'Erlinton' #C#, however, agrees with the oldest Danish copies in making the youngest brother the motive of the lady's intervention. It is the fifteenth, and last, of the assailants that gives Earl Brand his death-wound; in Danish #H#, the youngest brother, whom he has been entreated to spare; and so, apparently, in Danish #C# and Norwegian #A#. The question, "Will you go with me or return to your mother?" which we find in English #B#, #C#, #D#, is met with also in many Danish versions, 82 #B#, #H#, #K#, #L#, #M#, #N#, #P#, #U#, #Z#, #Æ#, #Ø#, #C*#, and Swedish #A#, #B#, #C#. The dying man asks to have his bed made in English #B#, #C#, as in Danish 82 #B#, #C#, #K#, #L#, #N#, #U#, #N#, #Æ#, #Ø#, #C*#, #D*#, Norwegian #A#, Swedish #A#, #B#, #C#, #H#, and desires that the lady may marry his brother in English #A#, as in nearly all the Danish versions, Icelandic #A#, #B#, #C#, Norwegian #C#, #D#, #E#, Swedish #C#. He declares her a maiden true in 'Earl Brand,' #A c# 33, and affirms the same with more particularity in Danish 82 #B#, #C#, #E#, #F#, #G#, #M#, #Ø#, Icelandic #B#, #C#, Norwegian #A#, #C#, #E#, Swedish #C#. The growth of the rose and brier [bush and brier] from the lovers' grave in English #B#, #C#, is not met with in any version of 'Ribold and Guldborg' proper, but 'Den farlige Jomfru' #G#, Grundtvig, 184, the last half of which, as already remarked, is a fragment of a Ribold ballad, has a linden in place of the rose and brier. No complete ballad of the Ribold class is known to have survived in #German#, but a few verses have been interpolated by tradition in the earliest copy of the Ulinger ballad (vv. 47-56), which may almost with certainty be assigned to one of the other description. They disturb the narrative where they are, and a ready occasion for their slipping in was afforded by the scene being exactly the same in both ballads: a knight and a lady, with whom he had eloped, resting in a wood.[111] See No 4, p. 32 of this volume. We find in a pretty #Neapolitan-Albanian# ballad, which, with others, is regarded by the editors as a fragment of a connected poem, several of the features of these northern ones. A youth asks a damsel in marriage, but is not favored by her mother, father, or brother. He wins over first the mother and then the father by handsome presents, but his gifts, though accepted, do not conciliate the brother. He carries off the lady on horseback, and is attacked by the brother, four uncles, and seven cousins. He is killed and falls from his horse; with him the lady falls dead also, and both are covered up with stones. In the spring the youth comes up a cypress, the damsel comes up a vine, and encloses the cypress in her arms. (Rapsodie d'un poema albanese raccolte nelle colonie del Napoletano, de Rada and de' Coronei, Florence, 1866, lib. ii., canto viii.)