'Erlinton' (A) first appeared in the Minstrelsy of the Scottish Border, the text formed "from the collation of two copies obtained from recitation." B is a manuscript copy, furnished by the late Mr. Robert White of Newcastle, and was probably taken down from recitation by Mr. James Telfer early in the century. C, in which Robin Hood has taken the place of a hero who had at least connections out of Great Britain, was first printed in Gutch's Robin Hood, from a manuscript of Mr. Payne Collier, supposed to have been written about 1650.
This ballad has only with much hesitation been separated from the foregoing. In this as in that, a man induces a maid to go off with him; he is set upon by a party of fifteen in A, B, as in 7 A; and he spares the life of one of his assailants [an old man, A, B, the younger brother, C]. Some agreements as to details with Scandinavian Ribold ballads have already been noticed, and it has been observed that while there is no vestige of the dead-naming in 'Earl Brand,' there is an obvious trace of it in 'Erlinton' A, B. 'Erlinton' A, B has also one other correspondence not found in 'Earl Brand,' the strict watch kept over the lady (st. 2). Even the bigly bower, expressly built to confine her in, is very likely a reminiscence or a displacement of the tower in which Hilde is shut up, after her elopement, in some of the Scandinavian ballads (Danish 83 A, B; Swedish A, dark house). But notwithstanding these resemblances to the Ribold story, there is a difference in the larger part of the details, and all the 'Erlinton' ballads have a fortunate conclusion, which also does not seem forced, as it does in Arwidsson, 107, the only instance, perhaps, in which a fortunate conclusion in a Ribold ballad is of the least account; for Grundtvig's F, G are manifestly copies that have been tampered with, and Landstad 34 is greatly confused at the close. It may be an absolute accident, but 'Erlinton' A, B has at least one point of contact with the story of Walter of Aquitania which is not found in 'Earl Brand.' This story requires to be given in brief on account of its kinship to both.
Walter, with his betrothed Hildegunde, fly from the court of Attila, at which they have both lived as hostages since their childhood, taking with them two boxes of jewels. Gunther, king of Worms, learns that a knight and lady, with a richly-laden horse, have passed the Rhine, and sets out in pursuit, with twelve of his best fighting men, resolved to capture the treasure. The fugitives, after a very long ride, make a halt in a forest, and Walter goes to sleep with his head on Hildegunde's knees. The lady meanwhile keeps watch, and rouses her lover when she perceives by the dust they raise that horsemen are approaching. Gunther sends one of his knights with a message demanding the surrender of the treas ure. Walter scornfully refuses, but expresses a willingness to make the king a present of a hundred bracelets, or rings, of red gold, in token of his respect. The messenger is sent back with directions to take the treasure by force, if it should be refused again. Walter, having vainly offered a present of two hundred bracelets to avoid a conflict, is attacked by the knight, whom he slays. Ten others go the way of this first, and only the king and one of his troop, Hagen, a very distinguished knight and an old comrade of Walter, remain. These now attack Walter; the combat is long and fierce; all three are seriously wounded, and finally so exhausted as to be forced to cease fighting. Walter and Hagen enter into a friendly talk while refreshing themselves with wine, and in the end Gunther[foot-note] is put on a horse and conducted home by Hagen, while Walter and Hildegunde continue their journey to Aquitania. There they were married and ruled thirty happy years. ('Waltharius,' ed. R. Peiper, 1873.)
The particular resemblances of 'Erlinton' A, B to 'Walter' are that the assailants are "bold knights," or "bravest outlaws," not the lady's kinsmen; that there are two parleys before the fight; and that the hero survives the fight and goes off with his love. The utmost that could be insisted on is that some features of the story of Walter have been blended in the course of tradition with the kindred story of Ribold. 'Erlinton ' C is much less like 'Walter,' and more like 'Ribold.'
The 'Sultan's Fair Daughter,' translated by Aigner, Ungarische Volksdichtungen, p. 93, 2d ed., has perhaps derived something from the Walter story. Two Magyars escape from the Sultan's prison by the aid of his daughter, under promise of taking her to Hungary. She often looks backwards, fearing pursuit. At last a large band overtake them. One of the Magyars guards the lady; the other assaults the Turks, of whom he leaves only one alive, to carry back information. One of the two has a love at home; the other takes the Sultan's daughter.
'Erlinton ' is translated by Rosa Warrens, Schottische Volkslieder, No 24, and by Karl Knortz, Schottische Balladen, No 12.
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