"Io vo' finire con questa _d'un amante Tradito dall' amata._ Oh che l'è sì garbata A cantarla in ischiera: _'Dov' andastu iersera, Figliuol mio ricco, savio e gentile? Dov' andastu iersera'?_"[144] The ballad was first recovered in 1865, by Dr G. B. Bolza, who took it down from the singing of very young girls at Loveno. Since then good copies have been found at Venice. #A#, 'L'Avvelenato,' Bolza, Canzoni popolari comasche, No 49, Sitzungsberichte of the Vienna Academy (philos. histor. class), LIII, 668, is of seventeen stanzas, of seven short lines, all of which repeat but two: the 8th and 10th stanzas are imperfect.[145] A mother inquires of her son where he has been. He has been at his mistress's, where he has eaten part of an eel; the rest was given to a dog, that died in the street. The mother declares that he has been poisoned. He bids her send for the doctor to see him, for the curate to shrive him, for the notary to make his will. He leaves his mother his palace, his brothers his carriage and horses, his sisters a dowry, his servants a free passage to mass ("la strada d'andà a messa" # nothing), a hundred and fifty masses for his soul; for his mistress the gallows to hang her. #B#, #C#, 'L'Avvelenato,' Bernoni, Nuovi Canti popolari veneziani, 1874, No 1, p. 5, p. 3, have twelve and eighteen four-line stanzas, the questions and answers in successive stanzas, and the last three lines of the first pair repeated respectively throughout.[146] #B#, which is given as a variant of #C#, agrees with #A# as to the agent in the young man's death. It is his mistress in #B#, but in #C# it is his mother. In both, as in #A#, he has eaten of an eel. The head he gave to the dogs, the tail to the cats (#C#). He leaves to his stewards (castaldi) his carriages and horses (#C#); to his herdsmen his cows and fields; to the maids his chamber furnishings; to his sister the bare privilege of going to mass (#C#, as in #A#); to his mother [wife, #C#] the keys of his treasure. "La forca per picarla" is in #B# as in #A# the bequest to his false love, instead of whom we have his mother in #C#. The corresponding #German# ballad has been known to the English for two generations through Jamieson's translation. The several versions, all from oral tradition of this century, show the same resemblances and differences as the English.