P. 153 a. German. Two other copies in Böhme’s Erk, No 190 b, I, 582.
[154 a; IV, 449 b. Danish. ‘Den forgivne Datter,’ Grundtvig-Olrik, No 341, Ridderviser, I, 146 ff., two versions: A=Kristensen, Jyske Folkeminder, No 92, X, 358; B, that communicated to Professor Child by Professor Grundtvig and mentioned in I, 154. Olrik mentions 7 Swedish copies, 5 of them unprinted.]
156 a, III, 499 b, V, 208 b. ‘Donna Lombarda.’ See Archivio, X, 380. [See also ‘Utro Fæstemø vil forgive sin Fæstemand,’ in the Grundtvig-Olrik collection, No 345, Ridderviser I, 165 ff., 3 versions A-C (A, B, from MS. sources going back in part to the 16th century; C, from oral tradition, printed by Kristensen, Jyske Folkeminder, No 19, I, 49, No 56, X, 234). Olrik, in an elaborate introduction, studies the relations of the Danish ballad (which is found also in Norse, Bugge’s MS. collections, No. 221) to ‘Donna Lombarda’ and to the history of the sixth century Lombard queen Rosemunda. He opposes the views of Gaston Paris, Journal des Savants, 1889, pp. 616 ff., and holds that ‘Donna Lombarda,’ ‘Utro Fæstemø,’ (his No 345), ‘Giftblandersken’ (his No 344), ‘Fru Gundela’ (see above I, 156 b), and the Slavic ballads of the sister who poisons her brother at the instigation of her lover, are all derived from the saga of Rosemunda. He even regards ‘Old Robin of Portingale,’ No 80, II, 240, as related to the ‘Utro Fæstemø.’ See below, p. 295.]
156 b, 499 a, II, 499 a, III, 499. The ballad of the maid who poisons her brother and is rejected by the man she expects to win in Lithuanian, Bartsch, Dainu Balsai, I, 172 ff., No 123 a, b. More ballads of poisoning, sister poisoning brother at the instance of her lover, girl poisoning her lover, and at col. 306 one resembling Lord Randal, Herrmann, Ethnologische Mitteilungen aus Ungarn, I, cols 292-308 (with an extensive bibliography). Herrmann’s collections upon this theme are continued from cols 89-95, 203-11. [Cf. the Danish ballad ‘Tule Slet, Ove Knar og Fru Magnild,’ Grundtvig-Olrik, No. 350, Ridderviser, I, 186, where, however, the murderess uses a knife.]
157. Compare, for dialogue and repetition, the Catalan ballad ‘El Conde Arnau,’ Milá, Romancerillo, No 78, p. 67; where, however, the first half of the third line is also regularly repeated in the fourth.
‘¿Tota sola feu la vetlla, muller lleyal?
¿Tota sola feu la vetlla, viudeta igual?’
‘No la faig yo tota sola, Comte l’Arnau,
No la faig yo tota sola, valga ’m Deu, val!’
157 b. A is translated by Professor Emilio Teza. ‘L’Avvelenatrice, Canzone Boema,’ Padova, 1891, p. 12. [Atti e Memorie della R. Accademia di Scienze, Lettere ed Arti in Padova, Nuova Serie, VII, 234.]