[28] According to the variation given by Willems, and adopted by Hoffmann, Halewijn's _son_ came to meet her, tied her horse to a tree, and bade her to sit down by him and loose her hair. For every hair she undid she dropped a tear. But it will presently be seen not only that the time has not come for them to sit down, but that Halewijn's bidding her undo her hair (to no purpose) is a perversion of her offering to "red" _his_, to get him into her power, an offer which she makes in the German and Scandinavian ballads, where also there is good reason for her tears, but none as yet here. [29] J. W. Wolf, Deutsche Märchen u. Sagen, No 29, p. 143, gives the story according to #B#, apparently from a ballad like Snellaert's. So Luise v. Ploennies, Reiseerinnerungen aus Belgien, p. 38. Halewyn makes his appearance again in the Flemish ballad, 'Halewyn en het kleyne Kind,' Coussemaker, No 46, p. 149; Poésies populaires de la France, vol. I. A boy of seven years has shot one of Halewyn's rabbits, and is for this condemned to be hanged on the highest tree in the park. The father makes great offers for his ransom, but in vain. On the first step of the ladder the child looks back for his mother, on the second for his father, on the third for his brother, on the fourth for his sister, each of whom successively arrives and is told that delay would have cost him his life. It will presently be seen that there is a resemblance here to German ballads (#G-X#, #Z#). [30] "La chanson de Halewyn, telle à peu près que la donnent Willems, Snellaert et de Coussemaker, se vend encore sur le marché de Bruges. Quoiqu'elle porte pour titre _Halewyn_, jamais notre pièce n'a été connue ici sous ce nom. Le nom de Halewijn, Alewijn ou Alwin ... est réservé au héros de la pièce suivante" [Mi Adel en Hir Alewijn]. Lootens et Feys, p. 66. "Il est a regretter que Willems et de Coussemaker n'aient pas jugé à propos de donner cette pièce telle que le peuple l'a conservée; on serait sans aucun doute en possession de variantes remarquables, et les lacunes qui existent dans notre version n'eussent pas manqué d'être com blées. Il est bon d'insister sur la remarque faite à la suite de la chanson, qu'à Bruges et dans beaucoup de localités de la Flandre, elle n'est connue que sous le titre de _Roland_. Ajoutons que notre texte appartient au dernier siècle." L. et F., 295. [31] So in 'Liebe ohne Stand,' one of the mixed forms of the German ballad, Wunderhorn, Erk I, 41, Crecelius, I, 36, Und als es nun kam an den dritten Tag, Da gingen die Pfeiffen und Trommeln an.