134. Perhaps scrieded.
FOOTNOTES:
[120] It can scarcely be too often repeated that such ballads as this were meant only to be sung, not at all to be recited. As has been well remarked of a corresponding Norwegian ballad, 'Lord Lovel' is especially one of those which, for their due effect, require the support of a melody, and almost equally the comment of a burden. No burden is preserved in the case of 'Lord Lovel,' but we are not to infer that there never was one. The burden, which is at least as important as the instrumental accompaniment of modern songs, sometimes, in these little tragedies, foreshadows calamity from the outset, sometimes, as in the Norwegian ballad referred to, is a cheerful-sounding formula, which in the upshot enhances by contrast the gloom of the conclusion. "A simple but life-like story, supported by the burden and the air, these are the means by which such old romances seek to produce an impression:" Landstad, to 'Herr Stragi,' p. 541.
[121] (1), 'Das Lied vom Herren und der Magd,' 1771, Düntzer u. Herder, Briefe Goethe's an Herder, I, 157. (2), 'Eyn klegliche Mordgeschicht, von ey'm Graven vnnde eyner Meyd,' Nicolai, Eyn feyner kleyner Almanach, 1777, I, 39, No 2; with variations, Kretzschmer, I, 89, No 54, Uhland, p. 220, No 97 A. (3), 'Der Ritter und das Mägdlein,' Erk, Liederhort, p. 81, No 26, a traditional variety of (2). (4), Wunderhorn, 1806, I, 50=Erlach, II, 531, Mittler, No 91. (5), 'Des Prinzen Reue,' Meinert, p. 218, 1817. (6), Alemannia, II, 185, after a manuscript of von Arnim. (7), Erk's edition of the Wunderhorn, IV, 304. (8), Hoffmann u. Richter, Schlesische Volkslieder, p. 9, No 4. (9), Erk u. Irmer, IV, 62, No 56. (10), 'Zu späte Reue,' Fiedler, p. 161. (11), 'Der Erbgraf,' Simrock, p. 33, No 12, compounded, but partly oral. (12), 'Der Ritter und seine Dame,' Pröhle, p. 19, No 13. (13), Meier, p. 316, No 177. (14-16), Ditfurth, II, 4-8, Nos 6, 7, 8. (17-22), Wagner, in Deutsches Museum, 1862, II, 758-68. (23), 'Der Herr und seine Dame,' Peter, I, 193, No 10. (24), Parisius, p. 33, No 10. (25), Adam Wolf, p. 11, No 6. (26), Alfred Müller, p. 98. (27), 'Die traurige Begegnung,' Paudler, p. 21, No 13.
Scandinavian, from the German: 'Ungersvennens Dröm,' Fagerlund, Anteckningar, p. 196; 'Jungfruns död,' Wigström, Folkdiktning, I, 52; and besides these Swedish copies, a Danish broadside, from the beginning of this century, which is very common. 'Stolten Hellelille,' "Tragica, No 22," 1657, Danske Viser, III, 184, No 130 (translated by Prior, III, 214), a somewhat artificial piece, has the outline of 'Der Ritter u. die Maid,' and is a hundred years older than any known copy of the German ballad.
A Wendish ballad, founded on the German, is very like (4): Haupt and Schmaler, I, 139, No 136.
A Dutch ballad, in the Antwerpener Liederbuch, No 45, Hoffmann, Niederländische Volkslieder, p. 61, No 15, Willems, p. 154, No 60, Uhland, No 97 B, has some points of the above, but is a very different story.
[122] There is a Finnish form of this ballad, probably derived from the Swedish; also another Swedish version in Westergötlands Fornminnesförenings Tidskrift, 1869, häfte 1, which I have not yet seen.
[123] (1), "Bothe, Frühlings-Almanach," p. 132, 1806; 'Hans Markgraf,' Büsching u. von der Hagen, p. 30; Erlach, II, 136; Mittler, No 133. (2), 'Alle bei Gott die sich lieben,' Wunderhorn, II, 250, 1808, Mittler, No 128. (3), 'Alle bei Gott die sich lieben,' Hoffmann u. Richter, p. 12, No 5, Mittler, No 132. (4), 'Der Graf u. die Bauerntochter,' Ditfurth, II, 8, No 9. (5), 'Vom jungen Markgrafen,' Pogatschnigg u. Hermann, II, 179, No 595. (6), 'Die junge Mutter,' Paudler, p. 22, No 14.
(7), 'Jungfer Dörtchen ist todt,' Parisius, p. 36, No 10. (8), 'Liebchens Tod,' Erk u. Irmer, VI, 4, No 2; Mittler, No 130. (9), 'Jägers Trauer,' Pröhle, p. 86, No 57; Mittler, No 129. (10), 'Das unverdiente Kränzlein,' Meinert, p. 32; Mittler, No 131. For plants springing from lovers' graves, as here and in Nos 73, 74, see vol. i, 96 ff.