This is one of the very few old ballads which are not extinct as tradition in the British Isles. Even drawing-room versions are spoken of as current, "generally traced to some old nurse, who sang them to the young ladies."[foot-note] It has been found in England, Scotland, Wales, and Ireland, and was very early in print. Dr. Rimbaulfc possessed and published a broadside of the date 1656[foot-note] (A a), and the same copy is included in the miscellany called Wit Restor'd, 1658. Both of these name "Mr. Smith" as the author; that is, Dr. James Smith, a well-known writer of humorous verses, to whom the larger part of the pieces in Wit Restor'd has been attributed. If the ballad were ever in Smith's hands, he might possibly have inserted the three burlesque stanzas, 11-13; but similar verses are found in another copy (L a), and might easily be extemporized by any singer of sufficiently bad taste. Wit and Drollery, the edition of 1682, has an almost identical copy of the ballad, and this is repeated in Dryden's Miscellany, edition of 1716, Part III, p. 316. In 1781 Pinkerton inserted in his Tragic Ballads one with the title 'Binnorie,' purporting to be from Scottish tradition. Of twenty-eight couplets, barely seven are genuine. Scott printed in 1802 a copy (C) compounded from one "in Mrs. Brown's Manuscript" (B b) and a fragment of fourteen stanzas which had been transcribed from recitation by Miss Charlotte Brooke, adopting a burden found in neither,[foot-note] Jamieson followed, four years after, with a tolerably faithful, though not, as he says, verbatim, publication of his copy of Mrs. Brown's ballad, somewhat marred, too, by acknowledged interpolations. This text of Mrs. Brown's is now correctly given, with the whole or fragments of eleven others, hitherto unpublished.
The ballad is as popular with the Scandinavians as with their Saxon cousins. Grundtvig, 'Den talende Strengeleg,' No 95, gives nine Danish versions and one stanza of a tenth; seven, A-B, in II, 507 ff, the remainder, H-K, in III, 875 ff. One more, L, is added by Kristensen, No 96, I, 253. Of these, only E had been previously printed. All are from tradition of this century.
There are two Icelandic versions, A from the 17th, B from the 19th, century, printed in Íslenzk Fornkvæði, No 13, 'Hörpu kvæði.'
Of twelve Norwegian versions, A, by Moe, "is printed in Norske Universitets og Skole-Annaler for 1850, p. 287," and in Moe's Samlede Skrifter, II, 118, 'Dae bur ein Mann hæer utmæ Aa;' B, by Lindeman, Annaler, as before, "p. 496," and in his Norske Fjeldmelodier, vol. I, Tekst-Bilag, p. 4, No 14, 'Dei tvæe Systa; ' C, by Landstad, 'Dei tvo systar,' No 53, p. 480; D-L are described by Professor Bugge in Grundtvig, III, 877 f; M "is printed in Illustreret Nyhedsblads Nytaarsgave for 1860, p. 77, Christiania."
Four Färöe versions are known: A, 'Horpurima,'."in Svabo's Manuscript, No 16, I, 291," incorrectly printed by Afzelius, I, 86, and accurately, from a copy furnished by Grundtvig, in Bergström's edition of Afzelius, II, 69; B, a compound of two versions taken down by Pastor Lyngbye and by Pastor Schroter, in Nyeste Skilderie af Kjøbenhavn, 1821, col. 997 ff; C, a transcript from recitation by Hammershaimb (Grundtvig); D, 'in Fugloyjarbók, No 31."
Swedish versions are: A, 'Den underbara Harpan,' Afzelius, No 17, I, 81, new ed., No 16, i, I, 72: B, 'De tva Systrarne,' Afzelius, No 69, in, 16, new ed., No 16, 2, i, 74: C, D, E, imprinted copies in Cavallius and Stephens's collection: F, 'De tva Systrarne,' Arwidsson, No 99, II, 139: G, 'Systermordet,' E. Wigström, Skanska Visor, p. 4, and the same, Folkdiktning, etc., No 7, p. 19: H, Rancken, Några Prof af Folksång, No 3, p. 10. Afzelius, moreover, gives variations from four other copies which he had collected, in, 20 if, new ed., II, 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, Bergström's Afzelius, II, 79.
There is a remarkable agreement between the Norse and English ballads till we approach the conclusion of the story, with a natural diversity as to some of the minuter details.
The sisters are king's daughters in English A, B, C, H, O(?), P, Q, R a, and in Swedish B and two others of Afzelius's versions. They are an earl's daughters in Swedish F, and sink to farmer's daughters in English R b, c,[foot-note] Swedish A, G, Norwegian C.
It is a thing made much of in most of the Norse ballads that the younger sister is fair and the older dark; the younger is bright as the sun, as white as ermine or as milk, the elder black as soot, black as the earth, Icelandic A, Swedish A, B, G, Danish A, D, 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, Fär¨oe A, B, Norwegian A, C etc. This contrast may possibly be implied in "the youngest was the fairest flower," English F, G, Q ["sweetest," D], but is expressed only in M, "Ye was fair and I was din" (dun), and in P a, "The old was black and the young ane fair."
The scene of action is a seashore in Icelandic and Färöe A, B, Norwegian A, Swedish A, B, G, H, and in all the Danish complete copies: a seashore, or a place where ships come in, in English A, B a, D-I, Q, R a, T, but in all save the last of these (the last is only one stanza) we have the absurdity of a body drowned in navigable water being discovered floating down a mill-stream.[foot-note] B c has "the deep mill-dam;" C "the river-strand," perhaps one of Scott's changes; M, "the dams;" L, O, P, R b c, a river, Tweed mill-clam, or the water of Tweed. Norwegian B has a river.
The pretence for the older sister's taking the younger down to the water is in English A-E, G, H, I, O, Q, to see their father's ships come in; in Icelandic B to wash their silks;[foot-note] J in most of the Norse ballads to wash themselves, so that, as the elder says, "we may be alike white," Danish C-H, Norwegian A, C, Swedish F, G, Färöe A, B. Malice prepense is attributed to the elder in Swedish B, F, Norwegian C, Danish B, F, G: but in Färöe A, B, Norwegian A, 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.
The younger is pushed from a stone upon which she sits, stands, or steps, in English B, C, B-H, M, O, Q, Icelandic A, B, Färöe A, B, Norwegian A, B, C, Danish A-E, H, L, Swedish G, H, and Rancken's other copies.
The drowning scene is the same in all the ballads, except as to one point. The younger sister, to save her life, offers or consents to renounce her lover in the larger number, as English B-E, G, H, I, M, P, Q, Danish A-D, F, G, I, Swedish A-D, G, H; and in Icelandic B and "all the Färöe" ballads she finally yields, after first saying that her lover must dispose of himself. But Swedish F, with more spirit, makes the girl, after promising everything else, reply:
'Help then who can, help God above! But ne'er shalt thou get my dear true-love.'
In this refusal concur Icelandic A, Danish E, H, L, and all the Norwegian versions except L.
Swedish A, G, and Rancken's versions (or two of them) make the younger sister, when she sees that she must drown, send greetings to her father, mother, true-love [also brother, sister, Rancken] , and^ add in each case that she is drinking, or dancing, her bridal in the flood, that her bridal-bed is made on the white-sand, etc.
The body of the drowned girl is discovered, in nearly all the English ballads, by some member of the miller's household, and is taken out of the water by the miller. In L 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 M by two fishermen, as also in Swedish D [fishermen in Swedish B]; in all the Färöe versions and Norwegian M by two "pilgrims;"[foot-note] in Danish A-F, L, and Swedish C by two musicians, Danish H, Swedish A, G, one. Danish G, which is corrupted at the close, has three musicians, but these simply witness and report the drowning.
According to all complete and uncorrupted forms of the ballad, either some part of the body of the drowned girl is taken to furnish a musical instrument, a harp or a viol,[foot-note] or the instrument is wholly made from the body. This is done in the Norse ballads by those who first find the body, save in Swedish B, where fishermen draw the body ashore, and a passing "speleman" makes the instrument. In English it is done by the miller, A; by a harper, B, C, G, L b (the Icing's harper in B); by a fiddler, D, E, I, L a(?), O, P (the king's fiddler, O(?), P); by both a fiddler and the king's harper, H; in F by the father's herds man, who happens to be a fiddler.
Perhaps the original conception was the simple and beautiful one which we find in English B and both the Icelandic ballads, that the king's harper, or the girl's lover, takes three locks of her yellow hair to string his harp with. So we find three tets of hair in D, E, I, and three links in F, P, used, or directed to be used, to string the fiddle or the fiddle-bow, and the same, apparently, with Danish A. Infelicitous additions were, perhaps, successively made; as a harp-frame from the breast bone in English C, and fiddle-pins formed of the finger-joints, English F, O, Danish B, C, E, F, L. Then we have all three: the frame of the instrument formed from the breast (or trunk), the screws from the finger-joints, the strings from the hair, Swedish A, B, G, Norwegian A, C, M. And so one thing and another is added, or substituted, as fiddle-bows of the arms or legs, Swedish C, D, Danish H, English L a; a harp-frame from the arms, Norwegian B, Färöe A; a fiddle-frame from the skull, Swedish C, or from the back-bone, English L b; a plectrum from the arm, Färöe B; strings from the veins, English A; a bridge from the nose, English A, L a; "hørpønota" from the teeth, Norwegian B; till we end with the buffoonery of English A and L a.
Swedish H has nothing about the finding of the body. Music is wanted for the bridal, and a man from another village, who undertakes to furnish it, looks three days for a proper tree to make a harp of. The singer of this version supplied the information, lost from the ballad, that the drowned sister had floated ashore and grown up into a linden, and that this was the very tree which was chosen for the harp. (See, further on, a Lithuanian, a Slovak, and an Esthonian ballad.)
All the Norse ballads make the harp or fiddle to be taken to a wedding, which chances to be that of the elder sister with the drowned girl's betrothed.[foot-note] Unfortunately, many of the English versions are so injured towards the close that the full story cannot be made out. There is no wedding-feast preserved in any of them. The instrument, in A, B, C, H, is taken into the king's presence. The viol in A and the harp in H are expressly said to speak. The harp is laid upon a stone in C, J, and plays "its lone;" the fiddle plays of itself in L b.[foot-note] B makes the harper play, and D, F, K, O, which say the fiddle played, probably mean that there was a fiddler, and so perhaps with all the Norse versions; but this is not very material, since in either case the instrument speaks "with most miraculous organ."
There are three strings made from the girl's hair in Icelandic A, B, English B [veins, English A], and the three tets or links in English D, E, F, I, P were no doubt taken to make three strings originally. Corresponding to this are three enunciations of the instrument in English A, B, C, Icelandic A, Färöe A,[foot-note] B, Swedish A, B, C, E, G, H, Danish A, D, F, I. These are reduced to two in Icelandic B, Danish B, C, H, L, Swedish D, and even to one in English D, F, I, K, O, but some of these have suffered injury towards the conclusion. The number is increased to four in Norwegian B, to five in Norwegian A, D, and even to six in Norwegian C, K, M. The increase is, of course, a later exaggeration, and very detrimental to the effect. In those English copies in which the instrument speaks but once,[foot-note] D, F, K, O, and we may add P, it expresses a desire for vengeance: Hang my sister, D, F, K; Ye'll drown my sister, as she 's dune me, O; Tell him to burn my sister, P. This is found in no Norse ballad, neither is it found in the earliest English versions. These, and the better forms of the Norse, reveal the awful secret, directly or indirectly, and, in the latter case, sometimes note the effect on the bride. Thus, in Icelandic B, the first string sounds, The bride is our sister; the second, The bride is our murderer. In Danish B the first fiddle plays, The bride is my sister; the second, The bridegroom is my true-love; in C, H, the first strain is, The bride has drowned her sister, the second, Thy sister is driven [blown] to land. Färöe A, 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 all, with its terse, short lines, is Icelandic A:
The first string made response: 'The bride was my sister once.'
The bride on the bench, she spake: 'The harp much trouble doth make.'
The second string answered the other: 'She is parting me and my lover.'
Answered the bride, red as gore: 'The harp is vexing us sore.'
The canny third string replied: 'I owe my death to the bride.'
He made all the harp-strings clang; The bride's heart burst with the pang.
This is the wicked sister's end in both of the Icelandic ballads and in Färöe A, B. In Swedish A, G, 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 A, B, C, F, G, Swedish B, Norwegian A, B, C, I, M. In Norwegian K, L, the younger sister (who is restored to life) begs that the elder may not be burned, but sent out of the country (cf. English B b c); nevertheless, she is buried alive in L, which is her fate also in E, and in other unprinted versions. A prose comment, upon Danish I has her stabbed by the bridegroom.
Norwegian B 21 makes the bride, in her confusion at the revelations of the harp, ask the bridegroom to drive the fiddler out of the house. So far from complying, the bride groom orders him mead and wine, and the bride to the pile. In Norwegian C the bride treads on the harper's foot, then orders the playing to stop; but the bridegroom springs from the table, and cries, Let the harp have its song out, pays no regard to the lady's alleging that she has so bad a head that she cannot bear it, and finally sends her to the pile. So, nearly, Norwegian A. In Danish A, C, D, H, L, vainly in the first two, the bride tries to hush the fiddler with a bribe. He endeavors to take back what he has said in D, L, declaring him self a drunken fool (the passage is borrowed from another ballad): still in L, though suc cessful for the nonce, she comes to the stake and wheel some months after. In H the fiddler dashes the instrument against a stone, seemingly to earn his bribe, but this trait belongs to versions which take the turn of the Norwegian. In C 15 the bride springs from the table, and says, Give the fiddlers a trifle, and let them go. This explains the last stanza of English A (cf., Norwegian B 21):
Now pay the miller for his payne, And let him bee gone in the divel's name.
Swedish F has an entirely perverted and feeble conclusion. "A good man" takes the younger sister from the water, carries her to his house, revives her, and nurses her till the morrow, and then restores her to her father, who asks why she is so pale, and why she had not come back with her sister. She explains that she had been pushed into the water, "and we may thank this good man that I came home at all." The father tells the elder that she is a disgrace to her country, and condemns her to the "blue tower." But her sister intercedes, and a cheerful and handsome wedding follows.
Swedish C and nearly all the Norwegian ballads[foot-note] restore the drowned girl to life, but not by those processes of the Humane Society which are successfully adopted by the "arlig man" in Swedish F. The harp is dashed against a stone, or upon the floor, and the girl stands forth "as good as ever." As Landstad conceives the matter (484, note 7), the elder sister is a witch, and is in the end burned as such. The white body of the younger is made to take on the appearance of a crooked log, which the fishermen (who, by the way, are angels in C, B) innocently shape into a harp, and the music, vibrating from her hair "through all her limbs, marrow and bone," acts as a disenchantment. However this may be, the restoration of the younger sister, like all good endings foisted on tragedies, emasculates the story.
English F 9 has the peculiarity, not noticed elsewhere, that the drowning girl catches at a broom-root, and the elder sister forces her to let go her hold.[foot-note] In Swedish G she is simply said to swim to an alder-root. In English G 8 the elder drives the younger from the land with a switch, in I 8 pushes her off with a silver wand.
English O introduces the ghost of the drowned sister as instructing her father's fiddler to make a string of her hair and a peg of her little finger bone, which done, the first spring the fiddle plays, it says,
'Ye'll drown my sister as she 's dune me.'
P, which is disordered at the end, seems to have agreed with O. In Q the ghost sends, by the medium of the miller and his daughter, respects to father, mother, and true-love, adding a lock of yellow hair for the last. The ghost is found in N, Pinkerton's copy, as well, but there appears to the lover at dead of night, two days after the drowning. It informs him of the murder, and he makes search for the body. This is a wide departure from the original story, and plainly a modern per version. Another variation, entirely wanting in ancient authority, appears in R, S. The girl is not dead when she has floated down to the mill-dam, and, being drawn out of the water by the miller, offers him a handsome reward to take her back to her father [S, to throw her in again!]. The miller takes the reward, and pushes the girl in again, for which he is hanged.[foot-note]
Q has a burden partly Gaelic,
.... ohone and aree (alack and O Lord), On the banks of tlhe Banna (White Kiver), ohone and aree,
which may raise a question whether the Scotch burden Binnorie (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:
I did not put you in with the design Just for to pull you out again.'
We have had a similar reply, made under like circumstances, in Polish versions of No 4: see p. 40, note.
All the Norse versions of this ballad are in two-line stanzas, and all the English, except L b and in part L a.
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 Rosenplänter's Beitrage 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, V, 140. A young woman, who tells her own story, is murdered by her sisters-in-law and buried in a moor. She comes up as a birch, from which, with the jaw-bone of a salmon, the teeth of a pike, and her own hair (the account is some what confused) a harp is made. The harp is taken to the hall by the murdered girl's brother, and responds to his playing with tones of sorrow like those of the bride who leaves father and mother for the house of a husband.[foot-note]
A Slovak ballad often translated (Talvj, Historical View, etc., p. 392; Wenzig's Slawische Volkslieder, p. 110, Westslawischer Marchenschatz, 273, and Bibliothek Slavischer Poesien, p. 134; Lewestam, Polnische Volksagen und Marchen, 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 of it fiddles and fiddle-sticks. When they cut into the tree, blood spirts out. The tree bids them go on, and when they have done, play before the mother's door, and sing, Here is your daughter, that you cursed to stone. At the first notes the mother runs to the window, and begs them to desist, for she has suffered much since she lost her daughter.
The soul of a dead girl speaks through a tree, again, in a Lithuanian ballad, Nesselmann, Littauische Volkslieder, No 378, p. 320. The girl is drowned while attempting to cross a stream, carried down to the sea, and finally thrown ashore, where she grows up a linden. Her brother makes a pipe from a branch, and the pipe gives out sweet, sad tones. The mother says, That tone conies not from the linden; it is thy sister's soul, that hovers over the water. A like idea is met with in another Lithuanian ballad, Rhesa, Dainos, ed. Kurschat, No 85, p. 231. A sister plucks a bud from a rose-bush growing over the grave of her brother, who had died from disappointed love. How fragrant ! she exclaims. But her mother answers, with tears, It is not the rose bud, but the soul of the youth that died of grief.
Though the range of the ballad proper is somewhat limited, popular tales equivalent as to the characteristic circumstances are very widely diffused.
A Polish popular tale, which is, indeed, half song, Wojcicki, Klechdy, ed. 1851, II, 15 (Lewestam, p. 105), Kolberg, Piesni ludu Polskiego, p. 292, No 40 a, b, c, approaches very close to the English-Norse ballad. There were three sisters, all pretty, but the youngest far surpassing the others. A young man from the far-off Ukraine fell in with them while they were making garlands. The youngest pleased him best, and he chose her for his wife. This excited the jealousy of the eldest, and a few days after, when they were gather ing berries in a wood, she killed the youngest, notwithstanding the resistance of the second sister, buried her, and gave out that she had been torn to pieces by wolves. When the youth came to ask after his love, the murderess told him this tale, and so won him by her devoted consolations that he offered her his hand. A willow grew out of the grave of the youngest, and a herdsman made a pipe from one of its boughs. Blow as he would, he could get no sound from the pipe but this:
'Blow on, herdsman, blow ! God shall bless thee so. The eldest was my slayer, the second tried to stay her.'
The herdsman took the pipe to the house of the murdered girl. The mother, the father, and the second sister successively tried it, and the pipe always sang a like song, Blow, mother, blow, etc. The father then put the pipe into the eldest sister's hands. She had hardly touched it, when blood spattered her cheeks, and the pipe sang:
'Blow on, sister, blow: God shall wreak me now. Thou, sister, 't was didst slay me, the younger tried to stay thee,' etc.
The murderess was torn by wild horses.
Professor Bugge reports a Norwegian tale, Grundtvig, in, 878, which resembles the ballad at the beginning. There were in a family two daughters and a son. One sister was wasteful, the other saving. The second complained of the first to her parents, and was killed and buried by the other. Foliage covered the grave, so that it could not be seen, but on the trees under which the body lay, there grew " strings." These the brother cut off and adapted to his fiddle, and when he played, the fiddle said, My sister is killed. The father, having heard the fiddle's revela tion, brought his daughter to confess her act.
There is a series of tales which represent a king, or other personage, 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 Lililá,' Fernan Caballero, Lagrimas, 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 Marchen, I, 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, Märchen und Sagen aus Walschtirol, p. 143, No 51; (6) 'La Flauuto,' Bladé, Contes et proverbes populaires recueillis en Armagnac, p. 3, No 1; (7) Wackernagel, in Haupt's Zeitschrift, in, 35, No 3, = 'Das Todtebeindli,' Colshorn, C. u. Th., 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. märchen, I, 149, No 28 (1857); (9) 'Die drei Brüder,' Curtze, Volksüberlieferungen aus dem Furstenthum 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.[foot-note] In all these tales the youngest child is successful, and is killed, out of envy, by the eldest or by the two elder. [There are only two children in (6), (7), (8); in (4) the second is innocent, as in the Polish tale.] Reeds grow over the spot where the body is buried (1), (2), (10), (11), or an elder bush (3), out of which a herdsman makes a pipe or flute; or a white bone is found by a herdsman, and he makes a pipe or horn of it (5-9); or a bag-pipe is made of the bones and skin of the murdered youth (4). The instrument, whenever it is played, attests the murder.
Among the tales of the South African Bechuana, there is one of a younger brother, who has been killed by an older, immediately appearing as a bird, and announcing what has occurred. The bird is twice killed, and the last time burnt and its ashes scattered to the winds, but still reappears, and proclaims that his body lies by a spring in the desert. Grimms, K. u. H. m. Ill, 361. Liebrecht has noted that the fundamental idea is found in a Chinese drama, ' The Talking Dish,' said to be based on a popular tale. An innkeeper and his wife kill one of their guests for his money, and burn the body. The innkeeper collects the ashes and pounds the bones, and makes a sort of mortar and a dish. This dish speaks very distinctly, and denounces the murderers. Journal Asiatique, 1851, 4th Series, vol. 18, p. 523.
Danish A, B are translated by Prior, I, 381, 384. English B, with use of C, is translated by Grundtvig, Engelske og skotske Folkeviser, p. 104, No 15; C, by Afzelius, m, 22. C, by Talvj, Versuch, u.s.w., p. 532; by Schubart, p. 133; by Gerhard, p. 143; by Doenniges, p. 81; Arndt, p. 238. C, with use of Aytoun's compounded version, by R. Warrens, Schottische V. L. der Vorzeit, p. 65; Ailingham's version by Knortz, Lieder u. Romanzen Alt-Englands, p. 180.
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