Swedish #H# has nothing about the finding of the body. Music is wanted for the bridal, and a man from another village, who undertakes to furnish it, looks three days for a proper tree to make a harp of. The singer of this version supplied the information, lost from the ballad, that the drowned sister had floated ashore and grown up into a linden, and that this was the very tree which was chosen for the harp. (See, further on, a Lithuanian, a Slovak, and an Esthonian ballad.) All the Norse ballads make the harp or fiddle to be taken to a wedding, which chances to be that of the elder sister with the drowned girl's betrothed.[134] Unfortunately, many of the English versions are so injured towards the close that the full story cannot be made out. There is no wedding-feast preserved in any of them. The instrument, in #A#, #B#, #C#, #H#, is taken into the king's presence. The viol in #A# and the harp in #H# are expressly said to speak. The harp is laid upon a stone in #C#, #J#, and plays "its lone;" the fiddle plays of itself in #L b#.[135] #B# makes the harper play, and #D#, #F#, #K#, #O#, which say the fiddle played, probably mean that there was a fiddler, and so perhaps with all the Norse versions; but this is not very material, since in either case the instrument speaks "with most miraculous organ." There are three strings made from the girl's hair in Icelandic #A#, #B#, English #B# [veins, English #A#], and the three tets or links in English #D#, #E#, #F#, #I#, #P# were no doubt taken to make three strings originally. Corresponding to this are three enunciations of the instrument in English #A#, #B#, #C#, Icelandic #A#, Färöe #A#,[136] #B#, Swedish #A#, #B#, #C#, #E#, #G#, #H#, Danish #A#, #D#, #F#, #I#. These are reduced to two in Icelandic #B#, Danish #B#, #C#, #H#, #L#, Swedish #D#, and even to one in English #D#, #F#, #I#, #K#, #O#, but some of these have suffered injury towards the conclusion. The number is increased to four in Norwegian #B#, to five in Norwegian #A#, #D#, and even to six in Norwegian #C#, #K#, #M#. The increase is, of course, a later exaggeration, and very detrimental to the effect. In those English copies in which the instrument speaks but once,[137] #D#, #F#, #K#, #O#, and we may add #P#, it expresses a desire for vengeance: Hang my sister, #D#, #F#, #K#; Ye'll drown my sister, as she's dune me, #O#; Tell him to burn my sister, #P#. This is found in no Norse ballad, neither is it found in the earliest English versions. These, and the better forms of the Norse, reveal the awful secret, directly or indirectly, and, in the latter case, sometimes note the effect on the bride. Thus, in Icelandic #B#, the first string sounds, The bride is our sister; the second, The bride is our murderer. In Danish #B# the first fiddle plays, The bride is my sister; the second, The bridegroom is my true-love; in #C#, #H#, the first strain is, The bride has drowned her sister, the second, Thy sister is driven [blown] to land.