Grundtvig, assuming that the name is Ulbrich Halsemann, would account for the second and superfluous character here [found also in #W#] by a divarication of Ulrich Halsemann into Ulrich _and_ Halsemann (Hanslein). Ansar, "bisher unverständlicher Vorname des Ritters Uleraich" in #Y# (Meinert), would equally well yield Hanslein. Might not Halsemann possibly be an equivalent of Halsherr? [52] And in 'Der Mutter Fluch,' Meinert, p. 246, a ballad with which #Y# agrees in the first two and last four stanzas. [53] There is a dove in #Z#, but #Z#, as has been said, presents traits of all three classes. [54] 'Da lyge, feyns Lybchen, unndt fawle, Meyn jungk Herze muss trawren.' Nicolai, vv 35, 36, 'Da liege, du Häuptchen, und faule, Kein Reuter wird dir nachtrauern.' Simrock, vv 35, 36, are evidently derived from the apostrophe to the murderer's head in #I#, #W#, #Y#. Stolz Syburg is the hero of a very different ballad, from the Münster region, Reifferscheid, No 16, p. 32 (also No 17, and Simrock, No 9, p. 23, 'Stolz Heinrich'). And from this the name, in consequence of a remote resemblance in the story, may have been taken up by the Rhine ballad, though it has contributed nothing more. Margaret, a king's daughter, is wiled away by a splendid description of Stolz Syburg's opulence. When they have gone a long way, he tells her that he has nothing but a barren heath. She stabs herself at his feet. [55] 'Wassermans Braut,' Meinert, p. 77; 'Die unglückliche Braut,' Hoffmann u. Richter, Schlesische V. L., p. 6, No. 2; 'Königs Töchterlein,' Erk u. Irmer, vi, 6, No 4; 'Der Wassermann,' Erk's Liederhort, p. 50, No 17. ('Die Nixenbraut,' "Norddeutschland," Zuccalmaglio, p. 192, No 92, seems to be Meinert's copy written over.) [56] The remarkable Norwegian ballad of the 'Wassermanns Brant' group, The Nix and Heiemo, Landstad, No 39, p. 350, has not been unaffected by the one we are now occupied with. There is even a verbal contact between stanza 19, 'Heiemo tenkte með sjave seg: Tru mine smá _knivar_ 'ki hjelper meg?' and Norwegian #F#, stanza 9, cited by Grundtvig, IV, 4, Lengji stó Gullbjör, hó tenkte mæ seg: 'Kann inkje mí' _rúninne_ hjelpe meg?' [57] Kolberg's #b#, #h#, #k#, #v#, #x#, #bb#, #cc#, #hh#, #kk#, #ll#, #nn#, #xx#, #yy#, #zz#, consist of only one or two initial stanzas, containing no important variation. His #aaa#, a fragment of six stanzas, Pauli, p. 147, No 6, Wojcicki, II, 169, though it begins like the rest, sounds like a different ballad. The ballad in Wojcicki, I, 38, is allied with the one we are engaged with, and the two fragments on p. 36, p. 37 with both this and that. [58] Anne in #R#, #LL#, and Kolberg's #h#: Mary in #I#, #U#, #II#: Ursula, #N#: both Catherine and Alice, #AA#. John is found in all but #N#, where there is a nameless seigneur.