The knight in English #A# is called an Elf, and as such is furnished with an enchanting horn, which is replaced by a harp of similar properties in #B#, where, however, the male personage has neither name nor any kind of designation. The elf-horn of English #A# is again represented by the seductive song of the Dutch ballad and of German #G-R# and #Z#. Though the lady is not lured away in the Scandinavian ballads by irresistible music,[77] Danish #A#, #E#, Norwegian #A#, #B#, and Swedish #D# present to her the prospect of being taken to an elf-land, or elysium, and there are traces of this in Danish #G# and #D# also, and in Polish #Q#. The tongue that talks after the head is off, in the Dutch ballad and in German #A#, #B#, #C#, #E#, is another mark of an unearthly being. Halewyn, Ulver, Gert Olbert, like the English knight, are clearly supernatural, though of a nondescript type. The elf in English #A# is not to be interpreted too strictly, for the specific elf is not of a sanguinary turn, as these so conspicuously are. He is comparatively innocuous, like the hill-man Young Akin, in another English ballad, who likewise entices away a woman by magical music, but only to make her his wife. But the elf-knight and the rest seem to delight in bloodshed for its own sake; for, as Grundtvig has pointed out, there is no other apparent motive for murder in English #A#, #B#, the Norwegian ballads, Danish #A#, Swedish #A#, #B#, or German #A-E#.[78] This is true again, for one reason or another, of others of the German ballads, of the French, of most of the Italian, and of the Hungarian ballads.