Swedish #F# has an entirely perverted and feeble conclusion. "A good man" takes the younger sister from the water, carries her to his house, revives her, and nurses her till the morrow, and then restores her to her father, who asks why she is so pale, and why she had not come back with her sister. She explains that she had been pushed into the water, "and we may thank this good man that I came home at all." The father tells the elder that she is a disgrace to her country, and condemns her to the "blue tower." But her sister intercedes, and a cheerful and handsome wedding follows. Swedish #C# and nearly all the Norwegian ballads[138] restore the drowned girl to life, but not by those processes of the Humane Society which are successfully adopted by the "arlig man" in Swedish #F#. The harp is dashed against a stone, or upon the floor, and the girl stands forth "as good as ever." As Landstad conceives the matter (484, note 7), the elder sister is a witch, and is in the end burned _as such_. The white body of the younger is made to take on the appearance of a crooked log, which the fishermen (who, by the way, are angels in #C#, #E#) innocently shape into a harp, and the music, vibrating from her hair "through all her limbs, marrow and bone," acts as a disenchantment. However this may be, the restoration of the younger sister, like all good endings foisted on tragedies, emasculates the story. English #F# 9 has the peculiarity, not noticed elsewhere, that the drowning girl catches at a broom-root, and the elder sister forces her to let go her hold.[139] In Swedish #G# she is simply said to swim to an alder-root. In English #G# 8 the elder drives the younger from the land with a switch, in #I# 8 pushes her off with a silver wand. English #O# introduces the _ghost_ of the drowned sister as instructing her father's fiddler to make a string of her hair and a peg of her little finger bone, which done, the first spring the fiddle plays, it says, 'Ye'll drown my sister as she's dune me.' #P#, which is disordered at the end, seems to have agreed with #O#. In #Q# the ghost sends, by the medium of the miller and his daughter, respects to father, mother, and true-love, adding a lock of yellow hair for the last. The ghost is found in #N#, Pinkerton's copy, as well, but there appears to the lover at dead of night, two days after the drowning. It informs him of the murder, and he makes search for the body. This is a wide departure from the original story, and plainly a modern perversion. Another variation, entirely wanting in ancient authority, appears in #R#, #S#. The girl is not dead when she has floated down to the mill-dam, and, being drawn out of the water by the miller, offers him a handsome reward to take her back to her father [#S#, to throw her in again!]. The miller takes the reward, and pushes the girl in again, for which he is hanged.[140] #Q# has a burden partly Gaelic,