The only variation of much moment in the five versions of this tragedy is that, in #C#, the bridegroom and the lover are not brothers, but uncle and nephew. Some inconsistencies have been created in the course of tradition. The bride's insisting on having twenty men before her and twenty on each side, ere she will go to kirk, not to mention the extravagance of twenty milk-white doves above her head, #C# 22,[93] is incompatible with her aversion to the "weary wedding," and with her language about the bridegroom's gifts in #C# 4, 5, #D# 4-6, #E# 8-10. There is much confusion at the end. After the death of the two rivals the lady, in #E#, imposes on herself the penance of begging her bread as a pilgrim for the rest of her days. This penance we find also in the two last stanzas of #A#, and a trace of it in #B# 20, #D# 10. Another, and probably later, representation is that she went mad, #A# 30, #B# 19, #D# 9. The two are blended in #A#, #B#, #D#; unless we are to suppose that Maisry's adopting a beggar's life was a consequence of her madness, which is not according to the simplicity of old ballads. That something was due the unfortunate Lord Ingram, especially if he was disposed to relinquish his wife to his brother, #B# 17, the modern sense of justice will admit; but that Maisry's remorse on account of the handsome wedding Ingram had given her should exceed her grief for Chiel Wyet, #A# 32, #B# 20, #D# 10, #E# 43, 44, is as little natural as romantic, and is only to be explained as an exhibition of imbecility, whether on her part or on the part of some reciter who gave that turn to the story. #B# confounds confusion by killing Maisry on the top of all. The sword laid in bed between man and woman, #B# 14, #E# 30, as a sign or pledge of continence, does not occur often in popular ballads. We have it in 'Südeli,' Uhland, I, 275, No 121, st. 11, and in two of the Swedish forms of Grundtvig's 'Brud i Vaande,' Danmarks gamle Folkeviser, V, 345, No. 277, #D#, sts 26, 27, and Arwidsson, II, 248, No 132, sts 21, 22, 'Fru Margaretha.' In popular tales: Grimms, K. u. H. märchen, No 60; Asbjørnsen og Moe, Norske Folkeeventyr, No 3; Il Pentamerone, I, 9; Hahn's Griechische Märchen, I, 171, No 122. In Norse poetry and saga: Völsunga saga, 27, Rafn, Fornaldar Sögur, I, 187; Sæmund's Edda, Sigurðarkviða, III, 65, Lüning, p. 401, Bugge (68), p. 259; Snorri's Edda, Hafniæ, 1848, I, 362, Skáldskaparmál, 41; Saxo Grammaticus, Book 9, p. 162 of the Frankfort edition of 1576; Gaungu-Hrólfs saga, 24, Fornaldar Sögur, III, 303. Further, in Orendel und Bríde, ed. Ettmüller, p. 46, XII, 49, 50; Wolfdietrich, von der Hagen's Heldenbuch, I, 236, st. 592; Tristan, ed. Michel, I, 88, v. 1768 ff, Scott's Sir Tristrem, III, 20; Amis and Amiloun, Weber's Metrical Romances, II, 417, v. 1163 ff; Aladdin in the Arabian Nights, J. Scott, IV 345.[94]