Catherine comes out from the water alive in #B-N#. The brother who plays so important a part in the second class of German ballads, appears also in a few of the Polish versions, #B#, #C#, #D#, and #L*#, #O#, #P#, #Q#, #X#, but is a mere shadow. In #B# 21, 22, and #C# 16, 17, the brother, who is "on the mountain," and may be supposed to hear the girl's cry, slides down a silken cord, which proves too short, and the girl "adds her tress"! He asks the fishermen to throw their nets for her. She is rescued, goes to church, takes an humble place behind the door, and, when her eyes fall on the young girls, melts into tears. Her apron catches in a bush in #D#: she plucks a leaf, and sends it down the stream to her mother's house. The mother says to the father, "Do you not see how Catherine is perishing?" The leaf is next sent down stream to her sister's house, who says to her brother, "Do you not see how Catherine is perishing?" He rides up a high mountain, and slides down his silken cord. Though one or two stanzas are lost, or not given, the termination was probably the same as in #B#, #C#. In #L*# 15, #O# 12, the brother, on a high mountain, hears the cry for help, and slides down to his sister on a silken cord, but does nothing. #X# does not account for the brother's appearance: he informs the fishermen of what has happened, and they draw Catherine out, evidently dead. The brother hears the cry from the top of a wall in #P# 21, 22; slides down his cord; the sister adds her tress; he directs the fishermen to draw her out; she is dead. Instead of the brother on the wall, we have a mason in #Q# 27 [perhaps "the brother on the wall" in #P# _is_ a mason]. It is simply said that "he added" a silken cord: the fishermen drew out Catherine dead. The conclusion is equally, or more, impotent in all the versions in which the girl escapes from drowning. In #G#, #I#, #J#, she seats herself on a stone, and apostrophizes her hair, saying [in #G#, #I#], "Dry, my locks, dry, for you have had much pleasure in the river!" She goes to church, takes an humble place, and weeps, in #E#, #F#, #G#, as in #B#, #C#, #D#. John goes scot-free in all these.[61] Not so in the more vigorous ballads of tragic termination. Fierce pursuit is made for him. He is cut to pieces, or torn to pieces, #O#, #P#, #S#, #T#, #Y#; broken on the wheel, #L#, #U#, #V#, #W#; cleft in two, #BB#; broken small as barley-corns, or quartered, by horses, #L*#, #Z#; committed to a dungeon, to await, as we may hope, one of these penalties, #Q#, #R#. The bells toll for Catherine [the organs play for her], and she is laid in the grave, #O-W#, #Y#, #Z#, #L#, #L*#.