Part 2 — 53 YOUNG BEICHAN (continued 2)

B.

17¹. bids me.

22^{5, 6}. Connected with 23 in MS.

22⁶. send he.

C. a.

15². How y you.

b.

3³. omits house.

4². omits foot.

7¹. omits dear.

7³. For she's ... of the prison.

7⁴. And gane the dungeon within.

8¹. And when.

8². Wow but her heart was sair.

9¹. She's gotten.

11¹. thir twa.

13². I kenna.

13⁴. kensnae.

14¹. fell out.

15². How y you.

16¹. till.

16². As fast as ye can gang.

16³. tak three.

16⁴. To haud ye unthocht lang.

18¹. Syne ye.

18³. And bonny.

19³. And I will.

20². As fast as she could gang.

20³. she's taen.

20⁴. To haud her unthocht lang.

22³. And sae bonny did.

22⁴. till.

24³. And her mind misgae by.

24⁴. That 't was.

25². markis three.

25⁴. Bid your master.

27⁴. did never.

29¹. and spak.

29³. be fine.

29⁴. as fine.

32³. out of.

34³. at the first.

35². gang.

36⁴. Send her back a maid.

D.

Written throughout without division into stanzas.

7. A like repetition occurs again in the Skene MSS: see No 36, p. 316.

10^{1, 2}. One line in the MS. The metre, in several places where it is incomplete, was doubtless made full by repetition: see 19^{1, 3}.

14¹. This line thus: (an a Leash of guid gray hounds). The reciter evidently could remember only this point in the stanza.

19^{1, 3}. Probably sung, the stair, the stair; win up, win up.

22^{3, 4}. The latter half of the stanza must be supposed to be addressed to Young Beachen.

26^{1, 2}. He took her down to yon gouden green.

27⁴. Sh's.

29². my name.

After 29 a stanza belonging apparently to some other ballad:

E.

6^4-6 was introduced, with other metrical passages, into a long tale of 'Young Beichan and Susy Pye,' which Motherwell had heard related, and of which he gives a specimen at p. xv. of his Introduction: "Well, ye must know that in the Moor's castle there was a massymore, which is a dark dungeon for keeping prisoners. It was twenty feet below the ground, and into this hole they closed poor Beichan. There he stood, night and day, up to his waist in puddle water; but night or day it was all one to him, for no ae styme of light ever got in. So he lay there a lang and weary while, and thinking on his heavy weird, he made a murnfu sang to pass the time, and this was the sang that he made, and grat when he sang it, for he never thought of ever escaping from the massymore, or of seeing his ain country again:

"Now the cruel Moor had a beautiful daughter, called Susy Pye, who was accustomed to take a walk every morning in her garden, and as she was walking ae day she heard the sough o Beichan's sang, coming as it were from below the ground," etc., etc.

F.

3³. dungeon (donjon).

6¹. only lands.

6². only castles.

8¹. Oh.

10³. ha she has gane in: originally has she gane in.

13². Many, with Seven written over: Seven in 14².

20. After this stanza: Then the porter gaed up the stair and said.

25. After this stanza: Then Lord Beichan gat up, and was in a great wrath, and said.

31. ae: indistinct, but seems to have been one changed to ae or a.

H.

4³. carts and wains for carts o wine of A 2³, B 2³. We have wine in H 4³, I 3³, and wine is in all likelihood original.

Christie, I, 31, abridges this version, making "a few slight alterations from the way he had heard it sung:" these, and one or two more.

2⁴. wadna bend nor bow.

7¹. The Moor he had.

25¹. But Beichan courted.

I.

1¹. Bechin was pronounced Beekin.

K.

1. Before this, as gloss, or remnant of a preceding stanza: She came to a shepherd, and he replied.

2. After this, in explanation: She gave Lord Bechin a slice of bread and a bottle of wine when she released him from prison, hence the following.

3¹. to him.

4. After this: He had married another lady, not having heard from his Sophia for seven long years.

L.

"This affecting legend is given ... precisely as I have frequently heard it sung on Saturday nights, outside a house of general refreshment (familiarly termed a wine-vaults) at Battle-bridge. The singer is a young gentleman who can scarcely have numbered nineteen summers.... I have taken down the words from his own mouth at different periods, and have been careful to preserve his pronunciation." [Attributed to Charles Dickens.] As there is no reason for indicating pronunciation here, in this more than in other cases, the phonetic spelling is replaced by common orthography. Forms of speech have, however, been preserved, excepting two, with regard to which I may have been too nice.

1³. his-self.

5², 9². guv.

M.

10³. in for wi (?): wi in 5³.

12², 46². bend. Possibly, however, understood to be bend == leather, instead of ben == bane, bone.

13⁴, 47⁴. on thought.

N. a.

Susan Py, or Young Bichens Garland. Shewing how he went to a far country, and was taken by a savage Moor and cast into prison, and delivered by the Moor's daughter, on promise of marriage; and how he came to England, and was going to be wedded to another bride; with the happy arrival of Susan Py on the wedding day. Falkirk, Printed by T. Johnston, 1815.

b.

3⁴. his own.

4². A week, a week, but only.

7³. own land.

7⁴. And foreign lands no more.

11¹. young man.

13². he lay.

24³. her trunks.

25⁴. was the.

28². that stood hard by.

28⁴. thou shalt.

29². She knocked.

31⁴. waiting-maid.

32². For this is his.

34¹. up the stairs.

34³. will you.

36⁴. Ye might.

37². Sae loud as I hear ye lie.

39⁴. And a sight of him you cannot see.

40⁴. To bring.

42³. I'll lay.

44². way that you've used me.

47⁴. wedding of.

FOOTNOTES:

ADDITIONS AND CORRECTIONS

1. Riddles Wisely Expounded.

P. 1 b. A. Add: Mündel, Elsässische Volkslieder, p. 27, No 24. Second line from the bottom, for seven read ten.

2 a. Add: H. J. H. Schmitz, Sitten u. s. w. des Eifler Volkes, I, 159; five pairs of riddles and no conclusion. (Köhler.) I. Alfred Müller, Volkslieder aus dem Erzgebirge, p. 69; four pairs of riddles, and no conclusion. J. Lemke, Volksthümliches in Ostpreussen, p. 152; seven riddles guessed, "nun bin ich Deine Frau."

2 b. (The Russian riddle-ballad.) So a Kosak: "I give thee this riddle: if thou guess it, thou shalt be mine; if thou guess it not, ill shall it go with thee." The riddle, seven-fold, is guessed. Metlinskiy, Narodnyya yuzhnorusskiya Pyesni, pp 363 f. Cf. Snegiref, Russkie prostonarodnye Prazdniki, II, 101 f.

2 b, note. For Kaden substitute Casetti e Imbriani, C. p. delle Provincie meridionali, I, 197 f. (Köhler.)

2. The Elfin Knight.

P. 6 b. J. Read: Central New York; and again in J, p. 19 a. Add: M. Notes and Queries, 4th Series, III, 605.

7 a, note. Another ballad with a burden-stem is a version of 'Klosterrovet,' C, MSS of 1610, and later, communicated to me by Svend Grundtvig.

7 b. Add: O. 'Ehestandsaussichten' [Norrenberg], Des Dülkener Fiedlers Liederbuch, 1875, p. 88, No 99. (Köhler.)

8-12. 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 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; Sadok Baracz, p. 33; Kolberg, Lud, VIII, 206; Kulda, II, 68.

14 a, line 4. The Baba-Yaga, a malignant female spirit, has the ways of the Rusalka and the Vila, and so the Wendish Pšezpolnica, the 'Mittagsfrau,' and the Serpolnica: Afanasief, II, 333; Veckenstedt, Wendische Sagen, p. 107, No 14, p. 108 f, No 19, p. 109 f, No 4. The 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.

14 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.)

15 a. A, B. Dr Davidson informs me that the introductory stanza, or burden-stem, exists in the form:

16 a. C. This version is in Kinloch MSS, VII, 163. 3 is wanting.

10. wanting.

12¹. I hae a bit o land to be corn.

14 is wanting.

16. loof—glove.

17 is wanting.

3, 10, 14, 17, are evidently supplied from some form of B.

20.

M

Similar to F-H: Notes and Queries, 4th Series, III, 605, communicated by W. F., Glasgow, from a manuscript collection.

3. The Fause Knight upon the Road.

P. 20 a. Add: C. 'The False Knight,' communicated by Mr Macmath, of Edinburgh.

For the fool getting the last word of the princess, see, further, Köhler, Germania, XIV, 271; Leskien u. Brugman, Litauische Volkslieder u. Märchen, p. 469, No 33, and Wollner's note, p. 573.

21, note. I must retract the doubly hasty remark that the Shetland belief that witches may be baffled by fliting with them is a modern misunderstanding.

Mr George Lyman Kittredge has called my attention to Apollonius of Tyana's encounter with an empusa between the Caucasus and the Indus. Knowing what the spectre was, Apollonius began to revile it, 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 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 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.

Sprites of the more respectable orders will quit the company of men if scolded: Walter Mapes, De Nugis Curialium, ed. Wright, p. 81, Alpenburg, Deutsche Alpensagen, p. 312, No 330. So Thetis, according to Sophocles, left Peleus when he reviled her: Scholia in Apollonii Argonautica, IV, 816. (Mannhardt, Wald- und Feldkulte, II, 60, 68.) 22.

C

Obtained by Mr Macmath from the recitation of his aunt, Miss Jane Webster, formerly of Airds of Kells, Stewartry of Kirkcudbright, Galloway, who learned it many years ago from the wife of Peter McGuire, then cotman at Airds.

4. Lady Isabel and the Elf-Knight.

P. 22 b. D. Add: d. 'The historical ballad of May Culzean,' an undated stall-copy.

26 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. (Köhler.)

D. 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 for a walk, and is told that it is all one where she goes or stays, if she keeps her honor. Her father says the same, when she applies for his leave. She goes to her bedroom and dresses herself finely, dons a gold crown, puts her head out of the window, and cries, Now am I Jan Alberts' bride. Jan Alberts takes her on his horse; they ride fast and long, with nothing to eat or drink for three days. She then asks Jan why he gives her nothing, and he answers that he shall ride to the high tree where hang fourteen fair maids. Arrived there, he gives her the choice of tree, sword, or water. She chooses the sword, bids him spare his coat, for a pure maid's blood goes far, and before his coat is half off his head lies behind him. The head cries, Behind the bush is a pot of grease; smear my neck with it. She will not smear from a murderer's pot, nor blow in a murderer's horn. She mounts his horse, and rides far and long. Jan Alberts' mother comes to meet her, and asks after him. She says he is not far off, and is sporting with fourteen maids. Had you told me this before, I would have laid you in the water, says the mother. The maid rides on till she comes to her father's gate. Then she cries to her father to open, for his youngest daughter is without. The 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.

30 a, 37 a. There is a Low German version of the first class, A-F, in Spee, Volksthümliches vom Niederrhein, Köln, 1875, Zweites Heft, p. 3, 'Schöndili,' 50 vv. (Köhler.)

AA. 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 not meal-time; he replies that they are coming to a linden, where they will eat and drink. Seven women are hanging on the tree. He gives her 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 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.

BB. Alfred Müller, Volkslieder aus dem Erzgebirge, p. 92, 'Schön Ulrich' [und Trautendelein], 36 vv. (Köhler.) Like T, without the song.

CC. A. Schlosser, Deutsche Volkslieder aus Steiermark, 1881, p. 338, No 309, 'Der Ritter und die Maid.' (Köhler: not yet seen by me.)

DD. 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. Heinrich draws his sword, runs her through, and rides home. He is asked why his sword is red, and says he has killed two doves. They say the dove must be Anna.

32 b. H, line 10. Read: umbrunnen.

39 a, line 1. Read: contributed by Hoffmann.

39 a, third paragraph. Kozlowski, Lud, p. 54, No 15, furnishes a second and inferior but still important form of A (Masovian).

A b. Ligar (afterwards Jasia, Golo) bids Kasia take all she has. She has already done this, and is ready to range the world with him. Suddenly she asks, after they have been some time on their way, What is that yonder so green? Jasia replies, Our house, to which we are going. They go on further, and Kasia again inquires abruptly, What is that yonder so white? "That is my eight wives, and you shall be the ninth: you are to die, and will be the tenth." "Where is the gold, the maidens' gold?" "In the linden, Kasia, in the linden; plenty of it." "Let me not die so wretchedly; let me draw your sword for once." She drew the sword, and with one stroke Jasia's head was off.

39 b. To the Polish versions are further to be added: NN, Piosnki wieśniacze znad Dzwiny, p. 41, No 51; OO, Roger, p. 78, No 138; PP, Roger, p. 69, No 125; QQ, ib., p. 79, No 140; RR, p. 81, No 142; SS, p. 79, No 139. The last three are imperfect, and QQ, RR, have a beginning which belongs elsewhere. Jasia suggests to Kasia to get the key of the new room from her mother by pretending headache, and bids her take gold enough, NN, OO. They go off while her mother thinks that Kasia is sleeping, NN, OO, QQ. They come to a wood, NN, PP (which is corrupt here), SS; first or last, to a deep stream, NN, OO, QQ, SS; it is red sea in RR, as in J. Jasia bids Kasia return to her mother, NN (twice), RR; bids her take off her rich clothes, OO, to which she answers that she has not come here for that. John throws her into the water, NN, OO, QQ, SS, from a bridge in the second and third. Her apron catches on a stake or post; she begs John for help, and gets for answer, "I did not throw you in to help you: you may go to the bottom," OO. She swims to a stake, to which she clings, and John hews her in three, QQ. Fishermen draw out the body, and carry it to the church, NN, OO. She apostrophizes her hair in QQ, SS, as in G, I, J, and in the same absurd terms in QQ as in J. John is pursued and cut to pieces in OO, also broken on the wheel. PP closely resembles German ballads of the third class. Katie shouts three times: at her first cry the grass curls up; at the second the river overflows; the third wakes her mother, who rouses her sons, saying, Katie is calling in the wood. They find John with a bloody sword; he says he has killed a dove. They answer, No dove, but our sister, and maltreat him till he tells what he has done with his victim: "I have hidden her under the yew-bush; now put me on the wheel."

39 b, line 13 of the middle paragraph. Read Piosnki for Piesni, and omit the quotation marks in this and the line before.

40 b, line 2 (the girl's adding her hair to lengthen the cord). In the tale of the Sea-horse, Schiefner, Awarische Texte, Memoirs of the St Petersburg Academy, vol. XIX, No 6, p. 11 f, a sixty-ell rope 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 Köhler, who pointed out this incident to me, refers in his notes to the texts, at p. vii f, to the song of 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 maid's hair, see, further, Köhler's note to Gonzenbach, No 53, II, 236.

40 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. Kölbing, p. 56, st. 187; Tristrams Saga, cap. 54, p. 68, ed. Kölbing; Gottfried von Strassburg, vv 14427-441.

40 b, line 36. For G, I, read G, J.

40, note [61]. In a Ruthenian ballad a girl who runs away from her mother with a lover tells her brothers, who have come in search of her, I did not leave home to go back again with you: Golovatsky, Part I, p. 77, No 32; Part III, I, p. 17, No 4, p. 18, No 5. So, "I have not poisoned you to help you," Part I, p. 206, No 32, p. 207, No 33.

41 a, second paragraph. Golovatsky, at I, 116, No 29, has a ballad, found elsewhere without the feature here to be noticed, in which a Cossack, who is watering his horse while a maid is drawing water, describes his home as a Wonderland, like John in Polish Q. "Come to the Ukraine with the Cossacks," he says. "Our land is not like this: with us the mountains are golden, the water is mead, the grass is silk; with us the willows bear pears and the girls go in gold." She yields; they go over one mountain and another, and when they have crossed the third the Cossack lets his horse graze. The maid falls to weeping, and asks the Cossack, Where are your golden mountains, where the water that is mead, the grass that is silk? He answers, No girl of sense and reason engages herself to a young Cossack. So in Zegota Pauli, P. l. ruskiego, p. 29, No 26 == Golovatsky, I, 117, No 30, where the maid rejoins to the glowing description, I have ranged the world: golden mountains I never saw; everywhere mountains are of stone, and everywhere rivers are of water; very like the girl in Grundtvig, 82 B, st. 7; 183 A 6, E 5, 6.

41 b, last paragraph. Several Bohemian versions are to be added to the 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 A. B, Sušil, Moravské Národní Písnĕ, No 189, p. 191, 'Vrah,' 'The Murderer,' is very like A. C, Sušil, p. 193. D, Erben, Prostonárodni české Písnĕ a Říkadla, p. 480, No 16, 'Zabité dĕvče,' 'The Murdered Maid.' E, p. 479, No 15, 'Zabitá sestra,' 'The Murdered Sister.' 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 call the grass becomes green; at the second the mountain bows; the third the mother hears. C has marvels of its own. Anna entreats John to allow her to call to her mother. "Call, call," he says, "you will not reach her with your call; in this dark wood, even the birds will not hear you." At her first call a pine-tree in the forest breaks; at the second the river overflows; at the third her mother rises from the grave. She calls to her sons to go to Anna's rescue, and they rise from their graves. The miscreant John confesses that he has buried their sister in the wood. They strike off his head, and put a bat on the head, with an inscription in gold letters, to inform people what his offence has been. There is a gap after the seventh stanza of D, which leaves the two following stanzas unintelligible by themselves: 8, Choose one of the two, and trust nobody; 9, She made her choice, and shouted three times towards the mountains. At the first cry the mountain became green; at the second the mountain bowed backwards; the third the mother heard. She sent her sons off; they found their neighbor John, who had cut off their sister's head. The law-abiding, and therefore modern, young men say that John shall go to prison and never come out alive. In E the man, a young hunter, says, Call five times; not even a wood-bird will hear you. Nothing is said of the first call; the second is heard by the younger brother, who tells the elder that their sister must be in trouble. The hunter has a bloody rifle in his hand: how he is disposed of we are not told. All these ballads but C begin with the maid cutting grass, and all of them have the dove that is "no dove, but our sister."

Fragments of this ballad are found, F, in Sušil, p. 112, No 113, 'Nevĕsta nešt' astnice,' 'The Unhappy Bride;' G, p. 171, No 171, 'Zbojce,' 'The Murderer;' and there is a variation from B at p. 192, note 3, which is worth remarking, H. F, sts 11-14: "Get together what belongs to you; we will go to a foreign land;" and when they came to the turf, "Look my head through."[426] Every hair she laid aside she wet with a tear. And when they came into the dark of the wood he cut her into nine [three] pieces. G. Katie meets John in a meadow; they sit down on the grass. "Look my head through." She weeps, for she says there is a black fate impending over her; "a black one for me, a red one for thee." He gets angry, cuts off her head, and throws her into the river, for which he is hanged. H. He sprang from his horse, robbed the maid, and laughed. He set her on the grass, and bade her look his head through. Every hair she examined she dropped a tear for. "Why do you weep, Katie? Is it for your crants?" "I am not weeping for my crants, nor am I afraid of your sword. Let me call three times, that my father and mother may hear." Compare German H 10, 11; Q 8-10, etc., etc.

42 a. These Ruthenian ballads belong with the other Slavic parallels to No 4: A, Zegota Pauli, P. l. ruskiego, p. 21 == Golovatsky, III, I, 149, No 21; B, Golovatsky, III, I, 172, No 46. A. A man induces a girl to go off with him in the night. They wander over one land and another, and then feel need of rest. Why does your head ache? he asks of her. Are you homesick? "My head does not ache; I am not homesick." He takes her by the white sides and throws her into the deep Donau, saying, Swim with the stream; we shall not live together. She swims over the yellow sand, crying, Was I not fair, or was it my fate? and he dryly answers, Fair; it was thy fate. In B it is a Jew's daughter that is wiled away. They go in one wagon; another is laden with boxes [of valuables?] and pillows, a third with gold pennies. She asks, Where is your house? Over those hills, he answers. He takes her over a high bridge, and throws her into the Donau, with, Swim, since you were not acquainted with our way, our faith!

42 a. A, line 2. Read: Puymaigre.

43 a. D. Add: Poésies populaires de la France, IV, fol. 332, Chanson de l'Aunis, Charente Inférieur; but even more of the story is lost.

44 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 (Köhler), which I regret not yet to have seen.

45 a. Portuguese C, D, in Alvaro Rodrigues de Azevedo, Romanceiro do Archipelago da Madeira, p. 57, 'Estoria do Bravo-Franco,' p. 60, 'Gallo-frango.'

47. 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 liberty to explain where she had been, but her mother induced her to reveal this to a stone near the side-door, and taking up her station behind the door heard all. She had been carried off by a robber; had lived with him seven years, and borne him seven children. The robber, who had otherwise treated her well, had refused to let her visit her home, but finally had granted her this permission upon her promising to say nothing about him. When the time arrived for her daughter to go back, the mother gave her a bag of peas, which she was to drop one by one along the way. She was kindly received, but presently the robber thought there was something strange in her ways. He laid his head in her lap, inviting her to perform the service so common in like cases. While she was doing this, she could not but think how the robber had loved her and how he was about to be betrayed by her, and her 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, Müllenhoff, p. 592 f.

57 a. D. Insert: d. A stall-copy lent me by Mrs Alexander Forbes, Liberton, Edinburgh. (See p. 23, note §.)

62 b. Insert after c:

d.

After 2 a stanza nearly as in b.

5 wanting.

6¹. But he's taen a charm frae aff his arm.

6³. follow him.

7². five hundred.

7³. the bravest horse.

8¹. So merrily.

8⁴. Which is called Benan Bay.

9, 11, wanting.

12¹. Cast aff, cast aff.

12⁴. To sink.

13. Nearly as in b.

Sir John being a Dominican friar, according to the historical preface.

21³. O that's a foundling.

27 wanting.

28³. Carleton sands.

29². Was dashed.

29³. The golden ring.

5. Gil Brenton.

P. 62 a, last three lines. Read: said by Lockhart to be Miss Christian Rutherford, his mother's half-sister.

66 b, lines 2, 3. Read: 37 G, 38 A, D, and other versions of both.

66 b, line 4. 'Bitte Mette,' Kristensen, Jyske Folkeminder, V, 57, No 7, affords another version.

66 b, last line. For other cases of this substitution see Legrand, Recueil de Contes populaires grecs, p. 257, 'La Princesse et sa 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.

67 a, note *, line 37. Read: a Scotch name.

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 Asbjørnsen, Norske Huldre-Eventyr, I, 20, 2d ed.

85 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. (Köhler.) As the author of the chronicle remarks, the tale (Heywood's) is in the Malleus Maleficarum (1620, I, 158 f).

85 a, third paragraph. Other cases resembling Gonzenbach, No 54, in Pitré, Fiabe, Novelle, etc., I, 173, No 18; Comparetti, Novelline popolari, No 33, p. 139. (Köhler.)

85, note. Add: (Köhler.)

85 b. Birth is sought to be maliciously impeded in Swabia by crooking together the little fingers. Lammert, Volksmedizin in Bayern, etc., p. 165. (Köhler.)

7. Earl Brand.

P. 88. Add:

G. 'Gude Earl Brand and Auld Carle Hude,' the Paisley Magazine, 1828, p. 321, communicated by W. Motherwell.

H. 'Auld Carle Hood, or, Earl Brand,' Campbell MSS, II, 32.

I. 'The Douglas Tragedy,' 'Lord Douglas' Tragedy,' from an old-looking stall-copy, without place or date.

This ballad was, therefore, not first given to the world by Mr Robert Bell, in 1857, but nearly thirty years earlier by Motherwell, in the 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.

92 a. Add: I. 'Hildebrand,' Wigström, Folkdiktning, II, 13. J. 'Fröken Gyllenborg,' the same, p. 24.

96 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 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. 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.

97 b. Insert: Spanish. Milá, Romancerillo Catalan, 2d ed., No 206, D, p. 164: olivera y oliverá, which, when grown tall, join.

Servian. Add: Karadshitch, I, 345, vv 225 ff, two pines, which intertwine. In I 309, No 421, they plant a rose over the maid, a vine over the man, which embrace as if they were Jani and Milenko. The ballad has features of the Earl Brand class. (I, 239, No 341 == Talvj, II, 85.)

Russian. Hilferding, Onezhskya Byliny, col. 154, No 31, laburnum (?) over Basil, and cypress over Sophia, which intertwine; col. 696, No 134, cypress and willow; col. 1242, No 285, willow and cypress.

Little Russian (Carpathian Russians in Hungary), Golovatsky, II, 710, No 13: John on one side of the church, Annie on the other; rosemary on his grave, a lily on hers, growing so high as to meet over the church. Annie's mother cuts them down. John speaks from the grave: Wicked mother, thou wouldst not let us live 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.

Slovenian. 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.

Wend. Add: Haupt and Schmaler, II, 310, No 81.

Breton. Add: Villemarqué, Barzaz Breiz, 'Le Seigneur Nann et La Fée,' see p. 379, note §, of this volume.

98 a. Armenian. The ashes of two lovers who have been literally consumed by a mutual passion are deposited by sympathetic hands in one 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 creed. 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. (Köhler.)

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. (Köhler.)

J. Grimm notes several instances of this marvel (not from ballads), Ueber Frauennamen aus Blumen, Kleinere Schriften, II, 379 f, note **.

104.

G

The Paisley Magazine, June 2, 1828, p. 321, communicated by William Motherwell. "Sung to a long, drawling, monotonous tune."

H

Campbell MSS, II, 32.

21¹. to her.

21¹, 22 are written as one stanza.

I

A stall-copy lent me by Mrs Alexander Forbes, Liberton, Edinburgh.

105 b. D. 10. For Kinlock (twice) read Kinloch; and read I, 330.

The stanza cited is found in Kinloch MSS, VII, 95 and 255.

107 b. There is possibly a souvenir of Walter in Sušil, p. 105, No 107. A man and woman are riding on one horse in the mountains. He asks her to sing. Her song is heard by robbers, who come, intending to kill him and carry her off. He bids her go under a maple-tree, kills twelve, and spares one, to carry the booty home.

9. The Fair Flower of Northumberland.

P. 111 a. B b, as prepared by Kinloch for printing, is found in Kinloch MSS, VII, 105.

Add: F. 'The Fair Flower of Northumberland,' Gibb MS., No 8.

117.

F

Gibb MS., No 8: 'The Fair Flower o Northumberland,' from Jeannie Stirling, a young girl, as learned from her grandmother.

10. The Twa Sisters.

Page 118 b. K is found in Kinloch MSS, VII, 256.

Add: V. 'Benorie,' Campbell MSS, II, 88.

W. 'Norham, down by Norham,' communicated by Mr Thomas Lugton, of Kelso.

X. 'Binnorie,' Dr Joseph Robertson's Note-Book, January 1, 1830, p. 7, one stanza.

Y. Communicated to Percy by Rev. P. Parsons, April 7, 1770.

119 a. Note [127], first line. Read: I, 315.

120 a, first paragraph. "A very rare but very stupid modern adaptation, 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 Bröllopps-dagen." The author was C. G. Lindblom, a Swedish priest. The first line is:

Professor George Stephens.

120 a. Note [129], lines 3, 4. Read: and in 14, 15, calls the drowned girl "the bonnie miller's lass o Binorie," meaning the bonnie miller o Binorie's lass.

124 a, last paragraph. A drowned girl grows up on the sea-strand as a 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. Köhler points out to me a version of this ballad given with a translation by Bishop Carl Chr. Ulmann in 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.

124 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. 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.'

125 b. Add to the citations: 'Le Sifflet enchanté,' E. Cosquin, Contes populaires lorrains, No 26, Romania, VI, 565, with annotations, pp 567 f; Köhler's Nachträge in Zeitschrift für romanische Philologie, II, 350 f; Engelien u. Lahn, Der Volksmund in der Mark Brandenburg, I, 105, 'Diä 3 Brüöder;' Sébillot, Littérature orale de la Haute-Bretagne, p. 220, Les Trois Frères, p. 226, 'Le Sifflet qui parle.' (Köhler.)

132. I. 10². Read: for water.

K. Say: Kinloch MSS, VII, 256.

1². And I'll gie the hail o my father's land.

2. The first tune that the bonnie fiddle playd, 'Hang my sister Alison,' it said.

3. 'I wad gie you.'

136 a. R b. Read: Lanarkshire.

V

Campbell MS., II, 88.

2, 3. In the MS. thus:

8, 9. In the MS. thus:

From 18 on, the burden is

W

Communicated by Mr Thomas Lugton, of Kelso, as sung by an old cotter-woman fifty years ago; learned by her from her grandfather.

X

Dr Joseph Robertson's Note-Book, January 1, 1830, p. 7.

Y

Communicated to Percy, April 7, 1770, and April 19, 1775, by the Rev. P. Parsons, of Wye, near Ashford, Kent: "taken down from the mouth of the spinning-wheel, if I may be allowed the expression."

139 a. K. I wad give you, is the beginning of a new stanza (as seen above).

141 b. S. Read: 1³. MS., Orless.

11. The Cruel Brother.

P. 141. B, I. Insert the title,'The Cruel Brother.'

Add: L. 'The King of Fairies,' Campbell MSS, II, 19.

M. 'The Roses grow sweet aye,' Campbell MSS, II, 26.

N. 'The Bride's Testamen,' Dr Joseph Robertson's Note-Book, January 1, 1830, one stanza.

142 b, second paragraph, lines 5, 6. Say: on the way kisses her arm, neck, and mouth.

Add, as varieties of 'Rizzardo bello:'

B. 'Luggieri,' Contado aretino, communicated by Giulio Salvatori to the Rassegna Settimanale, Rome, 1879, June 22, No 77, p. 485; reprinted in Romania, XI, 391, note.

C. 'Rizzôl d'Amor,' Guerrini, Alcuni Canti p. romagnoli, p. 3, 1880.

D. 'La Canzóne de 'Nucénzie,' Pitré e Salomone-Marino, Archivio per Tradizioni popolari, I, 213, 1882.

143. Slavic ballads resembling 'Graf Friedrich.'

Moravian, Sušil, 'Nešt'astna svatba,' 'The Unhappy Wedding,' No 89, c, d, pp 85 f. A bridegroom is bringing home his bride; his sword slips from the sheath and wounds the bride in the side. He binds up the wound, and begs her to hold out till she comes to the house. The bride can eat nothing, and dies in the night. Her mother comes in the morning with loads of cloth and feathers, is put off when she asks for her daughter, reproaches the bridegroom for having killed her; he pleads his innocence.

Servian. Karadshitch, I, 309, No 421, 'Jani and Milenko,' belongs to this class, though mixed with portions of at least one other ballad ('Earl Brand'). Milenko wooes the fair Jani, and is favored by her mother and by all her brothers but the youngest. This brother goes hunting, and bids Jani open to nobody while he is away, but Milenko carries her off on his horse. As they are riding over a green hill, a branch of a tree catches in Jani's dress. Milenko attempts to cut the branch off with his knife, but in so doing wounds Jani in the head. Jani binds up the wound, and they go on, and presently meet the youngest brother, who hails Milenko, asks where he got the fair maid, discovers the maid to be his sister, but bids her Godspeed. On reaching his mother's house, Milenko asks that a bed may be prepared for Jani, who is in need of repose. Jani dies in the night, Milenko in the morning. They are buried in one grave; a rose is planted over her, a grape-vine over him, and these intertwine, "as it were Jani with Milenko."

143 b, after the first paragraph. A pallikar, who is bringing home his bride, is detained on the way in consequence of his whole train leaving him to go after a stag. The young man, who has never seen his bride's face, reaches over his horse to give her a kiss; his knife disengages itself and wounds her. She begs him to staunch the blood with his handkerchief, praying only to live to see her bridegroom's house. This wish is allowed her; she withdraws the handkerchief from the wound and expires. Dozon, Chansons p. bulgares, 'Le baiser fatal,' p. 270, No 49.

143 b, sixth line of the third paragraph. Read: 'Lord Randal.'

144 a, line 4. 'Catarina de Lió;' in Milá, Romancerillo Catalan, 2d ed., No 307, p. 291, 'Trato feroz,' seven versions.

Line 15. Cf. Bladé, Poésies p. de la Gascogne, II, 51.

144 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 them, and the son drinks the poison. The son makes his will. To his brother he leaves four black horses, to his sister four cows and four calves, to his wife a house. "And to me?" the mother asks. "To you that big stone and the deep Danube, because you have poisoned me and parted me from my beloved." Sušil,' Matka travička,' pp 154, 155, No 157, two versions.

144 b, second paragraph. 'El testamento de Amelia,' No 220, p. 185, of the second edition of Romancerillo Catalan, with readings of eleven other copies, A-F, A₁-F₁. In B₁ only have we an ill bequest to the mother. After leaving her mother a rosary, upon the mother's asking again, What for me? the dying lady says, I will leave you my chopines, clogs, so that when you come downstairs they may break your neck.

There are testaments in good will also in 'Elveskud,' Grundtvig, No 47, IV, 836 ff, L 14, 15, M 17, O 17-19.

151.

L

Campbell MSS, II, 19.

Burden in all but 1, 2, 13, lilly hey; in 16, 17, 18, spring sweetlie; in 22, smell sweetlie.

M

Campbell MSS, II, 26.

15¹. green cross.

17². bleed.

N

Dr Joseph Robertson's Note-Book, January 1, 1830, No 4.

12. Lord Randal.

P. 151.

B. Add: Kinloch MSS, VII, 89.

D. Read: a. 'Lord Randal,' Minstrelsy, etc. b. 'Lord Rannal,' Campbell MSS, II, 269.

I. Add: h. Communicated by Mr George M. Richardson. i. Communicated by Mr George L. Kittredge.

K. b. Insert after Popular Rhymes: 1826, p. 295. Add: d. 'The Crowdin Dou,' Kinloch MSS, I, 184.

Add: P. 'Lord Ronald, my son,' communicated by Mr Macmath, of Edinburgh.

Q. 'Lord Randal,' Pitcairn's MSS, III, 19.

R. 'Little wee toorin dow,' Pitcairn's MSS, III, 13, from tradition.

153 a. I failed to mention, though I had duly noted them, three versions of 'L'Avvelenato,' which are cited by Professor D'Ancona in his Poesia popolare Italiana, pp 106 ff.

D. 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 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.

E. A version obtained by D'Ancona from the singing of a young fellow from near Pisa, of which the first four stanzas are given. Some verses after these are lost, for the testament is said to supervene immediately.

F. A version from Lecco, which has the title, derived from its burden, 'De lu cavalieri e figliu de re,' A. Trifone Nutricati Briganti, Intorno ai Canti e Racconti popolari del Leccese p. 17. The first four stanzas are cited, and it appears from these that the prince had cooked the eel himself, and, appropriately, in a gold pan.

154 a, first paragraph. F is given by Meltzl, Acta Comparationis, 1880, columns 143 f, in another dialect.

154 b. Magyar. 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 by Meltzl in the Acta Comparationis Litterarum Universarum, 1880, VII, columns 30 f, the original immediately preceding. Aigner has omitted the second stanza, and made the third into two, in his translation. The Szekler has ten two-line stanzas, with the burden, Ah, my bowels are on fire! Ah, make ready my bed! In the second stanza John says he has eaten a four-footed crab; in the sixth he leaves his elder brother his yoke of oxen; in the seventh he leaves his team of four horses to his younger brother. Also translated in Ungarische Revue, 1883, p. 139, by G. Heinrich.

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! '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; to his sister-in-law six oxen and his wagon; to his father illness and poverty; to his mother kindness and beggary.

156 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 == Čelakovský, III, 108.)

157 a, second paragraph. Kaden translates Nannarelli, p. 52. (Köhler.)

157 b. Italian A is translated by Evelyn Carrington in The Antiquary, III, 156 f. D also by Freiligrath, II, 226, ed. Stuttgart, 1877.

158 a. B. Found in Kinloch MSS, VII, 89. The sixth stanza is not there, and was probably taken from Scott, D.

160 a. D. Read: a. Minstrelsy, etc. b. Campbell MSS, II, 269.

163 a. I. Add: h. By Mr George M. Richardson, as learned by a lady in Southern New Hampshire, about fifty years ago, from an aged aunt. i. By Mr George L. Kittredge, obtained from a lady in Exeter, N. H.

164 a. K. Insert under b, after Scotland: 1826, p. 295. Add: d. Kinloch MSS, I, 184.

164 b. K 6². Read: head and his feet.

165.

P

Communicated by Mr Macmath, of Edinburgh, as derived from his aunt, Miss Jane Webster, formerly of Airds of Kells, now (January, 1883) of Dalry, Kirkcudbrightshire, who learned it more than fifty years ago from Mary Williamson, then a nurse-maid at Airds.

Q

Pitcairn's MSS, III, 19. "This was communicated to me by my friend Patrick Robertson, Esq., Advocate,[427] who heard it sung by an old lady in the North Country; and though by no means enthusiastic about popular poetry, it struck him so forcibly that he requested her to repeat it slowly, so as he might write it down." Stanzas 2-5 "were very much similar to the set in Scott's Minstrelsy," and were not taken down.

R

Pitcairn's MSS, III, 11. "From tradition: widow Stevenson."

S

Communicated to Percy by Rev. P. Parsons, of Wye, near Ashford, Kent, April 19, 1775: taken down by a friend of Mr Parsons "from the spinning-wheel, in Suffolk."

166 a. Insert after C:

D. b. Disordered: b 1 == a 1; b 2 == a 4; b 3 == a 5^1,2 + a 2^3,4; b 4 == a 3; a 2^1,2, 5^3,4, are wanting.

b. 1³, been at the hunting.

3². I fear ye've drunk poison.

3³ == a 2³. I supd wi my auntie.

4^1,2 == a 3^1,2. your supper.

This copy may be an imperfect recollection of a.

166 b.

I. h. Four stanzas only, 1, 2, 6, 7.

1². my own little one.

1⁴. at the heart ... and fain.

6¹. will you leave mother.

7¹. will you leave grandma.

7³. a rope.

k. Seven stanzas.

1³. to see grandmother.

1⁴. sick at heart, and fain.

2³. Stripëd eels fried.

3 == a 6, d 5, h 3.

3^1,2. Your grandmother has poisoned you.

3³. I know it, I know it.

4 == a 6. 4^1,2. would you leave mother.

5 == a 8, b 9, h 7.

5^1,2. would you leave sister.

5³. A box full of jewels.

6 == a 7; 7 == a 8.

6^1,2. would you leave grandmother.

6³. A rope for to hang her.

7^1,2. O where shall I make it.

K. Add after c:

d. 1¹, my bonnie wee crowdin, and always.

2¹. frae your stepmither.

2². She gied me a bonnie wee fish, it was baith black and blue.

5¹. my ain wee dog.

6¹. And whare is your ain wee dog.

Q. "The second, third, fourth, and fifth stanzas were very much similar to the set Lord Ronald, in Scott's Border Minstrelsy, and as Mr Robertson was hurried he did not take down the precise words." MS., p. 21.

Ronald is changed to Randal in 6, 7, but is left in 8.

R. Written in four-line stanzas.

13. Edward.

P. 168 a, first paragraph. Add: Swedish E, Aminson, Bidrag till Södermanlands Kulturhistoria, III, 37, eight stanzas. Nine stanzas of Finnish 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.

168 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 Szász.

14. Babylon; or, The Bonnie Banks o Fordie.

P. 172 a. Swedish. Professor George Stephens points me to two 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.

15. Leesome Brand.

P. 179 a. Swedish. II. Add: I, 'Risa lill,' Wigström, Folkdiktning, II, 28.

180 a, lines 25, 26. Read: A, G, M, X.

181 a. German. Add: D, 'Der Ritter und seine Geliebte,' Ditfurth, Deutsche Volks- und Gesellschaftslieder des 17. und 18. Jahrhunderts, p. 14, No 13. (Köhler.)

181 b. French. C. A still more corrupted copy in Poésies populaires de la France, III, fol. 143, 'La fausse morte.' D. 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.

182 b, first paragraph. A similar scene, ending happily, in I Complementi della Chanson d'Huon de Bordeaux, pubblicati da A. Graf, pp 26 ff. (Köhler.)

183 b, stanzas 27, 28. Compare:

'Den förtrollade Jungfrun,' Arwidsson, II, 260, No 136, A I, 2.

17. Hind Horn.

P. 187. F. Insert the title 'Young Hyndhorn.'

G. Insert: Kinloch MSS, VII, 117.

192. Dr Davidson informs me that many years ago he heard a version of 'Hind Horn,' in four-line stanzas, in which, as in 'Horn et Rymenhild' and 'Horn Childe and Maiden Rimnild,' Horn took part in a joust at the king's court,

He remembers further only these stanzas:

193 b (2). Add: 'Herr Lovmand,' Kristensen, I, 136, No 52.

194. 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 the bridegroom jumps over the table, crying, Bachelor I came, and bachelor will go.

The Epirots and Albanians have a custom of betrothing or marrying, commonly in early youth, and of then parting for a long period. A woman was lately (1875) buried at Iannina who, as the archbishop boasted in the funeral discourse, had preserved her fidelity to a husband who had been separated from her thirty years. This unhappy usage has given rise to a distinct class of songs. Dozon, Chansons populaires bulgares, p. 294, note.

195 b (5). The German popular rhymed tale of Henry the Lion is now known to have been composed by the painter Heinrich Götting, Dresden, 1585. Germania, XXVI, 453, No 527.

198 a, to first paragraph. For the marvellous transportation in these 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. (Köhler.) See, also, Landau on Torello, 'Der Wunderritt,' Quellen des Dekameron 1884, pp 193-218.

198 b, third paragraph. Other versions of 'Le Retour du Mari:' Fleury, Littérature Orale de la Basse-Normandie, p. 268; E. Legrand, Romania, X, 374, also from Normandy.

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 c; Lipinski, p. 159 == Kolberg's i; Konopka, p. 121, No 20; Kozłowski, No 5, p. 35, p. 36, two copies. 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 do not then come back, give her to whom you please. He is gone seven years, and, returning then, asks for his wife. She has just been given to another. He asks for a fiddle [pipe], and says he will go to the wedding. They advise him to stay away, for there will be a disturbance. No, he will only stand at the door and play. The bride jumps over four tables, and makes a courtesy to him on a fifth, welcomes him and dismisses the new bridegroom.

199 a, end of the first paragraph. I forgot to mention the version of Costantino, agreeing closely with Camarda's, in De Rada, Rapsodie d'un poema albanese raccolte nelle colonie del Napoletano, pp 61-64.

200. A maid, parting from her lover for three years, divides her ring with him. He forgets, and prepares to marry another woman. She comes to 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 marriage, and espouses the right woman. Miklosisch, Ueber 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.)

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. Klöden, Diplomatische Geschichte des für falsch erklärten Markgrafen Waldemar, p. 189 f. (Köhler.)

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 recognized, and they are happily reunited: The Tale of the Hoodie, Campbell, West Highland Tales, I, 63-66.

In a pretty Portuguese ballad, which has numerous parallels in other 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 Açoriano, p. 300; 'Dona Infanta,' 'Dona Catherina,' Braga, Romanceiro Geral, pp 3 f, 7.

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.

The cases in which a simple ring is the means of recognition or confirmation need, of course, not be multiplied.

200 a, line twenty-four. For Alesha read Alyosha.

205. G. In Kinloch MSS, VII, 117. After "from the recitation of my niece, M. Kinnear, 23 August, 1826," is written in pencil "Christy Smith," who may have been the person from whom Miss Kinnear derived the ballad, or another reciter. Changes are made in pencil, some of which are written over in ink, some not. The printed copy, as usual with Kinloch, differs in some slight respects from the manuscript.

I

a. From the recitation of Miss Jane Webster, formerly of Airds of Kells, now of Dalry, both in the Stewartry of Kirkcudbright, December 12, 1882. b. From Miss Jessie Jane Macmath and Miss Agnes Macmath, nieces of Miss Webster, December 11, 1882: originally derived from an old nurse. Communicated by Mr Macmath, of Edinburgh.

207 b. Add: F. 1³, 7¹, 9¹, 13², Hyndhorn.

208. I. b. 1-3, 6, 8, 10, 14, 16-19, wanting.

Burden 2: Wi my hey-dey an my hey deedle downie.

5¹. O gie to me your aul beggar weed.

Between 11 and 12:

13². your ain fair han.

216 a. Sir Orfeo has been lately edited by Dr Oscar Zielke: Sir Orfeo, ein englisches Feenmärchen aus dem Mittelalter, mit Einleitung und Anmerkungen, Breslau, 1880.

20. The Cruel Mother.

P. 218. D. b. Kinloch MSS, VII, 23. Insert again at p. 221.

F. a. Also in Motherwell's MS., p. 514. Insert again at p. 222.

I. a. Also in Motherwell's MS., p. 475. Insert again at p. 223.

Add: N. 'The Loch o the Loanie,' Campbell MSS, II, 264.

219 b. Add to the German versions of 'The Cruel Mother:' M. Pater Amand Baumgarten, Aus der volksmässigen Ueberlieferung der Heimat: IX, Geburt, Heirat, Tod, mit einem Anhang von Liedern, p. 140. ['Das ausgesetzte Kind.'] N. A. Schlosser, Deutsche Volkslieder aus Steiermark, p. 336, No 306, 'Der alte Halter und das Kind' (not yet seen by me). (Köhler.)

220 a. A ballad of Slavic origin in Nesselmann's Littauische Volkslieder, No 380, p. 322, resembles the German and Wendish versions of 'The Cruel Mother,' with a touch of 'The Maid and the Palmer.' (G. L. Kittredge.)

220 b, line 7. Read: Hausschatz.

225.

N

Campbell MSS, II, 264.