kvder, No 16, p. 140, sts 99-105, Lindin remains a maid for two +<p>P. <a href="#Pg_1-393">393</a> a, first paragraph. In Gongu-Rólvs kvæði, Hammershaimb, Færöiske +Kvæder, No 16, p. 140, sts 99-105, Lindin remains a maid for two nights, and loses the name the third, but the sleep-rune or thorn which should explain this does not occur.</p> -<p><a href="#Pg_1-393">393</a> b, third paragraph. Add: 'Kurz gefasst,' Alfred Mller, Volkslieder +<p><a href="#Pg_1-393">393</a> b, third paragraph. Add: 'Kurz gefasst,' Alfred Müller, Volkslieder aus dem Erzgebirge, p. 90.</p> <h4>45. King John and the Bishop.</h4> -<p>P. <a href="#Pg_1-410">410</a>. Translated after Percy's Reliques also by von Mares, p. 7, No +<p>P. <a href="#Pg_1-410">410</a>. Translated after Percy's Reliques also by von Marées, p. 7, No 2.</p> <p><a href="#Pg_1-503">503</a> a, fifth paragraph (ring stories). Add: W. Freiherr von Tettau, -Ueber einige bis jetzt unbekannte Erfurter Drucke, u. s. w., Jahrbcher -der kniglichen Akademie zu Erfurt, Neue Folge, Heft VI, S. 291, at the -end of an excellent article on Ritter Morgeners Wallfahrt. (Khler.)</p> +Ueber einige bis jetzt unbekannte Erfurter Drucke, u. s. w., Jahrbücher +der königlichen Akademie zu Erfurt, Neue Folge, Heft VI, S. 291, at the +end of an excellent article on Ritter Morgeners Wallfahrt. (Köhler.)</p> <div class="footnotes"><h5>FOOTNOTES:</h5> <div class="footnote"> -<p><a name="Footnote_1_426" id="Footnote_1_426"></a><a href="#FNanchor_1_426"><span class="label">[426]</span></a> "Cette action, si peu sante pour nous, est accomplie +<p><a name="Footnote_1_426" id="Footnote_1_426"></a><a href="#FNanchor_1_426"><span class="label">[426]</span></a> "Cette action, si peu séante pour nous, est accomplie dans maint conte grec, allemand, etc., par des jeunes filles sur leurs -amants, sur des dragons par les princesses qu'ils ont enleves, et, -mme dans une lgende bulgare en vers, saint Georges reoit le mme -service de la demoiselle expose au dragon, dont il va la dlivrer." +amants, sur des dragons par les princesses qu'ils ont enlevées, et, +même dans une légende bulgare en vers, saint Georges reçoit le même +service de la demoiselle exposée au dragon, dont il va la délivrer." Dozon, Contes albanais, p. 27, note. In the Bulgarian legend referred to, Bulgarski narodni pĕsni, by the brothers Miladinov, p. 31, the saint having dozed off during the operation, the young maid sheds tears, and a burning drop falls on the face of George, and wakes him. -This recalls the Magyar ballad, Molnr Anna, see p. 46. A Cretan legend +This recalls the Magyar ballad, Molnár Anna, see p. 46. A Cretan legend of St George has the same trait: Jeannaraki, p. 2, v. 41. Even a dead lover recalled to the earth by his mistress, in ballads of the Lenore class, asks the same service: Golovatsky, II, 708, No 12; Sušil, p. @@ -57086,16 +57046,16 @@ elphin knight do what he will.')</p> <p>Page <a href="#Pg_1-18">18</a>, version G, stanza 3: added missing close single quotation mark (Which never bore blossom since Adam was born?')</p> -<p>Page <a href="#Pg_1-37">37</a>: changed "Bokendorf" to "Bkendorf" (Reifferscheid, No 18, p. -36, from Bkendorf.)</p> +<p>Page <a href="#Pg_1-37">37</a>: changed "Bokendorf" to "Bökendorf" (Reifferscheid, No 18, p. +36, from Bökendorf.)</p> <p>Page <a href="#Pg_1-39">39</a>, first paragraph: "cod by ffman" interpreted as "co[llecte]d by [Ho]ffman".</p> -<p>Page <a href="#Pg_1-84">84</a>: changed "Fornminnesforeningens" to "Fornminnesfreningens" -(Svenska Fornminnesfreningens Tidskrift)</p> +<p>Page <a href="#Pg_1-84">84</a>: changed "Fornminnesforeningens" to "Fornminnesföreningens" +(Svenska Fornminnesföreningens Tidskrift)</p> -<p>Page <a href="#Pg_1-98">98</a>: changed "Busching" to "Bsching" (Bsching u. von der Hagen, +<p>Page <a href="#Pg_1-98">98</a>: changed "Busching" to "Büsching" (Büsching u. von der Hagen, Buch der Liebe, c. 60)</p> <p>Page <a href="#Pg_1-99">99</a>: changed comma to semi-colon (Wolff, Halle, <span class="smcap">I</span>, 76; @@ -57142,13 +57102,13 @@ difficult to distinguish in the original, but by comparison of versions <b>A</b> <p>Page <a href="#Pg_1-335">335</a>: in the introduction to Tam Lin (Ballad No. 39) appears "all that is peculiar to this version [<b>I</b>] ... is distinguished from the rest by the larger type." but the font change was not detected in the original, and so has been omitted here.</p> -<p>Page <a href="#Pg_1-374">374</a>: changed "Islenzk" to "slenzk" (These in slenzk fornkvi, +<p>Page <a href="#Pg_1-374">374</a>: changed "Islenzk" to "Íslenzk" (These in Íslenzk fornkvæði, pp 4-10, ...)</p> <p>Page <a href="#Pg_1-392">392</a>: changed "esterley" to "Oesterley" (Iohannis de Alta Silva Dolopathos, ed. Oesterley)</p> -<p>Page <a href="#Pg_1-400">400</a>: changed "Čelakovsky" to "Čelakovsk" (Čelakovsk, p. +<p>Page <a href="#Pg_1-400">400</a>: changed "Čelakovsky" to "Čelakovský" (Čelakovský, p. 75, No 6, Wenzig, Slawische Volkslieder)</p> <p>Page <a href="#Pg_1-425">425</a>, footnote <a href="#Footnote_1_390" class="fnanchor">[390]</a>: changed "he" to "the" (Where is the sky but @@ -57160,7 +57120,7 @@ three spans broad?)</p> explanation of the significance is found in the introduction or notes. Consequently no font distinction is made here.</p> <p>Page <a href="#Pg_1-488">488</a>, footnote <a href="#Footnote_1_426" class="fnanchor">[426]</a>: added missing closing quotation mark ("Cette -action, ... dont il va la dlivrer.")</p> +action, ... dont il va la délivrer.")</p> <p>Page <a href="#Pg_1-451">451</a>, ballad version A: two stanzas were numbered 18; changed second "18" to "19" and changed "19" to "20".</p> @@ -57171,7 +57131,7 @@ of the content of the two ballads stanzas 1, 3-5, 14, 15, 17, 18, 22, 27-29, 34- <p>Page <a href="#Pg_1-488">488</a>: changed stanza number "18" to "16"</p> -<p>Page <a href="#Pg_1-489">489</a>: changed "Hjalmters" to "Hjlmtrs" (Hjlmtrs ok lvers Saga)</p> +<p>Page <a href="#Pg_1-489">489</a>: changed "Hjalmters" to "Hjálmtèrs" (Hjálmtèrs ok Ölvers Saga)</p> <div class="poem"><div class="stanza"> <span class="i0"><span class="notenum">16.</span><br /></span> @@ -57180,381 +57140,6 @@ of the content of the two ballads stanzas 1, 3-5, 14, 15, 17, 18, 22, 27-29, 34- <span class="i0">...<br /></span> </div></div> - - - - - - -<pre> - - - - - -End of the Project Gutenberg EBook of The English and Scottish Popular -Ballads (Volume I of 5), by Various - -*** END OF THIS PROJECT GUTENBERG EBOOK ENGLISH, SCOTTISH BALLADS, VOL I *** - -***** This file should be named 44969-h.htm or 44969-h.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/4/4/9/6/44969/ - -Produced by Simon Gardner, Katherine Ward, Alicia Williams, -David T. 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