The [Iberian] story itself agrees with ours [i.e., Hungarian versions] in no more than the outlines, though it is closer than the Balkan ones in that it is the ballad of a case of adultery. The husband is away hunting, or at the wars, and returns home unexpectedly. There is trouble as soon as the door has to be opened: he has to break it down [...], or she has lost the key to the passage [...]--like the key to the chest with us--but the husband nevertheless finds the hidden lover. But this story goes off into details of the "Deceived Husband" [i.e., "Our Goodman"], a humorous ballad (Child 274): the qestions as to whose is the horse in the stable, the clothing, the sword, etc., probably blended secondarily with the preceding details. This rouses the suspicion that this, too, is a transfer, like so many other Iberian ballads, in all probability from the French. In one Portuguese text, indeed, this later additions is missing, and here, too, there is a reference to burning: "A woman who talks like that ought to be burned alive. Thirty wagonloads of straw, and the same of branches!"
    It was probably a French ballad of this type which gave rise to the Barcsai formulation in Hungary, blending together elements from the earlier heroic poems with effective details found in the new ballad.
    --From Lajos Vargyas, Researches into the Medieval History of Folk Ballad (Budapest: Akadémiai Kiadó, 1967, pp. 162-163)

Texts [Englsih translations] and analyses of "Barcsai" are in Nimon Leader, Hungarian Classical Ballads and Folklore (Cambridge UP, 1967, pp. 230-239), where she says:

    Apart from a Rumanian ballad of questionable authenticity 'Barcsai' has no close international parallels. This is to say only that its motifs and incidents are not found elsewhere in the same conjunction, and not that its theme is particulary original.

~Masato