224 NORDIC BALLADS

Thure (UDV 54, 55, DGF 72), Lovmand and Thor (UDV 199), and
others. Opposition to lovers is more than once offered in the form
chosen by David, the king sending the unwanted suitor to the front
of the battle. In the fine Norse tale of Axel and Valborg (UDV 143)
the difficulty arises from the fact that the lovers are related in the
third degree. The king's son Haagen contrives to have their pact
annulled, with an impressive ritual which is adequately described,
and to marry Valborg himself. In a war with Sweden which
follows, Haagen is killed. Axel avenges him; Axel dies victorious,
and Valborg enters a convent. There is less merit in Torkild
Trundesen (UDV 200) and in Half red and Mogens (UDV 217,
DGF 49), which also seems to have been of Norse origin. The
rivalry of concubine and wife gives rise to the powerful Sir Peter
and his Concubine (DGF 210, UDV 158), and to other ballads of the
same sort. In Fair Anna (UDV 177), the rivals are sisters and
recognize each other on the bridal night. One of the most popular
ballads in the north is Sir Lave and Sir Jon, distinguished for its
mocking tone. Sir Jon is the Lochinvar of the north.

Trickery and force are used against rivals in a number of Viser',
of which perhaps the best is Ebbe Skammelson (DGF 354, UDV
120). While Ebbe was at court his brother spread a false report of
his death, and so contrived to wed his fiancee; returning, and
being unable to persuade the bride to run away with him, he kills
her and his brother, and wounds both his parents. The ballad is
marked by a sense of actuality.

There are many elopements. It is evident that the custom of
bride-stealing was not far from the experience of those who com-
posed ballads, and that a stolen wedding was the most interesting.
Such exploits led to fights with the young lady's brothers and with
her father; and to these encounters a number of different solutions
are given. In Ribold and Guldborg, so often cited, and Hilda's
Sorrow (DGF 83), the bride makes an appeal for one last surviving
relative, naming her lover, who at once receives his deadly wound.
In others (The Lady in the Wood, Sir Helmer Elaa, &c.) the battle
ends in a reconciliation, or all agreement is refused and the fight
ends in death. The most dramatic of these pieces is Nitus and little
Hilde (DGF 325, UDV 121). Caught by a storm while eloping,
Nilus is forced to seek shelter with his lady's brother—a bitter
enemy. The brother welcomes his sister, but not her lover, who
has to fight to the death: