The nearest approach to the Elf-knight, Halewyn, etc., is perhaps Quintalin, in the saga of Samson the Fair. He was son of the miller Galin. Nobody knew who his mother was, but many were of the mind that Galin might have had him of a "goddess," an elf or troll woman, who lived under the mill force. He was a thief, and lay in the woods; was versed in many knave's tricks, and had also acquired agreeable arts. He was a great master of the harp, and would decoy women into the woods with his playing, keep them as long as he liked, and send them home pregnant to their fathers or husbands. A king's daughter, Valentina, is drawn on by his music deep into the woods, but is rescued by a friendly power. Some parts of her dress and ornaments, which she had laid off in her rapid following up of the harping, are afterwards found, with a great quantity of precious things, in the subaqueous cave of Quintalin's mother, who is a complete counterpart to Grendel's, and was probably borrowed from Beówulf.[79] This demi-elf Quintalin is a tame personage by the side of Grendel or of Halewyn. Halewyn does not devour his victims, like Grendel: Quintalin does not even murder his. He allures women with his music to make them serve his lust. We may infer that he would plunder them, for he is a notorious thief. Even two of the oldest Danish ballads, #B#, #C#, and again Danish #I# and Swedish #C#, make the treacherous knight as lecherous as bloody, and so with German #J#, #K#, #L#, #O#, #P#, #Q#, #R#, #S#, and Italian #A#, #B#, #C#, #E#, #F#. This trait is wanting in Danish #D#, where, though traces of the originally demonic nature of the knight remain, the muckle gold of the maids already appears as the motive for the murders. In the later Danish #E-H#, #K#, #L#, and Swedish #C#, #D#, the original elf or demon has sunk to a remorseless robber, generally with brothers, sisters, or underlings for accomplices.[80] This is preëminently his character in English #C-F#, in nearly all the forty Polish ballads, and in the two principal ballads of the German second class, #G#, #H#, though English #D#, German #H#, and Polish #Q# retain a trace of the supernatural: the first in the charm by means of which the knight compels the maid to quit her parents, the second in the bloody spring, and the last in the golden mountains. There is nothing that unequivocally marks the robber in the other German ballads of the second class and in those of the third. The question 'Weinst du um deines Vaters Gut?' in #I-L#, #O-S#, #T-W#, is hardly decisive, and only in #W# and #Z# is it expressly said that the maid had taken valuable things with her (as in Swedish #D#, Norwegian #A#, #B#, English #D-F#). #J-L#, #O-S#, give us to understand that the lady had lost her honor,[81] but in all the rest, except the anomalous #Z#, the motive for murder is insufficient.[82]