54 TUNES

forward to the English (54BBAB), while there are two others in
English which are connected with each other but apparently not
with Scandinavia. One notes that The Harp's Power appears
in Denmark and Sweden under similar musical conditions
(aiCBCgiaCiA and i2i2CB2BBAB); but the very popular Elve-
skud, for which there are a number of related Danish tunes, is sung
very differently in Sweden and in Norway. What we have to
expect with the oldest ballads are variations, and it is never easy
to be sure when variation has gone so far as to destroy all resem-
blance. It is very difficult to demonstrate migration within the
Scandinavian area, though the words be almost identical. Lave and
Jon, a very popular humorous piece, has three Danish variations of
the same tune (522102560, 52622102,5Ai2B4i2) connected with
the Swedish (52622623) and Norse (52622102, 322B2DAi2); but
one Norse and two Danish melodies seem unrelated with this or
each other. It seems as if we must credit the Scandinavian min-
strels with a higher degree of musical, than textual, inventiveness.

Where a considerable number of tunes have been preserved,
they may be gathered into classes, and in the case of a migratory
ballad, we may note which is the class of the melody that has
travelled. The fine German ballad of The Castle in Austria is a
convenient instance. Erk and Bohme offer us fourteen airs. One
group has the formulas 22120 and 22I2CD, which correspond
with the Norse 22105260; a German variant is B2I2C, corre-
sponding to the Danish Bz$BC. An entirely different class con-
tains tunes with the formulas A4ABA and E8ABA, corresponding
to the Swedish AiE8AD5A. They show there has been a diver-
gence between the Swedish tradition and that of the neighbour-
ing lands. The Swedish use their tune also for the ballad of
The Sultan's Daughter, which has quite different formulas in Ger-
many and the Low Countries (5223CAB, 523^ 2I27EB, 2iABB,
43BCB4).

Zwei Wasser, Zwei Konigskinder and Hallewjn are ballads, pro-
bably originating in the Low Countries, which have attained uni-
versal popularity. The first two are forms, lyrical and narrative
respectively, of the Leander saga. German and Dutch tunes can
be grouped according to their first intervals, as 9 (gEEoA^CE,
9BB, 90226, 9BBA3E), 5 (S2iAiC2iA), and 3 (3AB2i22,
siABzm), while the formula 54I22BBA links the first two
groups. The Czech 225BBA is based on QBBA. Denmark used