#E#, #F#, #G#, however, do not end so simply. On her way home through the wood [#E#], she comes upon a maid who is working gold, and who says, The last time I saw that horse my brother rode it. She answers, Your brother is dead, and will do no more murdering for gold; then turns her horse, and sets the sister's bower on fire. Next she encounters seven robbers on the heath, who recognize the horse as their master's, and are informed of his death and of the end of his crimes. They ask about the fire. She says it is an old pig-sty. She rides on, and they call to her that she is losing her horse's gold shoe. But nothing can stop her; she bids them pick it up and drink it in wine; and so comes home to her father's. #F# has nothing of the sister; in place of seven robbers there are nine of the robber's brothers, and the maid sets their house on fire. #G# indulges in absurd extravagances: the heroine meets the robber's sister with twelve fierce dogs, and then his twelve swains, and cuts down both dogs and swains. The names in the Danish ballads are, #A#, Ulver and Vænelil; #B#, Olmor, or Oldemor, and Vindelraad; #C#, Hollemen and Vendelraad; #D#, Romor, Reimord, or Reimvord, and the maid unnamed; #F#, Herr Peder and Liden Kirsten; #H-L#, Ribold, Rigbold [#I#, Rimmelil] and Guldborg. Four #Swedish# versions are known, all from tradition of this century. #A#, 'Den Falske Riddaren,' twenty-three two-line stanzas, Arwidsson, 44 B, I, 301. #B#, 'Röfvaren Brun,' fifteen stanzas, Afzelius, 83, III, 97. #C#, twenty-seven stanzas, Arwidsson, 44 A, I, 298. #D#, 'Röfvaren Rymer,' sixteen stanzas, Afzelius, 82, III, 94. #A#, #B#, #D# have resemblances, at the beginning, to the Ribold ballads, like the Danish #A#, #B#, #E#, #G#, while the beginning of #C# is like the Danish #C#, #D#, #F#. #A# has the grave-digging; there have been eight maids before; the knight lays his head in the lady's lap for the same reason as in most of the Danish ballads, and under the same assurance that he shall not be betrayed in sleep; he is bound, and conscientiously waked before his head is struck off; and the lady rides home to her father's. There have been eight previous victims in #C#, and they king's daughters; in #B#, eleven (maids); #D# says not how many, but, according to an explanation of the woman that sang it, there were seven princesses. #C#, #D#, like Danish #E#, #F#, #G#, make the maid encounter some of the robber's family on the way home. By a misconception, as we perceive by the Dutch ballad, she is represented as blowing the robber's horn. Seven sisters come at the familiar sound to bury the murdered girl and share the booty, but find that they have their brother to bury. The woman has no name in any of the Swedish ballads. #A# calls the robber "an outlandish man" (en man ifrån fremmande land), #B#, simple Brun, #C#, a knight, and #D#, Riddaren Rymer, or Herr Rymer.