[32] E.g., the wonderland in #A# 2-6, and the strict watch kept over the lady in 7-10 are repeated in 'Ribold og Guldborg,' Grundtvig, 82, #B# 2-7, 8-11, and in 'Den trofaste Jomfru,' ib. 249, #A# 3-6, 7-10. The watching in #A#, #B#, #C# and the proffered gifts of #C#, #D#, #F# are found in 'Nøkkens Svig,' Grundtvig, 39, #A#, #B#, 12-18. The disguise in #A# 11-14, the rest in the wood with the knight's head in the lady's lap, #A# 16, 27, #B# 11, 21, #D# 14, 24, #E# 11, 21, etc., recur in Ribold, #B# 12-14, #L# 9, 10, #M# 19, 20, #N# 11, 13, #P# 12, 13. These resemblances, naturally, are not limited to the Danish copies. [33] So the princess in Asbjörnsen og Moe, N. Folkeeventyr, p. 153. Cf. Campbell's Tales of the West Highlands, III, 209; IV, 282, 283. [34] The binding and waking, with these words, are found also in a made-up text of 'Frændehævn,' Grundtvig, No 4, #C# 51-53, but certainly borrowed from some copy of 'Kvindemorderen.' [35] All the German versions appear to have been _originally_ in the two-line stanza. [36] The copies with this title in Simrock, No 6, p. 15, and in Scherer's Jungbrunnen, No 5 A, and his Deutsche V. L., 1851, p. 349, are compounded from various texts. [37] Both #D# and #E# have attached to them this final stanza: 'Odilia, why are thy shoes so red?' 'It is three doves that I shot dead.' This is a well-known commonplace in tragic ballads; and Grundtvig suggests that this stanza was the occasion of the story taking the turn which we find in ballads of the third class. [38] One scarcely knows whether this bribe is an imperfect reminiscence of splendid promises which the knight makes, e.g., in the Danish ballads, or a shifting from the maid to the knight of the gold which the elsewhere opulent or well-to-do maid gets together while the knight is preparing to set forth; or simply one of those extravagances which so often make their appearance in later versions of ballads. [39] The number eleven is remarkably constant in the German ballads, being found in #G#, #H#, #J-L#, #N-W#; it is also the number in Swedish #B#. Eight is the favorite number in the North, and occurs in Danish #A-D#, #H-L#, Swedish #A#, #C#, Norwegian #G#, #H#; again in German #I#. German #M#, #X#, Danish #F#, have ten; German #A#, #B#, Danish #E#, Norwegian #I#, have nine; German #C#, #D#, seven; Danish #G# has nineteen. French #A#, #B# have fourteen, fifteen, Italian ballads still higher numbers: #A#, #B#, #C#, thirty-six, #D#, fifty-two, #E#, thirty-three, #F#, three hundred and three. [40] This stroke of realism fails only in #M#, #N#, #R#, of this second class. [41] Apparently to a Ribold ballad, of which no other trace has been found in German. See further on in this volume. [42] 13 'Ach du schöne junkfraw fein, Du pfalzgrävin, du kaiserin! Der Adelger hat sich vor ailf getödt, Du wirst die zwölft, das sei dir gsait. 15 'So bitt mich nit, du junkfraw fein, So bitt mich nit, du herzigs ein!'