In all the English versions the burden has the entreaty "Make my bed," and this is addressed to the mother in all but L, N. In H, an Irish copy, and I, an American one, the mother asks where the bed shall be made; and the answer is, In the churchyard. This feature is found again in German B, C and in the Wendish version.
The resemblance in the form of the stanza in all the versions deserves a word of remark. For the most part, the narrative proceeds in sections of two short lines, or rather half lines, which are a question and an answer, the rest of the stanza being regularly repeated. English L, N, as written (L not always), separate the question and answer; this is done, too, in Italian B, C. German E, on the contrary, has two questions and the answers in each stanza, and is altogether peculiar. Swedish B varies the burden in part, imagining father, brother, sister, etc., to ask what the little girl will give to each, and adapting the reply accordingly, "Faderen min," "Broderen min."
A Bohemian and a Catalan ballad which have two of the three principal traits of the foregoing, the poisoning and the testament, do not exhibit, perhaps have lost, the third, the employment of snakes.
The story of the first is that a mother who dislikes the wife her son has chosen attempts to poison her at the wedding feast. She sets a glass of honey before the son, a glass of poison before the bride. They exchange cups. The poison is swift. The young man leaves four horses to his brother, eight cows to his sister, his fine house to his wife. "And what to me, my son?" asks the mother. A broad mill-stone and the deep Moldau is the bequest to her. Waldau, Böhmische Granaten, II, 109, cited by Reifferscheid, p. 137 f.
The Catalan ballad seems to have been softened at the end. Here again a mother hates her daughter-in-law. She comes to the sick woman, "com qui no 'n sabès res," and asks What is the matter? The daughter says, You have poisoned me. The mother exhorts her to confess and receive the sacrament, and then make her will. She gives her castles in France to the poor and the pilgrims [and the friars], and to her brother Don Carlos [who, in one version is her husband]. Two of the versions remember the Virgin. "And to me?" "To you, my husband [my cloak, rosary], that when you go to mass you may remember me." In one version the mother asks the dying woman where she will be buried. She says At Saint Mary's. Milà, Observaciones, p. 103 f, No 5, two versions: Briz y Saltó, II, 197 f, two also, the first nearly the same as Milà's first.
Poisoning by giving a snake as food, or by infusing the venom in drink, is an incident in several other popular ballads.
Donna Lombarda attempts, at the instigation of a lover, to rid herself of her husband by pounding a serpent, or its head, in a mortar, and mixing the juice with his wine [in one version simply killing the snake and putting it in a cask]: Nigra, Canzoni del Piemonti, in Rivista Contemporanea, XII, 32 ff, four versions; Marcoaldi, p. 177, No 20; Wolf, Volkslieder aus Venetien, p. 46, No 72; Righi, Canti popolari veronesi, p. 37, No 100*; Ferraro, C. p. monferrini, p. 1, No 1; Bernoni, C. p. veneziani, Puntata V, No 1. In three of Nigra's versions and in Ferraro's the drink is offered when the husband returns from hunting. The husband, rendered suspicious by the look of the wine, or warned of his danger, forces his wife to drink first. So in a northern ballad, a mother who attempts to destroy her sons [step-sons] with a brewage of this description is obliged to drink first, and bursts with the poison: 'Eiturbyrlunar kvæði,' Íslenzk Fornkv., II, 79, No 43 A; 'Fru Gundela,' Arwidsson, II, 92, No 89; 'Signelill aa hennes synir,' Bugge, p. 95, No XX, the last half.
In one of the commonest Slavic ballads, a girl, who finds her brother an obstacle to her desires, poisons him, at the instigation and under the instruction of the man she fancies, or of her own motion, by giving him a snake to eat, or the virus in drink. The object of her passion, on being informed of what she has done, casts her off, for fear of her doing the like to him. Bohemian: 'Sestra travička,' Erben, P. n. w Čechách, 1842, I, 9, No 2, Prostonárodni české P., 1864, p. 477, No 13; Swoboda, Sbírka č. n. P., p. 19; German translations by Swoboda, by Wenzig, W. s. Märchenschatz, p. 263, I. v. Düringsfeld, Böhmische Rosen, p. 176, etc. Moravian: Sušil, p. 167, No 168. Slovak, Čelakowsky, Slowanské n. P., III, 76. Polish: Kolberg, P. L. p., I, 115, No 8, some twenty versions; Wojcicki, P. L. białochrobatow, etc., I, 71, 73, 232, 289; Pauli, P. L. polskiego, p. 81, 82: Konopka, P. L. krakowskiego, p. 125. Servian: Vuk, I, 215, No 302, translated by Talvj, II, 192, and by Kapper, Gesänge der Serben, II, 177. Russian: Čelakowsky, as above, III, 108. Etc. The attempt is made, but unsuccessfully, in Sacharof, P. russkago N., IV, 7.
A version given by De Rada, Rapsodie d'un poema albanese, p. 78, canto x, resembles the Slavic, with a touch of the Italian. A man incites a girl to poison her brother by pounding the poison out of a serpent's head and tail and mixing it with wine.
In a widely spread Romaic ballad, a mother poisons the bride whom her son has just brought home,—an orphan girl in some versions, but in one a king's daughter wedding a king's son. The cooks who are preparing the feast are made to cook for the bride the heads of three snakes [nine snakes' heads, a three-headed snake, winged snakes and two-headed adders]. In two Epirote versions the poisoned girl bursts with the effects. "[a]Τα κακα ρεθερικα]," Passow, p. 335, No 456, nearly == Zambelios, p. 753, No 41; Passow, p. 337, No 457; Tommaseo, Canti popolari, III, 135; Jeannaraki, p. 127, No 130[149]; Chasiotis (Epirote), p. 51, No 40, [a]"Ἡ βουργαροπουλα και ἡ κακη πεθερα;]" p. 103, No 22, "[a]Ὁ Διονυς και ἡ κακἡ πεθερα]." (Liebrecht, Volkskunde, p. 214.)