Thus, if we ask, how did Sophia at first know of Bateman's
existence? The lovely and delicate daughter of the Turk, doubtless,
was unaware that, in the crowded dungeons of her sire, one captive
of wealth, noble birth, and personal fascination, was languishing.
The Annotator explains: 'She hears from an aged and garrulous
attendant, her only female adviser (for her mother died while she
was yet an infant), of the sorrows and sufferings of the Christian
captive.' In ancient versions of the ballad another explanation
occurs. She overhears a song which he sings about his unlucky
condition. This account is in Young Bekie (Scottish: mark the
name, Bekie), where France is the scene and the king's daughter is
the lady. The same formula of the song sung by the prisoner is
usual. Not uncommon, too, is a TOKEN carried by Sophia when she
pursues her lost adorer, to insure her recognition. It is half of
her broken ring. Once more, why does Sophia leave home to find
Bateman in the very nick of time? Thackeray's version does not tell
us; but Scottish versions do. 'She longed fu' sair her love to
see.' Elsewhere a supernatural being, 'The Billy Blin,' or a fairy,
clad in green, gives her warning. The fickleness of the hero is
caused, sometimes, by constraint, another noble 'has his marriage,'
as his feudal superior, and makes him marry, but only in form.

There is a marriage in yonder hall,
Has lasted thirty days and three,
The bridegroom winna bed the bride,
For the sake o' one that's owre the sea.

In this Scottish version, by the way, occurs--