#Norwegian.# ('Ribold and Guldborg.') #A#, 'Rikeball og stolt Guðbjörg,' Landstad, 33; #B#, 'Veneros og stolt Ölleber,' Landstad, 34; #C#, #D#, #E#, #F#, in part described and cited, with six other copies, Grundtvig, III, p. 853 f. The last half of Landstad No 23, stanzas 17-34, and stanzas 18-25 of Landstad 28 #B#, also belong here. #A# agrees with the older Danish versions, even to the extent of the paradise. #B# has been greatly injured. Upon the lady's warning Veneros of the approach of her father, he puts her up in an oak-tree for safety. He warns her not to call him by name, and she says she will rather die first; but her firmness is not put to the test in this ballad, some verses having dropped out just at this point. Veneros is advised to surrender, but dispatches his assailants by eighteen thousands (like Lille brór, in Landstad, 23), and by way of conclusion hews the false Pál greive, who had reported his elopement to Ölleber's father, into as many pieces. He then takes Ölleber on his horse, they ride away and are married. Such peculiarities in the other copies as are important to us will be noticed further on. ('Hildebrand and Hilde.') #A#, one of two Norwegian copies communicated by Professor Bugge to Grundtvig, III, 857 f, agrees well with Danish #E#, but has the happy conclusion of Danish #F#, #G#, #I#. The heroine is sold for _nine_ bells. #B#, the other, omits the bower-breaking of #A# and Danish #E#, and ends with marriage. The #Swedish# forms of 'Ribold and Guldborg' are: #A#, 'Hillebrand,' Afzelius, No 2; #B#, 'Herr Redebold,' and #C#, 'Kung Vallemo,' Afzelius, No 80; new ed., No 2, 1, 2, 3; #D#, 'Ribbolt,' Arwidsson, No 78; #E#, 'Herr Redebold' #F#, 'Herting Liljebrand,' and #G#, 'Herr Balder,' in Cavallius and Stephens' manuscript collection; #H#, 'Kung Walmon,' E. Wigström's Folkdiktning, No 15, p. 33. #A#, #B#, #C#, #H#, are not markedly different from the ordinary Danish ballad, and this is true also, says Grundtvig, of the unprinted versions, #E#, #F#, #G#. #D# and #G# are of the seventeenth century, the others from recent tradition. Ribold is pictured in #D# as a bold prince, equally versed in runes and arts as in manly exercises. He visits Giötha by night: they slumber sweet, but wake in blood. She binds up his wounds with rich kerchiefs. He rides home to his father's, and sits down on a bench. The king bids his servants see what is the matter, and adds, Be he sick or be he hurt, he got it at Giötha-Lilla's. They report the prince stabbed with sharp pikes within, and bound with silk kerchiefs without. Ribold bids them bury him in the mould, and not blame Giötha-Lilla; "for my horse was fleet, and I was late, and he hurtled me 'gainst an apple-tree" (so Hillebrand in #A#). #E# represents the heroine as surviving her lover, and united to a young king, but always grieving for Redebold.