#Swedish.# Three Swedish versions of this ballad were given by Afzelius: #A#, 'Riddar Olle' in 50 two-line stanzas, II, 217; #B#, 19 two-line stanzas, II, 59; #C#, 19 two-line stanzas, II, 56: No 33, I, 175-182 of Bergström's edition. Besides these, there are two fragments in Cavallius and Stephens's unprinted collection: #D#, 6 stanzas; #E#, 7 stanzas, the latter printed in Grundtvig, V, 307.[96] All these were obtained from recitation in the present century. #A# comes nearest to our #A#, #B#. Like Scottish #B#, it seems to have been compounded from several copies. Sir Olof betrothed Ingalilla, and carried her home for the spousal, wearing a red gold crown and a wan cheek. Ingalilla gave birth to twin-boys. Olof had a maid who resembled Ingalilla completely, and who, upon Ingalilla's entreaty, consented to play the part of bride on the morrow. Dressed in Ingalilla's clothes, blue kirtle, green jacket, etc., and wearing five gold rings and a gold crown, the maid rode to church, with Ingalilla at her back, and her beauty was admired by all as she came and went. But outside of the church were a good many musicians; and one of these piped out, "God-a-mercy, Ingalilla, no maid art thou!" Ingalilla threw into the piper's hand something which made him change his tune. He was an old drunken fellow, and no one need mind what he sang. After five days of drinking, they took the bride to her chamber, not without force. Ingalilla bore the light before her, and helped put her to bed; then lay down herself. Olof had over him a fur rug, which could talk as well as he, and it called out, 'Hear me, Sir Olof, hear what I say; Thou hast taken a strumpet, and missed a may.' And Olof, 'Hear, little Inga, sweetheart,' he said; 'What didst thou get for thy maidenhead?'[97] Inga explained. Her father was a strange sort of man, and built her bower by the sea-strand, where all the king's courtiers took ship. Nine had broken in, and one had robbed her of her honor. He had given her an embroidered sark, a blue kirtle, green jacket, black mantle, gloves, five gold rings, a red gold crown, a golden harp, and a silver-mounted knife, which she now wishes in the youngster's body. The conclusion is abruptly told in two stanzas. Olof bids Inga not to talk so, for he is father of her children. He embraces her and gives her a queen's crown and name. #B# has the same story, omitting the incident of the musician. #C# has preserved this circumstance, but has lost both the substitution of the waiting-woman for the bride and the magical coverlet. #D# has also lost these important features of the original story; #E# has retained them.