#C#, #X#, #Z#: "It is my sick sister; I took her yesterday from the cloister." [Danish #E#, it is my youngest sister from the cloister; she is sick: Danish #A#, youngest sister from cloister: Danish #R# and Norwegian #B#, sister from cloister: Danish #S#, #T#, sister's daughter from cloister: Norwegian #F#, sister from Holstein: Danish #P#, Icelandic #A#, Norwegian #A#, sister.] The old man, crafty man, rich earl, in the Scandinavian ballads, commonly answers that he knows Guldborg very well; but in Danish #D#, where Ribold says it is a court page he has hired, we have something like sts 14, 15: "Why has he such silk-braided hair?" On finding themselves discovered, the lovers, in the Scandinavian ballad, attempt to purchase silence with a bribe: Danish #A-I#, #M#, Icelandic and Norwegian #A#, #B#. This is not expressly done in 'Earl Brand,' but the same seems to be meant in st. 10 by "I'll gie him a pound." St. 17 is fairly paralleled by Danish #S#, 18, 19: "Where is Guldborg, thy daughter? Walking in the garden, gathering roses;" and st. 18, by Norwegian #B#, 15: "You may search without and search within, and see whether Ölleber you can find." The announcement in st. 19 is made in almost all the Scandinavian ballads, in words equivalent to "Ribold is off with thy daughter," and then follows the arming for the pursuit. The lady looks over her shoulder and sees her father coming, as in st. 21, in Danish 82 #A#, #F#, #H#, #I#, #Q#, #R#, #T#, #X#, #Z#, and Norwegian #A#. The scene of the fight is better preserved in the Scottish ballads than in 'Earl Brand,' though none of these have the cardinal incident of the death-naming. All the Scottish versions, #B-F#, and also 'Erlinton,' #A#, #B#, make the lady hold the knight's horse: so Danish 82 #B#, #C#, #E#, #I#, #Æ#, #D*#, Icelandic #C#, Norwegian and Swedish #A#, and Danish 83 #D#. Of the knight's injunction, "Name me not to death, though thou see me bleed," which, as has been noted, is kept by nearly every Danish ballad (and by the Icelandic, the Norwegian, and by Swedish 'Ribold and Guldborg,' #A#, #B#, #C#, #H#, Swedish 'Hildebrand and Hilde,' #A#, #B#), there is left in English only this faint trace, in 'Erlinton,' #A#, #B#: "See ye dinna change your cheer until ye see my body bleed." It is the wish to save the life of her youngest brother that causes the lady to call her lover by name in the larger number of Scandinavian ballads, and she adds, "that he may carry the tidings to my mother," in Danish 82 #A#, #B#, #C#, #E#, #F#, #G#, #H#, #M#, #X#, 83 #B#, #C#, #D#. Grief for her father's death is the impulse in Danish 82 #I#, #N#, #O#, #Q#, #R#, #S#, #Y#, #Z#, #Æ#, #Ø#, #A*#, #C*#, #D*#, #E*#, Swedish #A#, #B#, #C#, #H#. English #A# says nothing of father or brother; but in #B#, #C#, #D#, #E#, it is the father's death that causes the exclamation. All the assailants are slain in 'Erlinton' #A#, #B#, except an aged knight [the auldest man], and he is spared to carry the tidings home.