Of #Norwegian# versions, but two have been printed: #A#, 'Svein Norðmann,' twenty two-line stanzas, Landstad, 69, p. 567; #B#, 'Rullemann og Hildeborg,' thirty stanzas, Landstad, 70, p. 571, both from recent recitation. Bugge has communicated eight others to Grundtvig. Both #A# and #B# have the paradise at the beginning, which is found in Danish #A#, #E#, #G#, and Swedish #D#. In both the lady gets her gold together while the swain is saddling his horse. They come to a grave already dug, which in #B# is said to be made so very wide because Rulleman has already laid nine maidens in it. The stanza in #A# which should give the number is lost, but the reciter or singer put it at seven or nine. The maid gets the robber into her power by the usual artifice, with a slight variation in #B#. According to #A#, she rides straight home to her father. #B#, like Danish #F#, has an encounter with her false lover's [five] brothers. They ask, Where is Rullemann, thy truelove? She answers, He is lying down, in the green mead, and bloody is his bridal bed. Of the unprinted versions obtained by Professor Bugge, two indicate that the murderer's sleep was induced by a spell, as in English #A#. #F# 9 has, Long time stood Gullbjör; to herself she thought, May none of my _runes_ avail me ought? And #H# 18, as also a variant to #B# 20, says it was a rune-slumber that came over him. Only #G#, #H#, #I#, #K# give the number of the murdered women: in #G#, #H#, eight, in #I#, nine, in #K#, five. The names are, in #A#, Svein Norðmann and Guðbjörg; #B#, Rulleman and Hildeborg [or Signe]; #C#, #D#, #E#, #F#, Svein Nórmann and Gullbjör [Gunnbjör]; #G#, Rullemann and Kjersti; #H#, Rullball and Signelill; #I#, Alemarken and Valerós; #K#, Rulemann and a fair maid. Such information as has transpired concerning #Icelandic# versions of this ballad is furnished by Grundtvig, IV, 4. The Icelandic form, though curtailed and much injured, has shown tenacity enough to preserve itself in a series of closely agreeing copies from the 17th century down. The eldest, from a manuscript of 1665, runs thus: 1 Ása went along the street, she heard a sweet sound. 2 Ása went into the house, she saw the villain bound. 3 'Little Ása, loose me! I will not beguile thee.' 4 'I dare not loose thee, I know not whether thou'lt beguile me.' 5 'God almighty take note who deceives the other!' 6 She loosed the bands from his hand, the fetter from his foot. 7 'Nine lands have I visited, ten women I've beguiled; 8 'Thou art now the eleventh, I'll not let thee slip.' A copy, from the beginning of the 18th century, has, in stanza 2, "Ása went into the _wood_," a recent copy, "over the fields;" and stanza 3, in the former, with but slight differences in all the modern copies, reads, 'Welcome art thou, Ása maid! thou wilt mean to loose me.'