In 'Oluf og Ellinsborg,' Grundtvig, No 279, #A#, #B#, #C#, one of the queen's ladies is habitually sad, and is pressed by her lover to account for this. She endeavors to put him off with fictitious reasons, but finally nerves herself to tell the truth: she was walking by herself in her orchard, when five knights came riding by, and one was the cause of her grief. Oluf owns it was all his doing. A Swedish ballad, remarkably close to the Danish, from a manuscript of the date 1572 (the oldest Danish version is also from a manuscript of the 16th century), is 'Riddar Lage och Stolts Elensborg,' Arwidsson, No 56. 'Iver Hr. Jonsøn,' Grundtvig, No 280, in five versions, the oldest of the 16th century, exhibits a lady as fearing the arrival of her lover's ship, and sending her mother to meet him, while she takes to her bed. Immediately upon her betrothed's entering her chamber, she abruptly discloses the cause of her trouble. Eight men had broken into her bower on the strand, and the ninth deprived her of her honor. Iver Hr. Jonsøn, with as little delay, confesses that he was the culprit, and makes prompt arrangements for the wedding. There is another series of ballads, represented by 'Leesome Brand' in English, and by 'Redselille og Medelvold' in Danish, which describe a young woman, who is on the point of becoming a mother, as compelled to go off on horseback with her lover, and suffering from the ride. We find the question, whether the saddle is too narrow or the way too long, in the Danish 'Bolde Hr. Nilaus' Løn,' Grundtvig, 270, 'Redselille og Medelvold,' Grundtvig, 271 #C#, #D#, #E#, #I#, #K#, #L#, #M#, #P#, #Q#, #V#, #Y#, and the Norwegian versions, #A#, #D#, #E#, #F#, of 'Sønnens Sorg,' Grundtvig, 272, Bilag 1, 4, 5, 6.[98] The gifts also occur in Grundtvig's 271 #A#, #Z#, and Norwegian #D#, Bilag 9. Perhaps no set of incidents is repeated so often in northern ballads as the forcing of the bower on the strand, the giving of keepsakes, the self-identification of the ravisher through these, and his full and hearty reparation. All or some of these traits are found in many ballads besides those belonging to the groups here spoken of: as 'Hildebrand og Hilde,' #E#, #I#, Grundtvig, No 83, and Norwegian #A#, III, 857; 'Guldsmedens Datter,' Grundtvig, 245, and its Swedish counterpart at p. 481 of the preface to the same, and in Eva Wigström's Folkdiktning, p. 37, No 18; 'Liden Kirstins Dans,' Grundtvig, 263 (translated by Prior, 112), and Norwegian #B#, #C#, Bilag 2, 3; 'Jomfruens Harpeslæt,' Grundtvig, 265 (translated by Jamieson, 'Illustrations,' p. 382, Prior, 123, Buchanan, p. 6), and Swedish #D#, Bilag 2, Swedish #A#, Afzelius, 81. So Landstad, 42, 45; Arwidsson, 141; Grundtvig, 37 #G#; 38 #A#, #D#; Kristensen, I, No 95, II, No 28 #A#, #C#.