A knight (who twaddles in the first person at the beginning) finds a maid sleeping under a hedge, wakes her, and tells her that he has seen a dead man in her father's garden. She asks about the dead man's hawk, hound, sword. His hawk and hound were gone, his horse was tied to a tree, a bloody sword lay under his head. She asks about his clothes, and receives a description, with the addition that his hair was bonny and new combed. 'I combed it late yesterday!' says the lady. 'Who now will shoe my foot, and glove my hand, and father my bairn?' The knight offers himself for all these, but the lady will commit herself only to Heaven. The knight, after knacking his fingers quite superfluously, unmasks; he has only been making a trial of her truth.
A large part of this piece is imitated or taken outright from very well known ballads (as has already been pointed out by the editor of the Ballad Minstrelsy of Scotland, 1871, p. 345): 5-8 from 'Young Johnstone,' No 88; 10, 11 from 'The Lass of Roch Royal,' No 76 (see particularly E 1-4, and compare No 66, A 24, etc.); for 131,2 see No 91, B 51, 61, 71, D 71,2, No 257, A 7.
Grundtvig notes that this piece is of the same description as the Danish 'Troskabsproven,' Danmarks gamle Folkeviser, IV, 553, No 252, one version of which is translated by Prior, III, 289, No 146. Naturally, the fidelity of maid or wife is celebrated in the ballads of every tongue and people. This particular ballad, so far as it is original, is of very ordinary quality. The ninth stanza is pretty, but not quite artless.
Translated by Grundtvig, Engelske og skotske Folkeviser, p. 294, No 46.
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