[71] Magyar Népköltési Gyüjtemény. Uj Folyam, szerkesztik és kiadják Arany László és Gyulai Pál. Collection of Magyar Popular Poetry, New Series, Pest, 1872, 2 vols. Aigner, has blended Nos 4 and 3 (#C#, #A#) in 'Martin und Aennchen,' Ungarische Volksdichtungen, p. 170, and has translated No 1 (#E#), at p. 120, 'Molnár Anna,' in each case obscuring or omitting one or two traits which are important for a comparative view. [72] Very little remains of the artifice in Polish #A#. The idea seems to be that the girl pretends to be curious about the sword in order to get it into her hands. But the whole story is told in ten stanzas. [73] I accept and repeat Grundtvig's views as to the relation of the three forms of the story. And with regard to the history of the ballad generally, this is but one of many cases in which much or most of the work had been done to my hand in Danmarks gamle Folkeviser. [74] Memering was required by his adversary to swear that he knew not of the sword Adelring, and took his oath that he knew of nothing but the hilt being above ground, which was accepted as satisfactory. Presently he pulls Adelring out of the ground, into which he had thrust the blade, and, being accused of perjury, triumphantly rejoins that he had sworn that he knew of nothing but the hilt _being above ground_. Dietrich does the same in his duel with Sigurd Swain. [75] Magyar #A# is entirely peculiar. Apparently the man lays his head in the woman's lap that he may know, by the falling of her tears, when she has disobeyed his command not to look into the tree. This is like 'Bluebeard,' and rather subtle for a ballad. [76] 'Child Waters,' 'The Fair Flower of Northumberland.' [77] The murderer has a horn in Swedish #C#, #D#, as also in the Dutch Halewyn and the German #A#, #B#, #C#, #E#, and the horn may be of magical power, but it is not distinctly described as such. [78] The scenery of the halting-place in the wood--the bloody streams in Danish #A#, #B#, #D#, #H#, #L#, #K#, the blood-girt spring in German #H#, #J#, #K#, #L#, #O#, #P#, #Q#--is also, to say the least, suggestive of something horribly uncanny. These are undoubtedly ancient features, though the spring, as the Danish editor observes, has no longer any significancy in the German ballads, because in all of them the previous victims are said to have been _hanged_. [79] The saga in Björner's Nordiska Kämpadater, c. 5-7. [80] Danish #E#, #I#, #L#, and even #A#, make the knight suggest to the lady that she should get her gold together while he is saddling his horse; but this is a commonplace found in other cases of elopement, and _by itself_ warrants no conclusion as to the knight's rapacity. See 'Samson,' Grundtvig, No 6, #C# 5; 'Ribold og Guldborg,' No 82, #C# 13, #E# 14, etc.; 'Redselille og Medelvold,' No 271, #A# 21, #B# 20; 272, Bilag 3, st. 8; 270, 18, etc. [81] So perhaps a Polish ballad in Wojcicki, I, 38, akin to the other John and Katie ballads.