It is quite beyond question that the third class of German ballad is a derivation from the second.[73] Of the versions #T-Z#, #Z# alone has preserved clear traits of the marvellous. A king's daughter is enticed from home by Ulrich's singing, and is warned of 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. #T#, to be sure, has a hazel, and #Y# a tree-stump and a spring, and in #T# 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 #Y# the woman is called a king's daughter, the opening stanzas of #Y# are borrowed from a different ballad. Ulrich retains so much of the knight that he rides to Ännchen's house, in the first stanza of #T#, 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 #T#, #U#, #V#, #X#, has lost his sword, or the use of it, and in all these (also, superfluously, in #W#) Ulrich, like a common felon as he was, is broken on the wheel. That the woman should save her life by her own craft and courage is certainly a more primitive conception than that she should depend upon her brother, and the priority of this arrangement of the plot is supported, if not independently proved, by the concurrence, as to this point, of so many copies among so many nations, as also by the accordance of various popular tales. The second German form must therefore, so far forth, be regarded as a modification of the first. Among the several devices, again, which the woman employs in order to get the murderer into her power, the original would seem to be her inducing him to lay his head in her lap, which gives her the opportunity (by the use of charms or runes, in English #A#, Danish #G#, Norwegian #F#, #H#, and one form of #B#) to put him into a deep sleep. The success of this trick no doubt implies considerable simplicity on the part of the victim of it; not more, however, than is elsewhere witnessed in preternatural beings, whose wits are frequently represented as no match for human shrewdness. Some of the Scandinavian ballads are not liable to the full force of this objection, whatever that may be, for they make the knight express a suspicion of treachery, and the lady solemnly asseverate that she will not kill [fool, beguile] him in his sleep. And so, when he is fast bound, she cries out, Wake up, for I will not kill thee _in thy sleep_! This last circumstance is wanting in hardly any of the Scandinavian ballads, whereas the previous compact is found only in Danish #E#, #F#, #G#, #H#, #L#, Swedish #A#, Norwegian #A#, and the Icelandic ballad. Not occurring in any of the older Danish copies, it may be that the compact is an after-thought, and was inserted to