[29] See a letter from Scott to C. K. Sharpe, in Mr Allardyce’s edition of Sharpe’s letters, II, 264. [30] See Dunlop’s History of Fiction, ed. Wilson, II, 91; von der Hagen’s Gesammtabenteuer, I, CXXII f.; Clarence Sherwood, Die neu-englischen Bearbeitungen der Erzählung Boccaccios von Ghismonda und Guiscardo, Berlin, 1892; Varnhagen in Literaturblatt, December, 1892, p. 412 ff. [31] The too late repentance and the burial of the two lovers in one grave occur, also, in Decameron, IV, 9, presently to be spoken of. [32] There is a mixture of Decameron, IV, 1 and 9 (with arbitrary variations), in Palmerin of England (ch. 87, II, 328, of Southey’s edition of the English translation). Artibel visited the Princess Brandisia in a tower, ascending by a rope. One night he was taken. He was shut up till the princess was delivered of a child (cf. the Scottish ballad). Then the father took Artibel’s heart and sent it to Brandisia in a cup. She filled the cup with her tears, and sent the cup of tears to her father, reserving the heart, dressed herself in her bravest apparel, and cast herself headlong from the tower. [33] This is a Dutch ballad of Brennenberg without the extraction of the heart, MS. of the end of the fifteenth century. (Sts 1, 2 resemble, =A= 3, 4.) A fair lady offers Brunenburch a rose garland; a knight observes this, goes to his master, and tells him, Brunenburch has been sleeping with your wife. Brunenburch is imprisoned in a tower, and after a time sent to the gallows. The lady rides to the gallows. She has seven bold brothers, who will avenge his death. Brunenburch affirms and reaffirms his innocence. The lady vows never to braid her hair, etc. (Cf. II, 156 f.) Frydenborg is hanged in Danish =A d=, =n=, =E b=, and his heart then taken out. [34] In =A= 3, 4, which (as also =A= 1 and =B= 1) are in the first person, a fair maid offers the singer a rose garland. This warrants no inference of community with the Scandinavian ballad. The passage probably does not belong in the ballad. Compare the beginning of Hoffmann, No 6, and a song of John I of Brabant, Willems, p. 13, No 5. [35] ‘Recht so einem wildenschwin,’ =A= 8, brings to mind ‘quel cuor di cinghiare,’ in Decameron, IV, 9, but, considering the ‘recht wo einen visch’ of =A= 7, may be judged an accidental correspondence. [36] It is to be noted that the father reproaches himself for ‘betraying’ his only child in the Swedish ballad, and in Danish =A= 1, =F a=, =c=, =d=. [37] A meisterlied, of about 1500 (Böhme), noted by Goedeke, Grundriss, § 139, No 7 c, has not been reprinted. [38] Sermones Parati, No 124, ninth Sunday after Trinity: cited by M. Gaston Paris, Histoire Littéraire de la France, XXVIII, 382 f.