In Danish #G# 7, the king gives as a reason for not espousing Fair Annie that she has no fortune, ingen rente, which is the objection to her in English #A# 1, #C# 2, etc. The oldest [youngest] son of Fair Annie attends his mother's sister to her father's land in Swedish #C#, Danish #F#, #K#, as in English #J# 54. The king promises his brother to Annie's sister in Danish #A# 39 (compare also Swedish #B# 33). In English #I# 26, #J# 30, the bride thinks _her_ brother would be a good match for Annie. Swedish #C#, though in itself of little authority, has an advantage over the Danish copies and Swedish #B# in making Annie refuse to part with the gold brooch, not because it was a morning-gift, but because she had had it ever since she was a child and was kidnapped from her father's court; and again in making this brooch the means of her recognition as sister by the bride. The Scandinavian ballad is regarded by Grundtvig as transmitted from Low German. The rhymes are frequently not after the Danish manner (see Grundtvig, V, 46, 7), and the heroine's name has a Low German look. Dutch and German versions, all ill enough preserved, are: #Dutch.# #A.# 'Schön Adelheid,' 22 four-line stanzas, Hoffmann, Niederländische Volkslieder, 2d ed., 1856, p. 46, No 11, 'Mooi Aeltje en Koning Alewijn,' Willems, p. 177, No 70; from Den Italiaenschen Quacksalver, Amsterdam, 1708. #B.# 'Madel,' 15 stanzas, Snellaert, Oude en nieuwe Liedjes, p. 70, No 65, 2d ed., 1864. #German.# #A.# Longard, Altrheinländische Mährlein und Liedlein, 1843, p. 23, No 12; Wilhelm von Zuccalmaglio, Deutsche Volkslieder, 1840, p. 74, No 32,==Mittler, No 333: 21 four-line stanzas. #B.# Montanus (Vincenz von Zuccalmaglio), Die deutschen Volksfeste, 1854, p. 46, 17 stanzas, apparently rewritten.