'Kvæði af Ólafi Liljurós,' 24 sts, MS. of 1665; #B#, #C#, MS. of about
1700, 20 sts, 1 st.; #D#, 18 sts; #E#, 17 sts; #F#, #G#, 16 sts; #H#,
'Ólafs kvæði,' 22 sts; #I a#, 18 sts;# I b#, 20 sts; #K#, 22 sts; #L#,
24 sts; #M#, 25 sts. These in Íslenzk fornkvæði, pp 4-10, #A a# in full,
but only the variations of the other versions. #I b#, previously,
'Ólafur og álfamær,' Berggreen, Danske Folke-Sange og Melodier, 2d ed.,
pp 56, 57, No 20 d; and #M#, "Snót, p. 200."
#Danish#, twenty-six: 'Elveskud' #A#, 54 sts, MS. of 1550, Grundtvig,
II, 112; #B#, 25 sts, Syv No 87 (1695), Danske Viser, I, 237, Grundtvig,
II, 114; #C#, 29 sts, the same, II, 115; #D a#, #D b#, 31, 15 sts, II,
116, 665; #E-G#, 20, 16, 8 sts, II, 117-19; #H#, _I_, 32, 25 sts, II,
663-64; #K#, 29 sts, #L#, 15 sts, #M#, 27 sts, #N#, 16 sts, #O#, 33 sts,
#P#, 22 sts, #Q#, 7 sts, #R#, 22 sts, #S#, 32 sts, #T#, 27 sts, #U#, 25
sts, #V#, 18 sts, #X#, 11 sts, #Y#, 11 sts, #Z#, 8 sts, #Æ#, 23 sts, IV,
835-47; #Ø#, 10 sts, Boisen, Nye og gamle Viser, 1875, p. 191, No 98.
#Swedish#, eight: #A#, 15 sts, 'Elf-Qvinnan och Herr Olof,' MS. of
seventeenth century, Afzelius, III, 165; #B#, 12 sts, 'Herr Olof i
Elfvornas dans,' Afzelius, III, 160; #C#, 18 sts, Afzelius, III, 162;
#D#, 21 sts, 'Herr Olof och Elfvorna,' Arwidsson, II, 304; #E#, 20 sts,
Arwidsson, II, 307; #F#, 19 sts, Grundtvig, IV, 848; #G#, 12 sts, 'Herr
Olof och Elffrun,' Djurklou, p. 94; _H_, 8 sts, Afzelius, Sago-Häfder,
ed. 1844, ii, 157.
#Norwegian#, eighteen: #A#, 39 sts, 'Olaf Liljukrans,' Landstad, p. 355;
#B#, 15 sts, Landstad, p. 843; #C-S#, collections of Professor Bugge,
used in manuscript by Grundtvig; #C#, 36 sts, partly printed in
Grundtvig, III, 824; #D#, 23 sts, Grundtvig, III, 824-25, partly; #E#,
22 sts; #F#, 11 sts; #G#, 27 sts; #H#, 13 sts; #I#, 7 sts; #K#, 4 sts,
two printed, _ib._, p. 824.[351]
Of these the Färöe versions are nearest to the English. Olaf's mother
asks him whither he means to ride; his corselet is hanging in the loft;
#A#, #C#, #D#. "I am going to the heath, to course the hind," he says.
"You are not going to course the hind; you are going to your leman.
White is your shirt, well is it washed, but bloody shall it be when it
is taken off," #A#, #D#. "God grant it be not as she bodes!" exclaims
Olaf, as he turns from his mother, #A#. He rides to the hills and comes
to an elf-house. An elf comes out, braiding her hair, and invites him to
dance. "You need not braid your hair for me; I have not come a-wooing,"
he says. "I must quit the company of elves, for to-morrow is my bridal."
"If you will have no more to do with elves, a sick bridegroom shall you
be! Would you rather lie seven years in a sick-bed, or go to the mould
to-morrow?" He would rather go to the mould to-morrow. The elf brought
him a drink, with an atter-corn, a poison grain, floating in it: at the
first draught his belt burst #A#, #B*#. "Kiss me," she said, "before you
ride." He leaned over and kissed her, though little mind had he to it:
she was beguiling him, him so sick a man. His mother came out to meet
him: "Why are you so pale, as if you had been in an elf-dance?" "I have
been in an elf-dance," he said,[352] went to bed, turned his face to the
wall, and was dead before midnight. His mother and his love (moy, vív)
died thereupon.
Distinct evidence of previous converse with elves is lacking in the
Icelandic versions. Olaf rides along the cliffs, and comes upon an
elf-house. One elf comes out with her hair twined with gold, another
with a silver tankard, a third in a silver belt, and a fourth welcomes
him by name. "Come into the booth and drink with us." "I will not live
with elves," says Olaf; "rather will I believe in God." The elf answers
that he might do both, excuses herself for a moment, and comes back in a
cloak, which hides a sword. "You shall not go without giving us a kiss,"
she says. Olaf leans over his saddle-bow and kisses her, with but half a
heart, and she thrusts the sword under his shoulder-blade into the roots
of his heart. He sees his heart's blood under his horse's feet, and
spurs home to his mother. "Whence comest thou, my son, and why so pale,
as if thou hadst been in an elf-dance (leik)?" "It boots not to hide it
from thee: an elf has beguiled me. Make my bed, mother; bandage my side,
sister." He dies presently: there was more mourning than mirth; three
were borne to the grave together.
Nearly all the Danish and Swedish versions, and a good number of the
Norwegian, interpose an affecting scene between the death of the hero
and that of his bride and his mother. The bride, on her way to Olaf's
house, and on her arrival, is disconcerted and alarmed by several
ominous proceedings or circumstances. She hears bells tolling; sees
people weeping; sees men come and go, but not the bridegroom. She is put
off for a time with false explanations, but in the end discovers the
awful fact. Such a passage occurs in the oldest Danish copy, which is
also the oldest known copy of the ballad. The importance of this version
is such that the story requires to be given with some detail.
Oluf rode out before dawn, but it seemed to him bright as day.[353] He
rode to a hill where dwarfs were dancing. A maid stepped out from the
dance, put her arm round his neck, and asked him whither he would ride.
"To talk with my true-love," said he. "But first," said she, "you must
dance with us." She then went on to make him great offers if he would
plight himself to her: a horse that would go to Rome and back in an
hour, and a gold saddle for it; a new corselet, having which he never
need fly from man; a sword such, as never was used in war. Such were all
her benches as if gold were laid in links, and such were all her
drawbridges as the gold on his hands. "Keep your gold," he answered; "I
will go home to my true-love." She struck him on the cheek, so that the
blood spattered his coat; she struck him midshoulders, so that he fell
to the ground: "Stand up, Oluf, and ride home; you shall not live more
than a day." He turned his horse, and rode home a shattered man. His
mother was at the gate: "Why comest thou home so sad?" "Dear mother,
take my horse; dear brother, fetch a priest," "Say not so, Oluf; many a
sick man does not die. To whom do you give your betrothed?" "Rise, my
seven brothers, and ride to meet my young bride."
As the bride's train came near the town, they heard the bells going.
"Why is this?" she asked, her heart already heavy with pain; "I know of
no one having been sick." They told her it was a custom there to receive
a bride so. But when she entered the house, all the women were weeping.
"Why are these ladies weeping?" No one durst answer a word. The bride
went on into the hall, and took her place on the bride-bench. "I see,"
she said, "knights go and come, but I see not my lord Oluf." The mother
answered, Oluf is gone to the wood with hawk and hound. "Does he care
more for hawk and hound than for his young bride?"
At evening they lighted the torches as if to conduct the bride to the
bride-bed; but Oluf's page, who followed his lady, revealed the truth on
the way. "My lord," he said, "lies on his bier above, and you are to
give your troth to his brother." "Never shalt thou see that day that I
shall give my troth to two brothers." She begged the ladies that she
might see the dead. They opened the door; she ran to the bier, threw
back the cloth, kissed the body precipitately; her heart broke in
pieces; grievous was it to see.
Danish #B#, printed by Syv in 1695, is the copy by which the ballad of
the Elf-shot has become so extensively known since Herder's time,
through his translation and others.[354]
The principal variations of the Scandinavian ballads, so far as they
have not been given, now remain to be noted.
The hero's name is mostly Oluf, Ole, or a modification of this, Wolle,
Rolig, Volder; sometimes with an appendage, as Färöe Ólavur Riddararós,
Rósinkrans, Icelandic Ólafur Liljurós, Norwegian Olaf Liljukrans, etc.
It is Peder in Danish #H#, #I#, #O#, #P#, #Q#, #R#, #Æ#.
Excepting the Färöe ballads, Oluf is not distinctly represented as
having had previous acquaintance with the elves. In Swedish #A# 5 he
says, I cannot dance with you, my betrothed has forbidden me; in Danish
#C#, I should be very glad if I could; to-morrow is my wedding-day.
The object of his riding out is to hunt, or the like, in Danish #D b#,
#E#, #F#, #I#, #R#, #T#, #X#, #Y#; to bid guests to his wedding, Danish
#B#, #C#, #D a#, #G#, #H#, #K-N#, #P#, #S#, #U#, #V#, #Ø#, Norwegian
#A#, #B#.
He falls in with dwarfs, Danish #A#, #H#, Norwegian _A_; trolds, Danish
#I#; elves and dwarfs, Norwegian #B#, and a variation of #A#: elsewhere
it is elves.
There is naturally some diversity in the gifts which the elf offers Oluf
in order to induce him to dance with her. He more commonly replies that
the offer is a handsome one, 'kan jeg vel få,' but dance with her he
cannot; sometimes that his true-love has already given him that, or two,
three, seven such, Danish #D a#, #I#, #T#, #X#, #Y#.
If he will not dance with her, the elf threatens him with sore sickness,
Danish #B#, #E#, #H#, #Z#, #Ø#, Norwegian #A#, Swedish #E#, #F#; a great
misfortune, Danish #F#, Swedish #A#; sharp knives, Danish #P#; it shall
cost him his young life, Danish #D a, b#, #T#, #Y#.
Oluf dances with the elves, obviously under compulsion, in Danish #C#,
#D#, #G-N#, #S#, #T#, #U#, #X#, #Y#, Swedish #F#, and only in these. He
dances till both his boots are full of blood, #D a# 15, #D b# 4, #G# 5,
#I# 11, #K# 5, #L# 5, #M# 6, #N# 7, #S# 6 [shoes], #T# 10, #U# 5, #X# 8,
#Y# 7; he dances so long that he is nigh dead, #I# 12.
The hard choice between dying at once or lying sick seven years is
found, out of the Färöe ballads, only in Danish #H# 8, #M# 8, #O# 4, #Q#
2, #S# 8. Norwegian ballads, like English #C#, present an option between
living with elves and dying, essentially a repetition of the terms under
which Peter of Staufenberg weds the fairy, that he shall forfeit his
life if he takes a mortal wife. So Norwegian
#A# 12
Whether wilt thou rather live with the elves,
Or leave the elves, a sick man?
13
Whether wilt thou be with the elves,
Or bid thy guests and be sick?
#B# 9
Whether wilt thou stay with the elves,
Or, a sick man, flit [bring home] thy true-love?
10
Whether wilt thou be with elves,
Or, a sick man, flit thy bride?
There is no answer.
Norwegian #C#, #E#, #G#, #I# resemble #A#. #H# is more definite.
6
Whether wilt thou go off sick, "under isle,"
Or wilt thou marry an elf-maid?
7
Whether wilt thou go off sick, under hill,
Or wilt thou marry an elf-wife?
To which Olaf answers that he lists not to go off a sick man, and he
cannot marry an elf.
The two last stanzas of English #C#, which correspond to these,
'Will ye lie there an die, Clerk Colin,
Will ye lie there an die?
Or will ye gang to Clyde's water,
To fish in flood wi me?'
'I will lie here an die,' he said,
'I will lie here an die;
In spite o a' the deils in hell,
I will lie here an die,'
may originally have come in before the mermaid and the clerk parted; but
her visit to him as he lies in bed is paralleled by that of the fairy to
Staufenberg after he has been persuaded to give up what he had been
brought to regard as an infernal _liaison_; and certainly Clerk Colin's
language might lead us to think that some priest had been with him, too.
Upon Oluf's now seeking to make his escape through the elves' flame,
ring, dance, etc., Norwegian #A#, #B#, #C#, #E#, #G#, #I#, #H#, #K#, the
elf-woman strikes at him with a gold band, her wand, hand, a branch or
twig; gives him a blow on the cheek, between the shoulders, over his
white neck; stabs him in the heart, gives him knife-strokes five, nine;
sickness follows the stroke, or blood: Danish #A#, #B#, #F#, #N#, #O#,
#R#, #V#, #Z#, #Æ#, #Ø#, Swedish #D#, #G#, Norwegian #A-E#, #H#, #I#,
Icelandic. The knife-stabs are delayed till the elves have put him on
his horse in Danish #D#, #G#, #X#; as he sprang to his horse the knives
rang after him, #H#. "Ride home," they say, "you shall not live more
than a day" [five hours, two hours], Danish #A#, #C#, #K-N#, #S#, #U#,
#V#. His hair fades, Danish #E#; his cheek pales, Danish #E#, Norwegian
#A#; sickness follows him home, Swedish #A#, #C#, #D#, #E#; the blood is
running out of the wound in his heart, Swedish #G#; when he reaches his
father's house both his boots are full of blood, Danish #R#, #Æ#.
His mother [father] is standing without, and asks, Why so pale? Why runs
the blood from thy saddle? Oluf, in some instances, pretends that his
horse, not being sure-footed, had stumbled, and thrown him against a
tree, but is told, or of himself adds, that he has been among the elves.
He asks one or the other of his family to take his horse, bring a
priest, make his bed, put on a bandage. He says he shall never rise from
his bed, Swedish #C#, Danish #F#; fears he shall not live till the
priest comes, Danish #O#, #P#.
The important passage which relates the arrival of the bride, the
ominous circumstances at the bridegroom's house, the attempts to keep
the bride in ignorance of his death, and her final discovery that she is
widowed before marriage, occupies some thirty stanzas in Danish #A#,
the oldest of all copies; in Danish #B# it is reduced to six; in other
Danish versions it has a range of from fifteen to two; but, shorter or
longer, it is found in all versions but #R#, #Ø#, and the fragments #G#,
#L#, #Q#, #X#, #Z#. All the Swedish versions have a similar scene,
extending from three to nine stanzas, with the exception of #G# and of
#A#, which latter should perhaps be treated as a fragment. In Norwegian
#A#, again, this part of the story fills ten stanzas; #B# lacks it, but
#C-H# (which have not been published in full) have it, and probably
other unpublished copies.
The bride is expected the next day, Danish #D#, #F#, #I#, #K#, #N#, #O#,
#S#, #T#, #U#, Swedish #A#, #D#. In Danish #A# Oluf begs his brothers,
shortly after his reaching home, to set out to meet her; he fears she
may arrive that very night, Danish #Æ#. "What shall I answer your young
bride?" asks the mother, Danish #B#, #C#, #D#, etc., Swedish #H#. "Tell
her that I have gone to the wood, to hunt and shoot, to try my horse and
my dogs," Danish #B#, #C#, #D#, #F#, #H#, #I#, #K#, #O#, #S#, #T#, #U#,
Swedish #D#, #H#, Norwegian #A#, #L#; in Danish #N# only, "Say I died in
the night." Oluf now makes his will; he wishes to assign his bride to
his brother, Danish #L#, #O#, #R#, Norwegian #C#, #F#; he dies before
the bride can come to him. (Norwegian #F# seems to have gone wrong
here.)
The bride, with her train, comes in the morning, Danish #B#, #D#, #E#,
#I#, #M#, #T#, Swedish #D#, Norwegian #D#; Swedish #C# makes her wait
for her bridegroom several days. As she passes through the town the
bells are tolling, and she anxiously asks why, Danish #A#, #K#, #O#,
#S#, #U#; she is told that it is a custom there to ring when the bride
comes, Danish #A#, Swedish #B#. In Danish #H#, though it is day, she
sees a light burning in Oluf's chamber, and this alarms her. When she
comes to the house, Oluf's mother is weeping, all the ladies are
weeping, or there are other signs of grief, Danish #A#, #C#, #H#, #U#,
#Æ#. When she asks the reason, no one can answer, or she is told that a
woman, a fair knight, is dead, #A#, #C#, #H#. Now she asks, Where is
Oluf, who should have come to meet me, should have been here to receive
me? Danish #K#, #O#, #S#, #U#, #D#, #E#, #I#, #T#, etc. They conduct the
bride into the hall and seat her on the bride bench; knights come and
go; they pour out mead and wine. "Where is Oluf," she asks again; the
mother replies, as best she can, that Oluf is gone to the wood, Danish
#B#, #H#, Norwegian #A#, #D#, Swedish #H#, etc. "Does he then care more
for that than for his bride?" Danish #A#, #D#, #I#, #M#, etc., Swedish
#C#, #D#, Norwegian #A#, #E#, #G#.
The truth is now avowed that Oluf is dead, Danish #A#, #D#, #I#, #T#,
#Y#, #Æ#, Swedish #B#, Norwegian #G#. The bride begs that she may see
the dead, Danish #A#, #C#, #P#, #Æ#, Swedish #F#, Norwegian #D#, #E#,
and makes her way to the room where Oluf is lying. She puts aside the
cloths that cover him, or the curtains, or the flowers, Danish #A#, #B#,
#K#, #V#, etc., Swedish #C#, #D#, Norwegian #C#, #D#, #E#, #G#; says a
word or two to her lover, Danish #A#, #C#, #E#, #H#, Swedish #E#, #F#,
Norwegian #G#; kisses him, Danish #A#, #C#, #H#; her heart breaks,
Danish #A#, #C#; she swoons dead at his feet, Danish #K#, #M#, #S#, #U#.
In Norwegian #A#, #C#, #D#, she kills herself with Olaf's sword; in
Swedish #E#, with her own knife. In Danish #R# she dies in Oluf's
mother's arms. On the morrow, when it was day, in Oluf's house three
corpses lay: the first was Oluf, the second his maid, the third his
mother, of grief was she dead: Danish, Swedish, Norwegian,
_passim_.[355]
#Breton# ballads preserve the story in a form closely akin to the
Scandinavian, and particularly to the oldest Danish version. I have seen
the following, all from recent tradition: #A#, #C#, 'Ann Aotro ar
C'hont,' 'Le Seigneur Comte,' Luzel, I, 4/5, 16/17, fifty-seven and
fifty-nine two-line stanzas. #B#, 'Ann Aotro Nann,' 'Le Seigneur Nann,'
Luzel, #I#, 10/11, fifty-seven stanzas.[356] #D#, 'Aotrou Nann hag ar
Gorrigan,' 'Le Seigneur Nann et la Fée,' Villemarqué, p. 25, ed. 1867,
thirty-nine stanzas. #E#, 'Monsieur Nann,' Poésies populaires de la
France, MS., V, fol. 381, fifty-three verses. #F#, 'Sonen Gertrud guet
hi Vam,' 'Chant de Gertrude et de sa Mère,' L. Kérardven [==Dufilhol],
Guionvac'h, Études sur la Bretagne, 2d ed., Paris, 1835, p. 362, p. 13,
eleven four-line stanzas. #G#, Rolland in Romania, XII, 117, a somewhat
abridged literal translation, in French.
The count [Nann] and his wife were married at the respective ages of
thirteen and twelve. The next year a son was born [a boy and girl, #D#].
The young husband asked the countess if she had a fancy for anything.
She owned that she should like a bit of game, and he took his gun
[lance] and went to the wood. At the entrance of the wood he met a fairy
[a dwarf, #E#; a hind, #G#; saw a white hind, which he pursued hotly
till evening, when he dismounted near a grotto to drink, and there was a
korrigan, sitting by the spring, combing her hair with a gold comb,
#D#]. The fairy [dwarf, hind] said that she had long been looking for
him, #A#, #B#, #C#, #E#, #G#. "Now that I have met you, you must marry
me."[357] "Marry you? Not I. I am married already." "Choose either to
die in three days or to lie sick in bed seven [three] years" [and then
die, #C#]. He would rather die in three days, for his wife is very
young, and would suffer greatly [he would rather die that instant than
wed a korrigan, #D#].
On reaching home the young man called to his mother to make his bed; he
should never get up again. [His mother, in #C# 21, says, Do not weep so:
it is not every sick man that dies, as in Danish #A# 22.] He recounted
his meeting with the fairy, and begged that his wife might not be
informed of his death.
The countess asked, What has happened to my husband, that he does not
come to see me? She was told that he had gone to the wood to get her
something, #A# [to Paris, #C#; to the city, #D#]. Why were the
men-servants weeping? The best horse had been drowned in bathing him,
#A#, #E#; had been eaten by the wolves, #B#; had broken his neck, #C#;
had died, #F#. They were not to weep; others should be bought. And why
were the maids weeping? Linen had been lost in washing, #A#, #C#, #E#,
#F#; the best silver cover had been stolen, #F#. They must not weep; the
loss would be supplied. Why were the priests chanting? [the bells
tolling, #E#, #F#]. A poor person whom they had lodged had died in the
night, #A-E# [a young prince had died, #F#]. What dress should she wear
for her churching,--red or blue? #D#, #F#.[358] The custom had come in
of wearing black [she asks for red, they give her black, #F#]. On
arriving at the church, or cemetery, she saw that the earth had been
disturbed; her pew was hung with black, #B#; why was this? "I can no
longer conceal it," said her mother-in-law: "your husband is dead." She
died upon the spot, #A#, #D#. "Take my keys, take care of my son; I will
stay with his father," #B#, #C#. "Your son is dead, your daughter is
dead," #F#.[359]
This ballad has spread, apparently from Brittany, over all France. No
distinct trace of the fairy remains, however, except in a single case.
The versions that have been made public, so far as they have come to my
knowledge, are as follows, resemblance to the Breton ballad principally
directing the arrangement.
#A.# 'Le fils Louis,' Vendée, pays de Retz, Poésies populaires de la
France, MS., III, fol. 118, printed in Romania, XI, 100, 44 verses. #B.#
Normandy, 1876, communicated by Legrand to Romania, X, 372, 61 verses.
#C.# "Forez, Frédéric Noëlas, Annales de la Société impériale
d'agriculture, industrie, sciences, arts et belles-lettres du
département de la Loire, Année 1865, p. 210, 64 verses," Grundtvig, IV,
867-70. #D.# Victor Smith, Chants populaires du Velay et du Forez,
Romania, X, 583, 68 verses. #E.# The same, p. 581, 64 verses. #F.#
Saint-Denis, Poés. pop. de la France, III, fol. 103, Romania, XI, 98, 74
verses, as sung by a young girl, her mother and grandmother. #G.# Poitou
et Vendée, Études historiques et artistiques par B. Fillon et O. De
Rochbrune, 7^e-10^e livraisons, Fontenay-le-Comte, 1865, article
Nalliers, pp 17, 18, nineteen four-line stanzas and a couplet; before by
B. Fillon in "L'Histoire véridique des fraudes et exécrables voleries et
subtilités de Guillery, depuis sa naissance jusqu'à la juste punition de
ses crimes, Fontenay, 1848," extracted in Poés, pop., III, fol. 112;
other copies at fol. 108 and at fol. 116; Romania, XI, 101, 78 verses.
#H.# Bourbonnais, Poés. pop. III, fol. 91, Romania, XI, 103, 38 verses,
sung by a woman seventy-two years old. #I.# Bretagne, Loudéac, Poés.
pop., III, fol. 121, Romania, XI, 103 f, 64 verses. #J.# Poés. pop.,
III, fol. 285, Romania, XII, 115 (I), 50 verses. #K.# Bretagne (?),
Romania, XII, 115 f, 36 verses. #L.# V. Smith, Chants pop. du Velay et
du Forez, Romania, X, 582. 57 verses. #M.# 'Le roi Renaud,' Flévy,
Puymaigre, I, 39, 78 verses. #N.# Touraine, Bléré, Brachet in Revue
Critique, II, 125, 60 verses. #O.# The same, variations of a later
version. #P.# 'L'Arnaud l'Infant,' Limoges, Laforest, Limoges au XVII^e
siècle, 1862, p. 300, Poés. pop., III, fol. 95, Romania, XI, 104, 82
verses. #Q.# Charente, Poés. pop., III, fol. 107, Romania, XI, 99, 60
verses. #R.# Cambes, Lot-et-Garonne, Romania, XII, 116, 46 verses. #S.#
Jura, Revue des Deux Mondes, 1854, Août, p. 486, 50 verses. #T.# Rouen,
Poés. pop. III, fol. 100, Romania, XI, 102, 60 verses, communicated by a
gentleman who at the beginning of the century had learned the ballad
from an aunt, who had received it from an aged nun. #U. a#, Buchon,
Noëls et Chants populaires de la Franche-Comté, p. 85, 34 verses; #b#,
Tarbé, Romancero de Champagne, Vol. II, Chants Populaires, p. 125, 32
verses; #c#, G. de Nerval, La Bohème Galante, ed. 1866, p. 77, Les
Filles du Feu, ed. 1868, p. 130, 30 verses; #d#, 'Jean Renaud,' Bujeaud,
Chants et Chansons populaires des Provinces de l'Ouest, II, 213, 32
verses. #V.# Poés. pop., III, fol. 122, Romania, XI, 100 f, 32 verses.
#W.# Le Blésois, Ampère, Instructions, etc., p. 37, 36 verses. #X.#
Provence, Poés. pop., III, fol. 114, Romania, XI, 105, 44 verses. #Y.#
'Lou Counte Arnaud,' Bivès, Gers, Bladé, Poés. pop. de la Gascogne, II,
134/135, 48 verses. #Z.# Vagney, Vosges, Mélusine, p. 75, 44 verses.
#AA.# Cambes, Lot-et-Garonne, Romania, XII, 116 f, 40 verses. #BB.#
Quercy, Sérignac, Poés. pop., Romania, XI, 106, 34 verses. #CC.# Quercy,
Poés. pop., Romania, XI, 107, 26 verses. #DD.# Bretagne, Villemarqué,
Barzaz-Breiz, ed. 1846, I, 46, 12 verses. #EE.# Orléans, Poés. pop.,
III, fol. 102, Romania, XI, 107, 10 verses. #FF.# Auvergne, Poés, pop.,
III, fol. 89, Romania, XI, 107 f, 6 verses. #GG.# Boulonnais, 'La
Ballade du Roi Renaud,' E. Hamy, in Almanach de Boulogne-sur-Mer pour
1863, p. 110 (compounded from several versions), 16 four-line
stanzas.[360]