The four first copies of 'Hildebrand and Hilde,' as has been seen, have the story of Ribold and Guldborg with some slight differences and some abridgment. There is no elopement in B: the lovers are surprised in the princess' bower. When Hilde has finished her tale, in A, the queen declares that Hildebrand was her son. In B she interrupts the narrative by announcing her discovery that Hildebrand was her brother. C and D have nothing of the sort. There is no fight in E-H. E has taken up the commonplace of the bower on the strand which was forced by nine men.[110] Hildebrand is again the son of the queen, and, coming in just as Hilde has expired, exclaims that he will have no other love, sets his sword against a stone, and runs upon it. H has the same catastrophe. F represents the father as simply showing great indignation and cruelty on finding out that one of the guardian knights had beguiled his daughter, and presently selling her for a new church bell. The knight turns out here again to be the queen's son; the queen says he shall betroth Hille, and Hille faints for joy. G agrees with B as to the surprise in the bower. The knight's head is hewn off on the spot. The queen gives Hilde her youngest son for a husband, and Hilde avows that she is consoled. I agrees with E so far as it goes, but is a short fragment.
There are three Icelandic versions of this ballad, 'Ribbalds kvæði,' Íslenzk Fornkvæði, No 16, all of the seventeenth century. They all come reasonably close to the Danish as to the story, and particularly A. Ribbald, with no prologue, invites Gullbrún "to ride." He sets her on a white horse; of all women she rode best. They have gone but a little way, when they see a pilgrim riding towards them, who hails Ribbald with, Welcome, with thy stolen maid! Ribbald pretends that the maid is his sister, but the pilgrim knows very well it is Gullbrún. She offers her cloak to him not to tell her father, but the pilgrim goes straight to the king, and says, Thy daughter is off! The king orders his harp to be brought, for no purpose but to dash it on the floor once and twice, and break out the strings. He then orders his horse. Gullbrún sees her father come riding under a hill-side, then her eleven brothers, then seven brothers-in-law. She begs Ribbald to spare her youngest brother's life, that he may carry the news to her mother. He replies, I will tie my horse by the reins; you take up your sewing! then three times forbids her to name him during the fight. He slew her father first, next the eleven brothers, then the other seven, all which filled her with compunction, and she cried out, Ribbald, still thy brand! On the instant Ribbald received many wounds. He wiped his bloody sword, saying, This is what you deserve, Gullbrún, but love is your shield; then set her on her horse, and rode to his brother's door. He called out, Here is a wife for you! But Gullbrún said, Never will I be given to two brothers. Soon after Ribbald gave up the ghost. There was more mourning than mirth; three bodies went to the grave in one coffin, Ribbald, his lady, and his mother, who died of grief.
B and C have lost something at the beginning, C starting at the same point as our 'Douglas Tragedy.' The king pursues Ribbald by water. Gullbrún (B) stands in a tower and sees him land. Ribbald gives Gullbrún to his brother, as in A: she lives in sorrow, and dies a maid.
Norwegian. ('Ribold and Guldborg.') A, 'Rikeball og stolt Guðbjörg,' Landstad, 33; B, 'Veneros og stolt Ölleber,' Landstad, 34; C, D, E, F, in part described and cited, with six other copies, Grundtvig, III, p. 853 f. The last half of Landstad No 23, stanzas 17-34, and stanzas 18-25 of Landstad 28 B, also belong here. A agrees with the older Danish versions, even to the extent of the paradise. B has been greatly injured. Upon the lady's warning Veneros of the approach of her father, he puts her up in an oak-tree for safety. He warns her not to call him by name, and she says she will rather die first; but her firmness is not put to the test in this ballad, some verses having dropped out just at this point. Veneros is advised to surrender, but dispatches his assailants by eighteen thousands (like Lille brór, in Landstad, 23), and by way of conclusion hews the false Pál greive, who had reported his elopement to Ölleber's father, into as many pieces. He then takes Ölleber on his horse, they ride away and are married. Such peculiarities in the other copies as are important to us will be noticed further on.
('Hildebrand and Hilde.') A, one of two Norwegian copies communicated by Professor Bugge to Grundtvig, III, 857 f, agrees well with Danish E, but has the happy conclusion of Danish F, G, I. The heroine is sold for nine bells. B, the other, omits the bower-breaking of A and Danish E, and ends with marriage.
The Swedish forms of 'Ribold and Guldborg' are: A, 'Hillebrand,' Afzelius, No 2; B, 'Herr Redebold,' and C, 'Kung Vallemo,' Afzelius, No 80; new ed., No 2, 1, 2, 3; D, 'Ribbolt,' Arwidsson, No 78; E, 'Herr Redebold' F, 'Herting Liljebrand,' and G, 'Herr Balder,' in Cavallius and Stephens' manuscript collection; H, 'Kung Walmon,' E. Wigström's Folkdiktning, No 15, p. 33. A, B, C, H, are not markedly different from the ordinary Danish ballad, and this is true also, says Grundtvig, of the unprinted versions, E, F, G. D and G are of the seventeenth century, the others from recent tradition. Ribold is pictured in D as a bold prince, equally versed in runes and arts as in manly exercises. He visits Giötha by night: they slumber sweet, but wake in blood. She binds up his wounds with rich kerchiefs. He rides home to his father's, and sits down on a bench. The king bids his servants see what is the matter, and adds, Be he sick or be he hurt, he got it at Giötha-Lilla's. They report the prince stabbed with sharp pikes within, and bound with silk kerchiefs without. Ribold bids them bury him in the mould, and not blame Giötha-Lilla; "for my horse was fleet, and I was late, and he hurtled me 'gainst an apple-tree" (so Hillebrand in A). E represents the heroine as surviving her lover, and united to a young king, but always grieving for Redebold.
'Hildebrand and Hilde' exists in Swedish in three versions: A, a broadside of the last part of the seventeenth century, now printed in the new edition of Afzelius, p. 142 ff of the notes (the last nine stanzas before, in Danske Viser, III, 438 f); B, Afzelius, No 32, new ed. No 26, C, Arwidsson, No 107, both taken down in this century. In A and B Hillebrand, son of the king of England, carries off Hilla; they halt in a grove; she wakes him from his sleep when she hears her father and seven brothers coming; he enjoins her not to call him by name, which still she does upon her father's being slain [or when only her youngest brother is left], and Hillebrand thereupon receives mortal wounds. He wipes his sword, saying, This is what you would deserve, were you not Hilla. The youngest brother ties Hilla to his horse, drags her home, and confines her in a dark house, which swarms with snakes and dragons (A only). They sell her for a new church bell, and her mother's heart breaks at the first sound. Hilla falls dead at the queen's knee. C has lost the dead-naming, and ends with the queen's promising to be Hilla's best friend.
A detailed comparison of the English ballads, and especially of 'Earl Brand,' with the Scandinavian (such as Grundtvig has made, III, 855 f) shows an unusual and very interesting agreement. The name Earl Brand, to begin with, is in all probability a modification of the Hildebrand found in Danish 82 N, O, P, V, C*, in all versions of Danish 83, and in the corresponding Swedish A. Ell, too, in Percy's fragment, which may have been Ellë earlier, points to Hilde, or something like it, and Erl-inton might easily be corrupted from such a form as the Alibrand of Norwegian B (Grundtvig, III, 858). Hildebrand is the son of the king of England in Danish 83 A-E, and the lady in 'Earl Brand' is the same king's daughter, an interchange such as is constantly occurring in tradition. Stanza 2 can hardly be the rightful property of 'Earl Brand.' Something very similar is met with in 'Leesome Brand,' and is not much in place there. For 'old Carl Hood,' of whom more presently, Danish 82 X and Norwegian A, C have an old man, Danish C a crafty man, T a false younker, and Norwegian B and three others "false Pál greive." The lady's urging Earl Brand to slay the old carl, and the answer, that it would be sair to kill a gray-haired man, sts 8, 9, are almost literally repeated in Norwegian A, Landstad, No 33. The knight does slay the old man in Danish X and Norwegian C, and slays the court page in Danish Z, and false Pál greive in Norwegian B,—in this last after the battle. The question, "Where have ye stolen this lady away?" in st. 11, occurs in Danish 82 A, D, E, K, P, R, S, T, Z, in Norwegian B and Icelandic B, and something very similar in many other copies. The reply, "She is my sick sister, whom I have brought from Winchester" [nunnery], is found almost literally in Danish C, X, Z: "It is my sick sister; I took her yesterday from the cloister." [Danish E, it is my youngest sister from the cloister; she is sick: Danish A, youngest sister from cloister: Danish R and Norwegian B, sister from cloister: Danish S, T, sister's daughter from cloister: Norwegian F, sister from Holstein: Danish P, Icelandic A, Norwegian A, sister.] The old man, crafty man, rich earl, in the Scandinavian ballads, commonly answers that he knows Guldborg very well; but in Danish D, where Ribold says it is a court page he has hired, we have something like sts 14, 15: "Why has he such silk-braided hair?" On finding themselves discovered, the lovers, in the Scandinavian ballad, attempt to purchase silence with a bribe: Danish A-I, M, Icelandic and Norwegian A, B. This is not expressly done in 'Earl Brand,' but the same seems to be meant in st. 10 by "I'll gie him a pound." St. 17 is fairly paralleled by Danish S, 18, 19: "Where is Guldborg, thy daughter? Walking in the garden, gathering roses;" and st. 18, by Norwegian B, 15: "You may search without and search within, and see whether Ölleber you can find." The announcement in st. 19 is made in almost all the Scandinavian ballads, in words equivalent to "Ribold is off with thy daughter," and then follows the arming for the pursuit. The lady looks over her shoulder and sees her father coming, as in st. 21, in Danish 82 A, F, H, I, Q, R, T, X, Z, and Norwegian A.
The scene of the fight is better preserved in the Scottish ballads than in 'Earl Brand,' though none of these have the cardinal incident of the death-naming. All the Scottish versions, B-F, and also 'Erlinton,' A, B, make the lady hold the knight's horse: so Danish 82 B, C, E, I, Æ, D*, Icelandic C, Norwegian and Swedish A, and Danish 83 D. Of the knight's injunction, "Name me not to death, though thou see me bleed," which, as has been noted, is kept by nearly every Danish ballad (and by the Icelandic, the Norwegian, and by Swedish 'Ribold and Guldborg,' A, B, C, H, Swedish 'Hildebrand and Hilde,' A, B), there is left in English only this faint trace, in 'Erlinton,' A, B: "See ye dinna change your cheer until ye see my body bleed." It is the wish to save the life of her youngest brother that causes the lady to call her lover by name in the larger number of Scandinavian ballads, and she adds, "that he may carry the tidings to my mother," in Danish 82 A, B, C, E, F, G, H, M, X, 83 B, C, D. Grief for her father's death is the impulse in Danish 82 I, N, O, Q, R, S, Y, Z, Æ, Ø, A*, C*, D*, E*, Swedish A, B, C, H. English A says nothing of father or brother; but in B, C, D, E, it is the father's death that causes the exclamation. All the assailants are slain in 'Erlinton' A, B, except an aged knight [the auldest man], and he is spared to carry the tidings home. 'Erlinton' C, however, agrees with the oldest Danish copies in making the youngest brother the motive of the lady's intervention. It is the fifteenth, and last, of the assailants that gives Earl Brand his death-wound; in Danish H, the youngest brother, whom he has been entreated to spare; and so, apparently, in Danish C and Norwegian A.
The question, "Will you go with me or return to your mother?" which we find in English B, C, D, is met with also in many Danish versions, 82 B, H, K, L, M, N, P, U, Z, Æ, Ø, C*, and Swedish A, B, C. The dying man asks to have his bed made in English B, C, as in Danish 82 B, C, K, L, N, U, N, Æ, Ø, C*, D*, Norwegian A, Swedish A, B, C, H, and desires that the lady may marry his brother in English A, as in nearly all the Danish versions, Icelandic A, B, C, Norwegian C, D, E, Swedish C. He declares her a maiden true in 'Earl Brand,' A c 33, and affirms the same with more particularity in Danish 82 B, C, E, F, G, M, Ø, Icelandic B, C, Norwegian A, C, E, Swedish C. The growth of the rose and brier [bush and brier] from the lovers' grave in English B, C, is not met with in any version of 'Ribold and Guldborg' proper, but 'Den farlige Jomfru' G, Grundtvig, 184, the last half of which, as already remarked, is a fragment of a Ribold ballad, has a linden in place of the rose and brier.