[27] "This ballad appears modern, from a great many expressions, but yet I am certain that it is old: the present copy came from the housekeeper at Methven." Note by Sharpe, in Laing's ed. of the Ballad Book, 1880, p. 130, xvii. Motherwell, in his Minstrelsy, p. lxx, n. 24, says that he had seen a stall ballad as early as 1749, entitled 'The Western Tragedy,' which perfectly agreed with Sharpe's copy. But in his Note-Book, p. 5 (about 1826-7), Motherwell says, "The best copy of May Colean with which I have met occurs in a stall copy printed about thirty years ago [should we then read 1799 instead of 1749?], under the title of 'The Western Tragedy.' I have subsequently seen a posterior reprint of this stall copy under this title, 'The Historical Ballad of May Collean.' In Mr. Sharpe's Ballad Book, the same copy, wanting only one stanza, is given."
[28] According to the variation given by Willems, and adopted by Hoffmann, Halewijn's son came to meet her, tied her horse to a tree, and bade her to sit down by him and loose her hair. For every hair she undid she dropped a tear. But it will presently be seen not only that the time has not come for them to sit down, but that Halewijn's bidding her undo her hair (to no purpose) is a perversion of her offering to "red" his, to get him into her power, an offer which she makes in the German and Scandinavian ballads, where also there is good reason for her tears, but none as yet here.
[29] J. W. Wolf, Deutsche Märchen u. Sagen, No 29, p. 143, gives the story according to B, apparently from a ballad like Snellaert's. So Luise v. Ploennies, Reiseerinnerungen aus Belgien, p. 38.
Halewyn makes his appearance again in the Flemish ballad, 'Halewyn en het kleyne Kind,' Coussemaker, No 46, p. 149; Poésies populaires de la France, vol. I. A boy of seven years has shot one of Halewyn's rabbits, and is for this condemned to be hanged on the highest tree in the park. The father makes great offers for his ransom, but in vain. On the first step of the ladder the child looks back for his mother, on the second for his father, on the third for his brother, on the fourth for his sister, each of whom successively arrives and is told that delay would have cost him his life. It will presently be seen that there is a resemblance here to German ballads (G-X, Z).
[30] "La chanson de Halewyn, telle à peu près que la donnent Willems, Snellaert et de Coussemaker, se vend encore sur le marché de Bruges. Quoiqu'elle porte pour titre Halewyn, jamais notre pièce n'a été connue ici sous ce nom. Le nom de Halewijn, Alewijn ou Alwin ... est réservé au héros de la pièce suivante" [Mi Adel en Hir Alewijn]. Lootens et Feys, p. 66. "Il est a regretter que Willems et de Coussemaker n'aient pas jugé à propos de donner cette pièce telle que le peuple l'a conservée; on serait sans aucun doute en possession de variantes remarquables, et les lacunes qui existent dans notre version n'eussent pas manqué d'être com blées. Il est bon d'insister sur la remarque faite à la suite de la chanson, qu'à Bruges et dans beaucoup de localités de la Flandre, elle n'est connue que sous le titre de Roland. Ajoutons que notre texte appartient au dernier siècle." L. et F., 295.
[31] So in 'Liebe ohne Stand,' one of the mixed forms of the German ballad, Wunderhorn, Erk I, 41, Crecelius, I, 36,
Und als es nun kam an den dritten Tag,
Da gingen die Pfeiffen und Trommeln an.
[32] E.g., the wonderland in A 2-6, and the strict watch kept over the lady in 7-10 are repeated in 'Ribold og Guldborg,' Grundtvig, 82, B 2-7, 8-11, and in 'Den trofaste Jomfru,' ib. 249, A 3-6, 7-10. The watching in A, B, C and the proffered gifts of C, D, F are found in 'Nøkkens Svig,' Grundtvig, 39, A, B, 12-18. The disguise in A 11-14, the rest in the wood with the knight's head in the lady's lap, A 16, 27, B 11, 21, D 14, 24, E 11, 21, etc., recur in Ribold, B 12-14, L 9, 10, M 19, 20, N 11, 13, P 12, 13. These resemblances, naturally, are not limited to the Danish copies.
[33] So the princess in Asbjörnsen og Moe, N. Folkeeventyr, p. 153. Cf. Campbell's Tales of the West Highlands, III, 209; IV, 282, 283.
[34] The binding and waking, with these words, are found also in a made-up text of 'Frændehævn,' Grundtvig, No 4, C 51-53, but certainly borrowed from some copy of 'Kvindemorderen.'