Frank Sidgwick

'Rebus huius Roberti gestis tota Britannia in cantibus utitur.' --MAJOR. The Text.--There are seven texts of the Gest, to be distinguished as

Argument.--For a jest, the king disguises himself and his men once more, this time in Lincoln green, which he purchases off Robin Hood. The whole party proceeds to Nottingham, where the appearance of so many green mantles causes a general flight of the inhabitants. The king, however, reveals himself, and after a feast, pardons the knight. Robin dwells in the king's court for fifteen months, at the end of which time he has spent much money, and has lost all his men except Little John and Scathlock. He therefore begs the king's leave to go on a pilgrimage to a shrine of St. Mary Magdalen in Barnsdale, and the king consents, but allows him only seven nights' absence. Robin comes to the greenwood, and shoots a great hart; and on blowing his horn, seven score yeomen come and welcome him back, and he dwells two-and-twenty years in the greenwood. In the end he was betrayed by his kinswoman, the Prioress of Kirkesly Abbey, and her lover, Sir Roger of Doncaster. It has been suggested (by Professor Brandl) that the episode of the king's disguise in green is an intentional variation of the episode in the Third Fytte, where the Sheriff of Nottingham is forced to wrap himself in a green mantle. In any case it is probable that most of this Eighth Fytte is the work of the compiler of the Gest; possibly even the delightful verses (stt. 445-6) in which the joy of greenwood life overcomes Robin.

Argument.--The story now returns to the Sheriff of Nottingham, and relates how he offered a prize for the best archer in the north. Robin Hood, hearing of this match, determines to go to it, and to test the sheriff's faith to his oath (see the Third Fytte, stt. 202-4). Robin wins the prize, and is starting home to the greenwood, when the sheriff recognises and attacks him, but is beaten off by a shower of arrows. Robin and his men retire, shooting as they go, until they come to a castle. Here dwells the knight to whom Robin had lent the money--'Sir Richard at the Lee.' He takes in Robin and his men, and defies the sheriff; Robin, he says, shall spend forty days with him. This fytte is no doubt based on some single lost ballad of a shooting-match at which Robin was victorious, and at which the Sheriff of Nottingham attempted in vain to arrest him. But the compiler of the Gest has carefully linked it to the preceding fyttes by such references as Robin's determination to try the sheriff's faith (st. 287), which is made clear in stt. 296-8; and the identification of the knight whose castle protects Robin and his men with the knight to whom the money had been lent (stt. 310-312). THE FIFTH FYTTE

'Rebus huius Roberti gestis tota Britannia in cantibus utitur.' --MAJOR. The Text.--There are seven texts of the Gest, to be distinguished as

Argument.--Robin Hood will not dine until he has 'his pay,' and he therefore sends Little John with Much and Scarlok to wait for an 'unketh gest.' They capture a monk of St. Mary Abbey, and Robin Hood makes him disgorge eight hundred pounds. The monk, we are told, was on his way to London to take proceedings against the knight. In due course the knight, who was left at the end of the second fytte at the wrestling-match, arrives to pay his debt to Robin Hood; who, however, refuses to receive it, saying that Our Lady had discharged the loan already. The admirable, na'vely-told episode of Our Lady's method of repaying money lent on her security, is not without parallels, some of which Child points out (III. 53-4).

Argument.--The knight goes to York to pay down his four hundred pounds to the abbot of St. Mary Abbey, who has retained the services of the high justice of England 'with cloth and fee,' an offence defined as conspiracy by statutes of the first three Edwards. The knight, pretending he has not brought the money, requests an extension of time; but the abbot will not hear of it, and is supported in his refusal by the justice: the knight's lands will be forfeited. The justice advises the abbot (117, etc.) to give the knight a sum to 'make a release' and prevent subsequent legal difficulties. The knight brings the matter to an end by paying down the four hundred pounds, saying that had the abbot been more courteous, he should have had interest on the loan. The knight returns to his home in Wyresdale, and saves up the sum to be repaid to Robin Hood. As he sets out for Barnsdale with a goodly company, he finds a great wrestling-match taking place at Wentbridge,[1] which delays him a while. The word 'frembde' (138.3) is now obsolete except in Scots and north-country dialect, and is spelled in various ways. It occurs more than once in Chaucer, and twice in Sidney's Arcadia. 'Fremit,' the common Scots form, may be found in Burns. More recently, it appears in books of Westmoreland, Cumberland, or Northumberland dialect. Cp. Mrs. Gaskell, Sylvia's Lovers: 'There's a fremd man i' t' house.' It means 'foreign' or 'strange.'

Argument.--The king, coming with a great array to Nottingham to take Robin Hood and the knight, and finding nothing but a great scarcity of deer, is wondrous wroth, and promises the knight's lands to any one who will bring him his head. For half a year the king has no news of Robin; at length, at the suggestion of a forester, he disguises himself as an abbot and five of his men as monks, and goes into the greenwood. He is met and stopped by Robin Hood, gives up forty pounds to him, and alleges he is a messenger from the king. Thereupon Robin entertains him and his men on the king's own deer, and the outlaws hold an archery competition, Robin smiting those that miss. At his last shot, Robin himself misses, and asks the abbot to smite him in his turn. The abbot gives him such a buffet that Robin is nearly felled; on looking more closely, he recognises the king, of whom he and his men ask pardon on their knees. The king grants it, on condition that they will enter his service. Robin agrees, but reserves the right to return to the greenwood if he mislikes the court. This fytte is based on the story, extremely common and essentially popular, especially in England, of a meeting between a king in disguise and one of his subjects. Doubtless there was a ballad of Robin Hood and the king; but the only one we possess, The King's Disguise and Friendship with Robin Hood, is a late and a loose paraphrase of this fytte and the next. The commonest stories and ballads of this type in English are The King and the Barker (i.e. Tanner), King Edward the Fourth and the Tanner of Tamworth, King James and the Tinker, and King Henry II. and the Miller of Mansfield. Usually the point of the story is the lack of ceremony displayed by the subject, and the royal good-humour and largesse of the king. There is only an arbitrary division between Fyttes VII. and VIII.; and one or two other points will be discussed in introducing the next and last fytte.

Argument.--The Sheriff of Nottingham secures the assistance of the High Sheriff, and besets the knight's castle, accusing him of harbouring the king's enemies. The knight bids him appeal to the king, saying he will 'avow' (i.e. make good or justify) all he has done, on the pledge of all his lands. The sheriffs raise the siege and go to London, where the king says he will be at Nottingham in two weeks and will capture both the knight and Robin Hood. The sheriff returns home to get together a band of archers to assist the king; but meanwhile Robin has escaped to the greenwood. However, the sheriff lies in wait for the knight, captures him and takes him bound to Nottingham. The knight's lady rides to Robin and begs him to save her lord; whereupon Robin and his men hasten to Nottingham, kill the sheriff, release the knight, and carry him off to the greenwood. The latter episode--of Robin's release, at the request of his wife, of a knight taken captive by the sheriff--comes probably from a separate ballad: Robin Hood rescuing Three Squires tells a similar story. This the compiler of the Gest has apparently woven in with the story of the previous fyttes, though he has not done so very thoroughly (e.g., the inconsistency of Robin's question to the knight's wife, 'What man hath your lord i-take?' with his knowledge of the knight's defiance of the sheriff). The compiler has also neatly prepared the way for the introduction of the seventh and eighth fyttes by the knight's appeal to the king; but, having done so, he has apparently forgotten the king's undertaking to come to Nottingham, and has allowed the sheriff to anticipate that plan and capture the knight without assistance. THE SIXTH FYTTE

Argument.--The narrative of the knight's loan is for the moment dropped, in order to relate a gest of Little John, who is now (81.2) the knight's 'knave' or squire. Going forth 'upon a mery day,' Little John shoots with such skill that he attracts the attention of the Sheriff of Nottingham (who is here and elsewhere the type of Robin Hood's enemies), and enters his service for a year under the name of Reynold Greenleaf. While the sheriff is hunting, Little John fights his servants, robs his treasure-house, and escapes back to Robin Hood with 'three hundred pound and more.' He then bethinks him of a shrewd wile, and inveigles the sheriff to leave his hunting in order to see a right fair hart and seven score of deer, which turn out to be Robin and his men. Robin Hood exacts an oath of the sheriff, equivalent to an armistice; and he returns home, having had his fill of the greenwood. THE THIRD FYTTE 144.

The Text is from a broadside of the seventeenth century from the press of Coles, Vere, Wright, and Clarke, now preserved in the Rawlinson collection in the Bodleian Library. The Story of this ballad is one of the common class of riddle-ballads. Some of these riddles are found also in Captain Wedderburn. It is not clear why in 18.1 'poyson is greener than the grass.' In Captain Wedderburn (17.1) it is 'death' that is greener than the grass, which is equally inexplicable. A variant of the latter gives 'virgus' [= verjuice], a kind of vinegar, which obviously means 'green juice.' It is possible that this might come to be regarded as a synonym for 'poyson'; and the next step is to substitute 'death' for 'poyson.'

The Text of this half-carol, half-ballad is taken from the Sloane MS. 2593, whence we get Saint Stephen and King Herod and other charming pieces like the well-known carol, 'I syng of a mayden.' It is written in eight long lines in the MS. The Story.--Wright, who printed the above MS. for the Warton Club in 1856, remarks that Adam was supposed to have remained bound in the limbus patrum from the time of his death until the Crucifixion. In the romance of Owain Miles (Cotton MS. Calig. A. ii.) the bishops told Owain that Adam was 'yn helle with Lucyfere' for four thousand six hundred and four years. On account of this tradition incorporated in the carol, I have ventured to include it as a ballad, although it does not find a place in Professor Child's collection. ADAM

The Text.--The earliest complete text, here given, was printed by William Copland between 1548 and 1568: there are extant two printed fragments, one printed by John Byddell in 1536, and the other in a type older than Copland's. Later, there are two editions printed by James Roberts in 1605; and finally a MS. text in the Percy Folio (c. 1650). Copland's text is obviously full of faults, and in emendations I have mostly followed Child. The Story, lively and admirably told, contains little extrinsic interest, except in William's feat of shooting the apple from his son's head. This is inevitably associated with the legend of William Tell, which is told in the White Book of Obwalden, written about 1470; but similar stories can be found in the Icelandic Saga of Dietrich of Bern (about 1250) and in Saxo Grammaticus, who wrote his Danish History about the year 1200. Three or four other versions of the story are to be found in German and Scandinavian literature before the date of our ballad; but they all agree in two points which are missing in the English ballad--the shot is compulsory, and the archer reserves another arrow for purposes of revenge in case he misses his mark. William of Cloudesly volunteers a difficult and risky feat out of bravado.

The Text is that of the Jamieson-Brown MS. The Story is one of the countless variations of the French 'Beauty and the Beast.' A modern Greek tale narrates that a nereid, enamoured of a youth, and by him scorned, turned him into a snake till he should find another love as fair as she. The feature of this ballad is that the queen of the fairies should have power to undo the evil done by a witch.

The Text is from Allan Ramsay's Tea-Table Miscellany (1763). It was not included in the first edition (1724-1727), nor until the ninth edition in 1740, when to the original three volumes there was added a fourth, in which this ballad appeared. There is also a Scotch version, Sir John Grehme and Barbara Allan. Percy printed both in the Reliques, vol. iii. The Story of Barbara Allan's scorn of her lover and subsequent regret has always been popular. Pepys records of Mrs. Knipp, 'In perfect pleasure I was to hear her sing, and especially her little Scotch song of Barbary Allen' (January 2, 1665-6). Goldsmith's words are equally well known: 'The music of the finest singer is dissonance to what I felt when an old dairymaid sung me into tears with Johnny Armstrong's Last Goodnight, or The Cruelty of Barbara Allen.' The tune is excessively popular: it is given in Chappell's English Song and Ballad Music. BARBARA ALLAN

The Text is from Sharpe's Ballad Book. A parody of this ballad, concerning an episode of the end of the seventeenth century, shows it to have been popular not long after its making. In England it has become a nursery rhyme (see Halliwell's Nursery Rhymes, p. 246). The Story.--In 1781 a Major Barry, then owner of Lednock, recorded the following tradition. Mary Gray was the daughter of the Laird of Lednock, near Perth, and Bessy Bell was the daughter of the Laird of Kinvaid, a neighbouring place. Both were handsome, and the two were intimate friends. Bessy Bell being come on a visit to Mary Gray, they retired, in order to avoid an outbreak of the plague, to a bower built by themselves in a romantic spot called Burnbraes, on the side of Branchie-burn, three-quarters of a mile from Lednock House. The ballad does not say how the 'pest cam,' but tradition finds a cause for their deaths by inventing a young man, in love with both, who visited them and brought the infection. They died in the bower, and were buried in the Dranoch-haugh ('Stronach haugh,' 3.3), near the bank of the river Almond. The grave is still visited by pious pilgrims. Major Barry mentions 1666 as the year, but the plague did not reach Scotland in that year. Probably the year in question was 1645, when the district was ravaged with the pestilence.

The Text is from several broadsides and chap-books, but mainly depends on a stall-copy entitled The Song of Bewick and Grahame, approximately dated 1740. Sir Walter Scott considered this ballad 'remarkable, as containing probably the very latest allusion to the institution of brotherhood in arms' (see 14.4, and the use of the word 'bully'); but Child strongly suspects there was an older and better copy than those extant, none of which is earlier than the eighteenth century. The Story is concerned with two fathers, who boast about their sons, and cause the two lads to fight. Christy Graham is faced with the dilemma of fighting either his father or his brother-in-arms, and decides to meet the latter; but, should he kill his friend, he determines not to return alive. Young Bewick takes a similar vow. They fight two hours, and at last an 'ackward' stroke kills Bewick, and Christy falls on his sword. The two fathers lament, and the ballad-singer finishes by putting the blame on them. BEWICK AND GRAHAME

The Text is from Motherwell's Minstrelsy, pp. 44-5. The Story.--Motherwell says it 'is probably a lament for one of the adherents of the house of Argyle, who fell in the battle of Glenlivat, stricken on Thursday, the third day of October, 1594 years.' Another suggestion is that it refers to a Campbell of Calder killed in a feud with Campbell of Ardkinglas, the murder being the result of the same conspiracy which brought the Bonny Earl of Murray to his death. Another version of the ballad, however, gives the name as James, and it is useless and unnecessary to particularise. BONNIE GEORGE CAMPBELL

The Texts are taken respectively from Alexander Fraser Tytler's Brown MS., and from Herd's MSS., vol. i. fol. 49, where it is stated that a verse is wanting. The Story of Bonny Bee Ho'm is of the slightest. The gift of the ring and chain occurs in many ballads and folk-tales. For the ring, see Hind Horn, 4-6 (First Series, p. 187). For the lady's vow to put no comb in her hair, occurring in both ballads, compare Clerk Sanders, 21.4

The Text is given from the Jamieson-Brown MS. It was first printed by Scott, with the omission of the second stanza--perhaps justifiable--and a few minor changes. He notes that he had seen a copy printed on a single sheet. The Story has a remote parallel in a Danish ballad, extant in manuscripts of the sixteenth century and later, Den afhugne Haand. The tale is told as follows. Lutzelil, knowing the evil ways of Lawi Pederson, rejects his proffered love. Lawi vows she shall repent it, and the maiden is afraid for nine months to go to church, but goes at Easter. Lawi meets her in a wood, and repeats his offer. She begs him to do her no harm, feigns compliance, and makes an assignation in the chamber of her maids. She returns home and tells her father, who watches for Lawi. When he comes and demands admission, she denies the assignation. Lawi breaks down the door, and discovers Lutzelil's father with a drawn sword, with which he cuts off Lawi's hand. The reason for objecting to the second stanza as here given is not so much the inadequacy of a golden hammer, or the unusual whiteness of the smith's fingers, but the rhyme in the third line.

The Text is here given from the Jamieson-Brown MS. Versions, lengthened and therefore less succinct and natural, are given in Christie's Traditional Ballad Airs (Love Robbie) and in Buchan's Ballads of the North of Scotland (Brown Robyn and Mally). The Story is a genuine bit of romance. The proud porter is apparently suspicious, believing that the king's daughter would not have made him drunk for any good purpose. In spite of that he cannot see through Brown Robin's disguise, though the king remarks that 'this is a sturdy dame.' The king's daughter, one would think, who conceals Robin's bow in her bosom, must also have been somewhat sturdy. Note the picturesque touch in 8.2. BROWN ROBIN

The Text is the only one known, that printed by Buchan, Ballads of the North of Scotland, and copied into Motherwell's MS. The Story, relating as it does a miracle of the Virgin, is, perhaps, the only one we possess of a class which, in other lands, is so extensive. A similar Scandinavian ballad has a tragical termination, except in one version. The casting of lots to discover the Jonah of a ship is a feature common to many literatures.

The Text is from a Cottonian MS. of the sixteenth century in the British Museum (Vesp. A. xxv. fol. 178). It is carelessly written, and words are here and there deleted and altered. I have allowed myself the liberty of choosing readings from several alternatives or possibilities. The Story.--There seems to be no doubt that this ballad is founded upon an historical incident of 1571. The Scottish variants are mostly called Edom o' Gordon, i.e. Adam Gordon, who was brother to George Gordon, Earl of Huntly. Adam was a bold soldier; and, his clan being at variance with the Forbeses--on religious grounds,--he encountered them twice in the autumn of 1571, and inflicted severe defeat on them at the battles of Tuiliangus and Crabstane. In November he approached the castle of Towie, a stronghold of the Forbes clan; but the lady occupying it obstinately refused to yield it up, and it was burnt to the ground. It is not clear whether the responsibility of giving the order to fire the castle attaches to Adam Gordon or to Captain Car or Ker, who was Adam's right-hand man. But when all is said on either side, it is irrational, as Child points out, to apply modern standards of morality or expediency to sixteenth-century warfare. It is curious that this text, almost contemporary with the occurrence which gave rise to the ballad, should be wholly concerned with Captain Car and make no mention of Adam Gordon.

The Text is from a broadside in the Bagford collection (i. 65); other broadsides, very similar, are to be found in the Pepys, Roxburghe, and other collections. The ballad has often been reprinted; and more than one oral version has been recovered--much corrupted in transmission. The Story is apocryphal, as has been shown by research undertaken since Child annotated the ballad; so also are other broadsides, The Seamen's Song of Captain Ward and The Seamen's Song of Dansekar, which deal with Ward. He was a Kentish fisherman, born at Feversham about 1555, who turned pirate after a short service aboard the Lion's Whelp man-of-war. The Rainbow was the name of a ship then in the navy, often mentioned in reports from 1587 onwards; but Professor Sir J. K. Laughton has pointed out that she never fought with Ward. Possibly Rainbow is a corruption of Tramontana, a small cruiser which may have chased him once in the Irish Channel. The fullest account of Ward may be found in an article, unsigned, but written by Mr. John Masefield, in the Gentleman's Magazine for March, 1906, pp. 113-126. CAPTAIN WARD AND THE RAINBOW

The Text is from Kinloch's MSS., where it was written down from the recitation of Mary Barr: it is entitled 'The Earl of Rosslyn's Daughter.' The Story is the converse of A Noble Riddle Wisely Expounded, in which the maid wins a husband by riddles; in the present one the captain out-riddles the maid. Similar tales are very popular in many lands, being found in Persia, Russia, Norway, Sweden, Denmark, Turkey, Lithuania, East Siberia, etc. Most of the lady's riddles are found in an old English song, and its traditional derivatives. The song, which is given below, is found in Sloane MS. 2593, which contains other carols and ballads (see pp. 123-8)[A]. From this is derived the nursery song beginning--

The Text is from the Percy Folio, given literatim, with two rearrangements of the lines (in stt. 4 and 22) and a few obvious corrections, as suggested by Hales, and Furnivall, and Child. The Folio version was printed by Jamieson in his Popular Ballads and Songs. The Scotch version, Gil Morrice, was printed by Percy in the Reliques in preference to the version of his Folio. He notes that the ballad 'has lately run through two editions in Scotland: the second was printed at Glasgow in 1755.' Thanks to an advertisement prefixed to these Scottish editions, sixteen additional verses were obtained and added by Percy, who thought that they were 'perhaps after all only an ingenious interpolation.' Gil Morrice introduces 'Lord Barnard' in place of 'John Steward,' adopted, perhaps, from Little Musgrave and Lady Barnard. Motherwell's versions were variously called Child Noryce, Bob Norice, Gill Morice, Chield Morice. Certainly the Folio ballad is unsurpassed for its vigorous, objective style, and forcible, vivid pictures. The Story of this ballad gave rise to Home's Douglas, a tragedy, produced in the Concert Hall, Canongate, Edinburgh, 1756 (on which occasion the heroine's name was given as 'Lady Barnard'), and transferred to Covent Garden Theatre, in London, in 1757, the heroine's name being altered to 'Lady Randolph.'

The Text is here given from the Percy Folio, with some emendations as suggested by Child. The Story, if we omit the hard tests imposed on the maid's affection, is widely popular in a series of Scandinavian ballads,--Danish, Swedish, and Norwegian; and Percy's edition (in the Reliques) was popularised in Germany by B'rger's translation. The disagreeable nature of the final insult (stt. 27-29), retained here only for the sake of fidelity to the original text, may be paralleled by the similarly sudden lapse of taste in the Nut-Brown Maid. We can but hope--as indeed is probable--that the objectionable lines are in each case interpolated.

The Text.--This ballad was one of two transcribed from the now lost Tytler-Brown MS., and the transcript is given here. A considerable portion of the story is lost between stanzas 6 and 7. The Story in its full form is found in a German poem of the twelfth or thirteenth century (Der Ritter von Stauffenberg) as well as in many Scandinavian ballads. In the German tale, the fairy bound the knight to marry no one; on that condition she would come to him whenever he wished, if he were alone, and would bestow endless gifts upon him: if ever he did marry, he would die within three days. Eventually he was forced to marry, and died as he had been warned.

The Text is given in full from Herd's MSS., where it concludes with a version of Sweet William's Ghost; and the last three stanzas, 42-44, are from Scott's later version of the ballad (1833) from recitation. Child divides the ballad as follows:-- Clerk Sanders, 1-26 of the present version; Sweet William's Ghost, 27-41. Scott made 'one or two conjectural emendations in the arrangement of the stanzas.' The Story of this admirable ballad in its various forms is paralleled in one or two of its incidents by a similar collection of Scandinavian ballads. Jamieson introduced into his version certain questions and answers (of the prevaricating type found in a baser form in Our Goodman) which are professedly of Scandinavian origin. CLERK SANDERS

The Text is from the Skene MS., but I have omitted the three final lines, which do not make a complete stanza, and, when compared with Scott's 'Old Lady's' version, are obviously corrupt. The last verse should signify that the mothers of Willie and Meggie went up and down the bank saying, 'Clyde's water has done us wrong!' The ballad is better known as Willie and May Margaret. The Story.--Willie refuses his mother's request to stay at home, as he wishes to visit his true-love. The mother puts her malison, or curse, upon him, but he rides off. Clyde is roaring, but Willie says, 'Drown me as I come back, but spare me as I go,' which is Martial's

The Text is that of Scott's Minstrelsy (1802). It was 'taken down from the recitation of a lady' (his mother's sister, Miss Christian Rutherford), and collated with a copy in the Tytler-Brown MS. The ballad is also called Gil Brenton, Lord Dingwall, Bangwell, Bengwill, or Brangwill, Bothwell, etc. The Story is a great favourite, not only in Scandinavian ballads, but also in all northern literature. The magical agency of bed, blankets, sheets, and sword, is elsewhere extended to a chair, a stepping-stone by the bedside (see the Boy and the Mantle, First Series, p. 119), or the Billie Blin (see Young Bekie, First Series, pp. 6, 7, and Willie's Lady, p. 19). The Norwegian tale of Aase and the Prince is known to English readers in Dasent's Annie the Goosegirl. The Prince is possessed of a stepping-stone by his bedside, which answers his question night and morning, and enables him to detect the supposititious bride. See also Jamieson's translation of Ingefred and Gudrun', in Illustrations of Northern Antiquities, p. 340. COSPATRICK

The Text is a combination of three, but mainly from a text which seems to have been sent to Percy in 1775. The other two are from Scottish tradition of the late eighteenth and early nineteenth centuries. I have made a few changes in spelling only. The ballad was certainly known before the end of the sixteenth century, as Thomas Nashe refers to it in 1596:--'Dick of the Cow, that mad Demilance Northren Borderer, who plaid his prizes with the Lord Iockey so brauely' (Nashe 's Works, ed. R. B. McKerrow, iii. p. 5). Dick at the Caw occurs in a list of 'penny merriments' printed for, and sold by, Philip Brooksby, about 1685. The Story is yet another of the Border ballads of the Armstrongs and Liddesdale, and tells itself in an admirable way. The 'Cow,' of course, cannot refer to cattle, as the word would be 'Kye': possibly it means 'broom,' or the hut in which he lived. See Murray's Dictionary, and cp. 9.3

The Text is given from Joshua Sylvester's A Garland of Christmas Carols, where it is printed from an old Birmingham broadside. The Story is one which naturally attracted the attention of the popular ballad-maker, and parallel ballads exist in fairly wide European distribution. Like the Carnal and the Crane, the form in which this ballad is now known is no witness of its antiquity. A 'ballet of the Ryche man and poor Lazarus' was licensed to be printed in 1558; 'a ballett, Dyves and Lazarus,' in 1570-1.

The Text is another of the lively battle-pieces from the Percy Folio, put into modern spelling, and no other version is known or needed. The battle of Durham, which the minstrel says (27.1, 64.2) was fought on a morning of May, and (64.3,4) within a month of Cre'y and Poictiers,[1] actually took place on October 17, 1346. Stanza 18 makes the king say to Lord Hamilton that they are of 'kin full nigh'; and this provides an upper limit for the date of the ballad, as James Hamilton was married to Princess Mary, sister of James III., in 1474. [Footnote 1: Cre'y was fought on August 26, 1346; Poictiers on September 19, 1356.] The Story.--We have as authorities for the history of the battle both Scottish and English chronicles, but the ballad, as might be expected, follows neither very closely. Indeed it is not easy to reconcile the Scottish account with the English. David Bruce, the young king of Scotland, seized the opportunity afforded by Edward III.'s absence in France at the siege of Calais to invade England with a large army. They were met at Durham by an English force in three divisions, led (according to the English chronicle) by (i) the Earl of Angus, Henry Percy, Ralph Neville, and Henry Scrope, (ii) the Archbishop of York, and (iii) Mowbray, Rokeby, and John of Copland. The Scots were also in three divisions, which were led (says the Scottish version) by King David, the Earl of Murray and William Douglas, and the Steward of Scotland and the Earl of March respectively. The English chronicle puts John of Douglas with the Earl of Murray, and the Earl of Buchan with King David.

The Text is from the Percy Folio, the spelling being modernised. Percy printed it (with alterations) in the Reliques. The Story of the ballad represents that Darnley was murdered by way of revenge for his participation in the murder of Riccio; that Mary sent for Darnley to come to Scotland, and that she was finally banished by the Regent. All of these statements, and several minor ones, contain as much truth as may be expected in a ballad of this kind. Mary escaped from Lochleven Castle on May 2, 1568, and found refuge in England on the 16th. The ballad was doubtless written shortly afterwards. On March 24, 1579, a 'ballad concerninge the murder of the late Kinge of Scottes' was licensed to Thomas Gosson, a well-known printer of broadsides.

There are here put in juxtaposition three versions in ballad-form of the same story, though fragmentary in the two latter cases, not only because each is good, but to show the possibilities of variation in a popular story. There is yet another ballad, Erlinton, printed by Sir Walter Scott in the Minstrelsy, embodying an almost identical tale. Earl Brand preserves most of the features of a very ancient story with more exactitude than any other traditional ballad. But in this case, as in too many others, we must turn to a Scandinavian ballad for the complete form of the story. A Danish ballad, Ribold and Guldborg, gives the fine tale thus:-- Ribold, a king's son, in love with Guldborg, offers to carry her away 'to a land where death and sorrow come not, where all the birds are cuckoos, where all the grass is leeks, where all the streams run with wine.' Guldborg is willing, but doubts whether she can escape the strict watch kept over her by her family and by her betrothed lover. Ribold disguises her in his armour and a cloak, and they ride away. On the moor they meet an earl, who asks, 'Whither away?' Ribold answers that he is taking his youngest sister from a cloister. This does not deceive the earl, nor does a bribe close his mouth; and Guldborg's father, learning that she is away with Ribold, rides with his sons in pursuit. Ribold bids Guldborg hold his horse, and prepares to fight; he tells her that, whatever may chance, she must not call on him by name. Ribold slays her father and some of her kin and six of her brothers; only her youngest brother is left: Guldborg cries, 'Ribold, spare him,' that he may carry tidings to her mother. Immediately Ribold receives a mortal wound. He ceases fighting, sheathes his sword, and says to her, 'Wilt thou go home to thy mother again, or wilt thou follow so sad a swain?' And she says she will follow him. In silence they ride on. 'Why art not thou merry as before?' asks Guldborg. And Ribold answers, 'Thy brother's sword has been in my heart.' They reach his house: he calls for one to take his horse, another to fetch a priest; for his brother shall have Guldborg. But she refuses. That night dies Ribold, and Guldborg slays herself and dies in his arms. A second and even more dramatic ballad, Hildebrand and Hilde, tells a similar story.

The Text is that given by Percy in the Reliques (1765), with the substitution of w for initial qu, and y for initial z, as in Young Waters (see p. 146). In the fourth edition of the Reliques Percy states that 'this curious song was transmitted to the editor by Sir David Dalrymple, Bart., late Lord Hailes.' Percy's adoption of antique spelling in this ballad has caused some doubt to be thrown on its authenticity; but there is also a version Son Davie, given in his Minstrelsy by Motherwell, who, in referring to the version in the Reliques, said there was reason for believing that Lord Hailes 'made a few slight verbal improvements in the copy he transmitted, and altered the hero's name to Edward, a name which, by the bye, never occurs in a Scottish ballad except where allusion is made to an English king.' The Story has a close parallel in Swedish, the form of the ballad remaining in dialogue.

The Text is that of Scott's Minstrelsy, 'chiefly from the recitation of an old woman.' Scott names the ballad 'Lord Thomas and Fair Annie,' adding to the confusion already existing with 'Lord Thomas and Fair Annet.' The Story.--Fair Annie, stolen from the home of her father, the Earl of Wemyss, by 'a knight out o'er the sea,' has borne seven sons to him. He now bids her prepare to welcome home his real bride, and she meekly obeys, suppressing her tears with difficulty. Lord Thomas and his new-come bride hear, through the wall of their bridal chamber, Annie bewailing her lot, and wishing her seven sons had never been born. The bride goes to comfort her, discovers in her a long-lost sister, and departs, thanking heaven she goes a maiden home. Of this ballad, Herd printed a fragment in 1769, some stanzas being incorporated in the present version. Similar tales abound in the folklore of Scandinavia, Holland, and Germany. But, three hundred years older than any version of the ballad, is the lay of Marie de France, Le Lai de Freisne; which, nevertheless, is only another offshoot of some undiscovered common origin.

'Ouvre ta port', Germin', c'est moi qu'est ton mari.' 'Donnez-moi des indic's de la premi're nuit, Et par l' je croirai que vous et's mon mari.'

The Text is taken from Scott's Minstrelsy of the Scottish Border (1802), vol. i. pp. 72-79, omitting the tedious Part I. Another of many versions may be found in Sir John Sinclair's Statistical Account of Scotland, vol. xiii. pp. 275-6, about the year 1794; fourteen stanzas, corresponding to most of Scott's two parts. The Story of the ballad is given in the two above-mentioned books from tradition as follows. Fair Helen, of the clan of Irving or Bell, favoured Adam Fleming (Fleeming) with her love; another suitor, whose name is said to have been Bell, was the choice of the lady's family and friends. The latter lover becoming jealous, concealed himself in the bushes of the banks of the Kirtle, which flows by the kirkyard of Kirconnell, where the true lovers were accustomed to walk. Being discovered lurking there by Helen, he levelled his carbine at Adam Fleming. Helen, however, threw herself into her lover's arms, and received the bullet intended for him: whereupon he slew his rival. He went abroad to Spain and fought against the infidels, but being still inconsolable, returned to Kirconnell, perished on Helen's grave, and was buried beside her. The tombstone, bearing a sword and a cross, with Hic jacet Adamus Fleming, is still (says Scott) shown in the churchyard of Kirconnell. The Flemings were a family belonging to Kirkpatrick-Fleming, a parish in Dumfries which includes Kirconnell.

The Text.--Of seven or eight variants of this ballad, only three preserve the full form of the story. On the whole, the one here given--from Sharp's Ballad Book, as sung by an old woman in Perthshire--is the best, as the other two--from Herd's Scots Songs, and the Kinloch MSS.--are slightly contaminated by extraneous matter. The Story is a simple ballad-tale of 'true-love twinned'; but the episode of the dancing forms a link with a number of German and Scandinavian ballads, in which compulsory dancing and horse-riding is made a test of the guilt of an accused maiden. In the Scotch ballad the horse-riding has shrunk almost to nothing, and the dancing is not compulsory. The resemblance is faint, and the barbarities of the Continental versions are happily wanting in our ballad. FAIR JANET

The Text is from a broadside in the Douce Ballads, with a few unimportant corrections from other stall-copies, as printed by Percy and Ritson. The Story is much the same as Lord Thomas and Fair Annet, except in the manner of Margaret's death. None of the known copies of the ballad are as early in date as The Knight of the Burning Pestle (a play by Beaumont and Fletcher, first produced, it is said, in 1611), in which the humorous old Merrythought sings two fragments of this ballad; stanza 5 in Act II. Sc. 8, and the first two lines of stanza 2 in Act III. Sc. 5. As there given, the lines are slightly different.

The Text is from Lovely Jenny's Garland, as given with emendations by Professor Child. There is also a curiously perverted version in Herd's manuscript, in which the verses require rearrangement before becoming intelligible. The Story can be gathered from the version here given without much difficulty. It turns on the marriage of Fair Mary, who is one of seven sisters fated to die of their first child. Fair Mary seems to be a fatalist, and, after vowing never to marry, accepts as her destiny the hand of Sir William Fenwick of Wallington. Three-quarters of a year later she sends to fair Pudlington for her mother. Her mother is much affected at the news (st. 22), and goes to Wallington. Her daughter, in travail, lays the blame on her, cuts open her side to give birth to an heir, and dies. In a Breton ballad Pontplancoat thrice marries a Marguerite, and each of his three sons costs his mother her life.

The Text is from Alexander Fraser Tytler's Brown MS., which was also the source of Scott's version in the Minstrelsy. One line (31.1), closely resembling a line in Lady Wardlaw's forged ballad Hardyknute, caused Sir Walter to investigate strictly the authenticity of the ballad, but the evidence of Lady Douglas, that she had learned the ballad in her childhood, and could still repeat much of it, removed his doubts. It is, however, quite possible, as Professor Child points out, 'that Mrs. Brown may unconsciously have adopted this verse from the tiresome and affected Hardyknute, so much esteemed in her day.' The Story.--In The Complaynt of Scotlande (1549) there is mentioned a tale 'how the King of Estmure Land married the King's daughter of Westmure Land,' and it has been suggested that there is a connection with the ballad. This is another of the ballads of which the English form has become so far corrupted that we have to seek its Scandinavian counterpart to obtain the full form of the story. The ballad is especially popular in Denmark, where it is found in twenty-three manuscripts, as follows:--

The Text is from Thomas Deloney's Pleasant History of John Winchcomb,[1] the eighth edition of which, in 1619, is the earliest known. 'In disgrace of the Soots,' says Deloney, 'and in remembrance of the famous atchieved historie, the commons of England made this song, which to this day is not forgotten of many.' I suspect it was Deloney himself rather than the commons of England who made this song. A variant is found in Additional MS. 32,380 in the British Museum--a statement which might be of interest if it were not qualified by the addition 'formerly in the possession of J. Payne Collier.' That egregious antiquary took the pains to fill the blank leaves of a sixteenth-century manuscript with ballads either copied from their original sources, as this from Deloney, or forged by Collier himself; he then made a transcript in his own handwriting (Add. MS. 32,381), and finally printed selections. In the present ballad he has inserted two or three verses of his own; otherwise the changes from Deloney's ballad are slight. [Footnote 1: Reprinted from the ninth edition of 1633 by J. O. Halliwell [-Phillipps], 1859, where the ballad appears on pp. 48-9. Deloney's book was licensed in 1597.] A very long ballad on the same subject is in the Percy Folio, and similar copies in Harleian MSS. 293 and 367. Another is 'Scotish Field,' also in the Percy Folio.

The Text is from Johnson's Museum, communicated by Robert Burns. The Story.--Some editors have identified the hero of the ballad with George Gordon, fourth earl of Huntly, but upon what grounds it is difficult to see. There are two English broadside ballads, of the first and second halves respectively of the seventeenth century, which are either the originals of, or copies from, the Scottish ballad, which exists in many variants. The earlier is concerned with 'the death of a worthy gentleman named George Stoole,' 'to a delicate Scottish tune,' and the second is called 'The Life and Death of George of Oxford. To a pleasant tune, called Poor Georgy.' One of the Scottish versions has a burden resembling that of 'George Stoole.'

The Text is from Herd's Ancient and Modern Scots Songs (1769), which is almost identical with a copy in Johnson's Museum. Another variant, also given in the Museum, was contributed by Burns, who made it shorter and more dramatic. The Story of this farcical ballad has long been popular in many lands, European and Oriental, and has been introduced as an episode in English, French, and German plays. A close parallel to the ballad may be found in Straparola, Day VIII., first story. GET UP AND BAR THE DOOR

Ther herde I pleyen on an harpe That souned bothe wel and sharpe, Orpheus ful craftely,

The Text is from Sharpe's Ballad Book (1823). It is an extremely popular ballad in Scotland. The Story.--Lady Jean Melville (in other versions Jean of Bethelnie, in Aberdeenshire), scarce sixteen years old, falls in love at first sight with Glenlogie, and tells him her mind. But he is already engaged, and Lady Jean takes to her care-bed. Her father offers the consolation, usual in such cases, of another and a richer husband. Jean, however, prefers the love of Glenlogie to the euphony of Drumfendrich, and gets her father's chaplain to write a letter to Glenlogie, which is so well indited that it moves him to tears, and all ends happily. GLENLOGIE

The Text is from a copy taken down from North Devon tradition by the Rev. S. Baring Gould, and printed by Child; since when other versions have been found still in circulation in England. A Sussex version, though perhaps derived from a Catnach broadside, is given in the Journal of the Folk-Song Society, vol. i. 162. The Story.--This ballad is undoubtedly a degenerate version of the preceding, Sir Andrew Barton, of which name, as Child says, Henry Martyn would be no extraordinary corruption. It is given here as an instance of the fate which awaits a popular ballad in the process of being sung to pieces. HENRY MARTYN

The Text is from Motherwell's MS., written from the recitation of a Mrs. King of Kilbarchan. The Story of the ballad is a mere remnant of the story told in the Gest of King Horn, preserved in three manuscripts, the oldest of which belongs to the thirteenth century. Similar stories are given in a French romance of the fourteenth century, and an English manuscript of the same date. The complete story in the Gest may be condensed as follows:-- Horn, son of Murry, King of Suddenne, was captured by Saracens, who killed his father, and turned him and his twelve companions adrift in a boat, which was eventually beached safely on the coast of Westerness, and Ailmar the king took them in and brought them up. Rymenhild his daughter, falling in love with Horn, offered herself to him. He refused, unless she would make the king knight him. She did so, and again claimed his love; but he said he must first prove his knighthood. She gave him a ring set with stones, such that he could never be slain if he looked on it and thought of her. His first feat was the slaying of a hundred heathens; then he returned to Rymenhild. Meanwhile, however, one of his companions had told the king that Horn meant to kill him and wed his daughter. Ailmar ordered Horn to quit his court; and Horn, having told Rymenhild that if he did not come back in seven years she might marry another, sailed to the court of King Thurston in Ireland, where he stayed for seven years, performing feats of valour with the aid of Rymenhild's ring.

The Text of the ballad is here given from Kinloch's MSS., where it is in the handwriting of John Hill Burton when a youth. The text of the song Waly, waly, I take from Ramsay's Tea-Table Miscellany. The song and the ballad have become inextricably confused, and the many variants of the former contain a greater or a smaller proportion of verses apparently taken from the latter. The Story of the ballad as here told is nevertheless quite simple and straightforward. It is spoken in the first person by the daughter of the Earl of Mar. (She also says she is sister to the Duke of York, 7.4, a person often introduced into ballads.) Blacklaywood, the lady complains, has spoken calumniously of her to her lord, and she leaves him, saying farewell to her children, and taking her youngest son with her. The ballad is historical in so far as that Lady Barbara Erskine, daughter of the Earl of Mar, was married in 1670 to James, second Marquis of Douglas, and was formally separated from him in 1681. Further, tradition puts the blame of the separation on William Lawrie, factor to the Marquis, often styled the laird of Blackwood ('Blacklaywood,' 2.3), from his wife's family estate.

The Text is from Ravenscroft's Deuteromelia (1609), the only text that has come down to us of a 'three-man's song' which achieved extraordinary popularity during' the seventeenth century. The Story.--'Good King John of France' is presumed to be John II., who was taken prisoner at the battle of Poictiers and died in 1364. But the earliest literary reference to this ballad occurs in the play of Gammar Gurton's Needle, acted in 1566, where the song 'I cannot eat but little meat' is to be sung 'to the tune of John Dory.' From Carew's Survey of Cornwall (1602) we learn a little more: 'Moreover, the prowess of one Nicholas, son to a widow near Foy [Fowey], is descanted upon in an old three-man's song, namely, how he fought bravely at sea with John Dory (a Genowey, as I conjecture), set forth by John, the French king, and, after much bloodshed on both sides, took, and slew him, in revenge of the great ravine and cruelty which he had fore committed upon the Englishmen's goods and bodies.' JOHN DORY

'He is weil kend, Johne of the Syde, A greater theif did never ryde.' Sir Richard Maitland.

The Text of this popular and excellent ballad is given from the Jamieson-Brown MS. It was copied, with wilful alterations, into Scott's Abbotsford MS. called Scottish Songs. Professor Child prints sixteen variants of the ballad, nearly all from manuscripts. The Story of the duel with the Italian is given with more detail in other versions. In two ballads from Motherwell's MS., where 'the Italian' becomes 'the Tailliant' or 'the Talliant,' the champion jumps over Johney's head, and descends on the point of Johney's sword. This exploit is paralleled in a Breton ballad, where the Seigneur Les Aubrays of St. Brieux is ordered by the French king to combat his wild Moor, who leaps in the air and is received on the sword of his antagonist. Again, in Scottish tradition, James Macgill, having killed Sir Robert Balfour about 1679, went to London to procure his pardon, which Charles II. offered him on the condition of fighting an Italian gladiator. The Italian leaped once over James Macgill, but in attempting to repeat this manoeuvre was spitted by his opponent, who thereby procured not only his pardon, but also knighthood. JOHNEY SCOT

The Text is taken from Wit Restor'd, 1658, where it is called A Northern Ballet. From the same collection comes the version of Little Musgrave and Lady Barnard given in First Series, p. 19. The version popularly known as Johnny Armstrong's Last Good-Night, so dear to Goldsmith, and sung by the Vicar of Wakefield, is a broadside found in most of the well-known collections. The Story of the ballad has the authority of more than one chronicle, and is attributed to the year 1530. James V., in spite of the promise 'to doe no wrong' in his large and long letter, appears to have been incensed at the splendour of 'Jonn''s' retinue. It seems curious that the outlaw should have been a Westmoreland man; but the Cronicles of Scotland say that 'from the Scots border to Newcastle of England, there was not one, of whatsoever estate, but paid to this John Armstrong a tribute, to be free of his cumber, he was so doubtit in England.' Jonn''s offer in the stanza 16.3,4, may be compared to the similar feat of Sir Andrew Barton. JOHNIE ARMSTRONG

The Text is taken almost entirely from a copy which was sent in 1780 to Bishop Percy by a Miss Fisher of Carlisle; in the last half of the first stanza her version gives, unintelligibly: 'But little knew he that his bloody hounds Were bound in iron bands':

The Text is given from a thirteenth-century MS. in the library of Trinity College, Cambridge (B. 14, 39): it is thus the earliest text of any ballad that we possess. In the MS. it is written in long lines, four (or six, as in 4, 12, and 14) to the stanza. As the language in which it is written is not easily intelligible, I have added a paraphrase on the opposite pages. The Story is of great interest, as it adds to the various legends of Judas a 'swikele' sister. The treachery of Judas has long been popularly explained (from the Gospel of St. John, xii. 3-6) as follows:-- Judas, being accustomed as bearer of the bag to take a tithe of all moneys passing through his hands, considered that he had lost thirty pence on the ointment that might have been sold for three hundred pence, and so took his revenge.

The Text is from Herd's MSS., two copies showing a difference of one word and a few spellings. Stt. 3 and 5 are interchanged for the sake of the sense. Many copies of this ballad exist (Child prints a dozen), but this one is both the shortest and simplest. The Story.--In The Cruel Brother (First Series, p. 76) it was shown that a lover must 'speak to the brother' of his lady. Here the lesson, it seems, is that he must 'tell the lass herself' before her wedding-day. Katharine, however, not only proves her faith to her first lover (her 'grass-green' dress, 10.2, shows an ill-omened marriage), but prefers the Scot to the Southron. This lesson the ballad drives home in the last two verses.

The Text is that given (nearly literatim) by Buchan and Motherwell, and also in the MSS. of the latter. The Story.--This adventure of Owyne (Owain, 'the King's son Urien,' Ywaine, etc.), with the subsequent transformation, has a parallel in an Icelandic saga. Rehabilitation in human shape by means of a kiss is a common tale in the Scandinavian area; occasionally three kisses are necessary. A similar ballad, now lost, but re-written by the contributor, from scraps of recitation by an old woman in Berwickshire, localises the story of the fire-drake ('the laidly worm') near Bamborough in Northumberland; and Kinloch said that the term 'Childe o' Wane' was still applied by disconsolate damsels of Bamborough to any youth who champions them. However, Mr. R. W. Clark of Bamborough, who has kindly made inquiries for me, could find no survival of this use.

The Text here printed is taken from Percy's Reliques (1765), vol. ii. p. 302, etc. He compiled his ballad from a broadside and another copy, Kinge John and Bishoppe, that he found in his Folio MS.; and since he made it a much more readable ballad than either of his originals, it is reproduced here. The Story.--Riddles asked by a monarch of one of his dependants, and answered by a third person assuming the guise of the person questioned, form the subject of many ancient tales. In Sacchetti's Novelle we find both the abbot and his representative, a miller, who answers Bernab' Visconti the four questions, How far is it to heaven? How much water is there in the sea? What is going on in hell? What is the value of my person? The answers to the first two of these are given simply in large numbers and Bernab' told to measure for himself if he does not believe them. The value of Bernab''s person is estimated, as in our ballad, at one piece less than our Lord. Another favourite question in these ballads is, Where is the centre of the earth? The answer is given by the man planting his staff and saying, 'Here: prove it wrong if you can.'

The Text was derived from Mr. Biot Edmondston's memory of a ballad sung to him by an old man in Unst, Shetland. In the version sung, he notes, there were no stanzas to fill the obvious gap in the story after the first; but that after the fourth and the eighth stanzas, there had been certain verses which he had forgotten. In the first instance, these related that the lady had been carried off by fairies, and that the king, going in search of her, saw her one day among a company that passed into a castle on the hillside. After the eighth stanza, the ballad related that a messenger appeared behind the grey stone, and invited the king in. The refrain is a startling instance of phonetic tradition, the words being repeated by rote long after the sense has been forgotten. It appears that the two lines are Unst pronunciation of Danish, and that they mean, respectively, 'Early green's the wood,' and 'Where the hart goes yearly.' In this connection, compare Arthur Edmondston's A View of the Ancient and Present State of the Zetland Islands (1809), vol. i. p. 142: 'The island of Unst was its [pure Norse] last abode; and not more than thirty years ago several individuals there could speak it fluently.' See also Rev. Dr. Barry's History of the Orkney Islands (1805), Appendix No. X., pp. 484-490, a ballad of thirty-five quatrains in Norse as spoken in the Orkneys, the subject of which is a contest between a King of Norway and an Earl of Orkney, who had married the King's daughter, in her father's absence, and without his consent.

The Text.--There is only one text of this ballad, and that was printed by Scott in the Minstrelsy from 'tradition in the West Borders'; he adds that 'some conjectural emendations have been absolutely necessary,' a remark suspicious in itself; and such modernities as the double rhymes in 26.3, 28.3, etc., do not restore confidence. The Story.--The forcible entry into Carlisle Castle and the rescue of William Armstrong, called Will of Kinmouth, took place on April 13, 1596; but Kinmont Willie was notorious as a border thief at least as early as 1584. The events leading up to the beginning of the ballad were as follow: 'The keen Lord Scroop' was Warden of the West-Marches of England, and 'the bauld Buccleuch' (Sir Walter Scott of Branxholm, or 'Branksome Ha',' 8.2) was the Keeper of Liddesdale. To keep a periodical day of truce, these two sent their respective deputies, the 'fause Sakelde' (or Salkeld) and a certain Robert Scott. In the latter's company was Kinmont Willie. Business being concluded, Kinmont Willie took his leave, and made his way along the Scottish side of the Liddel river, which at that point is the boundary between England and Scotland. The English deputy and his party spied him from their side of the stream; and bearing an ancient grudge against him as a notorious cattle-lifter and thief, they pursued and captured him, and he was placed in the castle of Carlisle.

The Text of this little ballad is given from Bell's Ancient Poems, Ballads, and Songs of the Peasantry of England. It should be compared with Lord Lovel. LADY ALICE

The Text is taken from Buchan's Ballads of the North of Scotland, where it is entitled The Gowans sae gay. This ballad is much better known in another form, May Colvin (Collin, Collean). The Story.--Professor Child says, 'Of all ballads this has perhaps obtained the widest circulation,' and devotes thirty-two pages to its introduction. Known in the south as well as in the north of Europe, the Germans and Scandinavians preserve it in fuller and more ancient forms than the Latin nations. In the still popular Dutch ballad Halewijn, Heer Halewijn sings so sweetly that the king's daughter asks leave to go to him. Her father, mother, and sister remind her that those who have gone to him have never returned; her brother says he does not care where she goes, if she retains her honour. She makes an elaborate toilet, takes the best horse in the king's stables, and joins Halewijn in the wood. They ride till they come to a gallows with many women hanged upon it. Halewijn offers her the choice of the means of her death, because she is fairest of all. She says she will choose the sword, but that Halewijn had better take off his coat, as it would be a pity to splash it with her blood. As he takes it off, she cuts off his head, which, however, continues to talk, suggesting she should blow his horn to warn his friends. She does not fall into this rather obvious trap, nor will she agree to his suggestion that she should rub his neck with a certain ointment. As she rides home, she meets Halewijn's mother, and tells her he is dead. She is received back with great honour and affection in her father's castle.

The Text.--From the Jamieson-Brown MS. All the other variants agree as to the main outline of the ballad. The Story.--Lady Maisry, refusing the young lords of the north country, and saying that her love is given to an English lord, is suspected by her father's kitchy-boy, who goes to tell her brother. He charges her with her fault, reviles her for 'drawing up with an English lord,' and commands her to renounce him. She refuses, and is condemned to be burned. A bonny boy bears news of her plight to Lord William, who leaps to boot and saddle; but he arrives too late to save her, though he vows vengeance on all her kin, and promises to burn himself last of all. Burning was the penalty usually allotted in the romances to a girl convicted of unchastity.

The Text is from Jamieson's Popular Ballads. He obtained it from Mrs. Brown. It is by far the best version of a score or so in existence. The name of the hero varies from Lamkin, Lankin, Lonkin, etc., to Rankin and Balcanqual. I have been informed by Andrew McDowall, Esq., of an incomplete version in which Lamkin's name has become 'Bold Hang'em.' Finlay (Scottish Ballads) remarks:-- 'All reciters agree that Lammikin, or Lambkin, is not the name of the hero, but merely an epithet.' The Story varies little throughout all the versions, though in some, as in one known to Percy, it lacks much of the detail here given.

The Text here given is the version printed, with very few variations, in Wit Restor'd, 1658, Wit and Drollery, 1682, Dryden's Miscellany, 1716, etc. The Percy Folio contains a fragmentary version, consisting of some dozen stanzas. Child says that all the Scottish versions are late, and probably derived, though taken down from oral tradition, from printed copies. As recompense, we have the Scotch Bonny Birdy. The Story would seem to be purely English. That it was popular long before the earliest known text is proved by quotations from it in old plays: as from Fair Margaret and Sweet William. Merrythought in The Knight of the Burning Pestle (1611) sings from this ballad a version of stanza 14, and Beaumont and Fletcher also put quotations into the mouths of characters in Bonduca (circ. 1619) and Monsieur Thomas (circ. 1639). Other plays before 1650 also mention it. The reader should remember, once for all, that burdens are to be repeated in every verse, though printed only in the first.

The Text is from Kinloch's MSS. He obtained it from Mearnsshire, and remarks that according to the tradition of that district the heroine was said to have been a daughter of Lindsay of Edzell, though he had searched in vain for genealogical confirmation of the tradition. The Story.--'Ballads of this description,' says Professor Child, 'are peculiarly liable to interpolation and debasement.' In this version the most offending stanza is the tenth; and the extra two lines in stt. 22 and 24 also appear to be unnecessary. The anapaestic metre of this version should be noted. The ballad was and is a great favourite with singers, and the tune may be found in several of the collections of Scottish songs.

The Text is taken from Motherwell's Minstrelsy, a similar version being given in Maidment's North Countrie Garland. A few alterations from the latter version are incorporated. The Story bears tokens of confusion with Lady Maisry in some of the variants of either, but here the tragedy is that the bridegroom is brother to the lover. The end of this ballad in all its forms is highly unnatural in its style: why should Maisery's remorse at having been such an expense to Lord Ingram be three times as great as her grief for the loss of her lover? It is by no means romantic. LORD INGRAM AND CHIEL WYET

'It is silly sooth, And dallies with the innocence of love, Like the old age.'

The Text is from the Glenriddell MSS., and is the one on which Sir Walter Scott based the version given in the Border Minstrelsy. Byron notes in the preface to Childe Harold that 'the good-night in the beginning of the first canto was suggested by Lord Maxwell's Goodnight in the Border Minstrelsy.' The Story.--John, ninth Lord Maxwell, killed Sir James Johnstone in 1608; the feud between the families was of long standing (see 3.4), beginning in 1585. Lord Maxwell fled the country, and was sentenced to death in his absence. On his return in 1612 he was betrayed by a kinsman, and beheaded at Edinburgh on May 21, 1613. This was the end of the feud, which contained cases of treachery and perfidy on both sides. 'Robert of Oarchyardtoun' was Sir Robert Maxwell of Orchardton, Lord Maxwell's cousin.

The Text is from Scott's Minstrelsy of the Scottish Border (1803). Other forms give the name as Lord Ronald, but Scott retains Randal on the supposition that the ballad originated in the death of 'Thomas Randolph, or Randal, Earl of Murray, nephew to Robert Bruce, and governor of Scotland,' who died at Musselburgh in 1332. The Story of the ballad is found in Italian tradition nearly three hundred years ago, and also occurs in Dutch, German, Swedish, Danish, Magyar, Wendish, etc. Certain variants of the ballad bear the title of The Croodlin Doo, and the 'handsome young man' is changed for a child, and the poisoner is the child's step-mother. Scott suggests that this change was made 'to excite greater interest in the nursery.' In nearly all forms of the ballad, the poisoning is done by the substitution of snakes ('eels') for fish, a common method amongst the ancients of administering poison.

The Text is from Percy's Reliques (vol. ii., 1765: vol. iii., 1767). In the latter edition he also gives the English version of the ballad earlier in the same volume. The Story.--This ballad, as it is one of the most beautiful, is also one of the most popular. It should be compared with Fair Margaret and Sweet William, in which the forlorn maid dies of grief, not by the hand of her rival. A series of Norse ballads tell much the same tale, but in none is the 'friends' will' a crucial point. Chansons from Burgundy, Bretagne, Provence, and northern Italy, faintly echo the story.

The Text given here is from Sharpe's Ballad Book (1824). Professor Child collected and printed some twenty-eight variants and fragments, of which none is entirely satisfactory, as regards the telling of the story. The present text will suit our purpose as well as any other, and it ends impressively with the famous pathetic verse of the four Maries. The Story.--Lesley in his History of Scotland (1830) says that when Mary Stuart was sent to France in 1548, she had in attendance 'sundry gentlewomen and noblemen's sons and daughters, almost of her own age, of the which there were four in special of whom everyone of them bore the same name of Mary, being of four sundry honourable houses, to wit, Fleming, Livingston, Seton, and Beaton of Creich.' The four Maries were still with the Queen in 1564. Hamilton and Carmichael appear in the ballad in place of Fleming and Livingston. Scott attributed the origin of the ballad to an incident related by Knox in his History of the Reformation: in 1563 or 1564 a Frenchwoman was seduced by the Queen's apothecary, and the babe murdered by consent of father and mother. But the cries of a new-born babe had been heard; search was made, and both parents were 'damned to be hanged upon the public street of Edinburgh.'

Text.-- The Percy Folio is the sole authority for this excellent ballad, and the text of the MS. is therefore given here literatim, in preference to the copy served up 'with considerable corrections' by Percy in the Reliques. I have, however, substituted a few obvious emendations suggested by Professor Child, giving the Folio reading in a footnote. The Story is practically identical with that of Little Musgrave and Lady Barnard; but each is so good, though in a different vein, that neither could be excluded. The last stanza narrates the practice of burning a cross on the flesh of the right shoulder when setting forth to the Holy Land--a practice which obtained only among the very devout or superstitious of the Crusaders. Usually a cross of red cloth attached to the right shoulder of the coat was deemed sufficient.

The Text is from Herd's MSS., as given by Professor Child to form a regular sequence. The ballad also exists in an English broadside form. The Story of the ballad has a close counterpart in Flemish Belgium, and in southern France. The German variants, however, have a curious history. The English broadside ballad was translated into German by F. W. Meyer in 1789, and in this form gained such popularity that it was circulated not only as a broadside, but actually in oral tradition,--with the usual result of alteration. Its vogue was not confined to Germany, but spread to Hungary and Scandinavia, a Swedish broadside appearing within ten years of Meyer's translation. OUR GOODMAN

The Text is modernised from the only known version, in Sloane MS. 2593, in the British Museum (c. 1450); the minstrel's song-book which contains the famous carols: 'I sing of a maiden,' and 'Adam lay i-bounden.' This ballad was first printed by Ritson in his Ancient Songs (1790); but he misunderstood the phrase 'Robyn lyth' in the burden for the name 'Robin Lyth,' and ingeniously found a cave on Flamborough Head called Robin Lyth's Hole. The Story is similar to those told of Robin Hood and Little John; but there is no ground for identifying this Robin with Robin Hood. Wright, in printing the Sloane MS., notes that 'Gandeleyn' resembles Gamelyn, whose 'tale' belongs to the pseudo-Chaucerian literature. But we can only take this ballad to be, like so many others, an unrelated 'relique.' ROBIN AND GANDELEYN

The Text.--The only text of this ballad is in the Percy Folio, from which it is here rendered in modern spelling. Although the original is written continuously, it is almost impossible not to suspect an omission after 2.2. Child points out, however, that the abrupt transition is found in other ballads (see Adam Bell, 2.2), and Hales and Furnivall put 2.3,4 in inverted commas as part of Robin's relation of his dream. Percy's emendation was: 'The woodweete sang, and wold not cese, Sitting upon the spraye,

The Text is modernised from a MS. in the University Library, Cambridge (MS. Ff. v. 48), which belongs to the middle of the fifteenth century. We have also a single leaf of another MS. version, of about the same date, preserved amongst the Bagford Ballads in the British Museum, but this contains a bare half-dozen stanzas. The Story might be called a counterpart to Robin Hood and Guy of Gisborne, inasmuch as it has Little John for its hero, and relates how he set his master free, although Robin had lost his temper with him in the morning. A most unfortunate hiatus after 30.2 prevents us from learning how Robin's fate was reported to his men; but as it stands it is a perfect ballad, straightforward, lively, and picturesque. The first five stanzas, which make a delightful little lyric in themselves, breathe the whole spirit of the greenwood. ROBIN HOOD AND THE MONK

The Text is modernised, as far as is possible, from a MS. of about 1500 in the University Library at Cambridge (Ee. 4, 35). The ballad was first printed therefrom by Ritson in his Robin Hood (1795), vol. i. p. 81, on the whole very accurately, and with a few necessary emendations. He notes that the scribe was evidently 'a vulgar and illiterate person' who 'irremediably corrupted' the ballad. In several places, however, a little ingenuity will restore a lost rhyme. The Story, of an outlaw disguising himself in order to gain information from his enemies, is common to the legends of Hereward the Saxon, Wallace, Eustace the monk, and Fulk Fitz Warine, the first three of whom assumed the guise of a potter at one time or another. The ballad of Robin Hood and the Butcher is a tale similar to this; and part of the Play of Robin Hood is based on this ballad (see Introduction, p. xxiii.).

The Text is modernised from the Percy Folio MS. (c. 1650). At two points, after 8.3 and 18.2, half a page of the MS., or about nine stanzas, is missing--torn out and 'used by maids to light the fire' in Humphry Pitt's house, where Percy discovered the volume (see Introduction, First Series, xxxix.). At the end another half-page is lacking, but Child thinks that it represents only a few verses. He also indicates a lacuna after st. 4, though none appears in the MS. The Story of this version, mutilated as it is, agrees in its main incidents with that given at the end of the Gest (stt. 451-455). Another variant, Robin Hood's Death and Burial, extant in two or three eighteenth-century 'Garlands,' but none the less of good derivation, gives no assistance at either hiatus, and we are left with a couple of puzzles. The opening of the ballad, stt. 1-6, should be compared with Robin Hood and the Monk, stt. 6-10, where Much takes Will Scarlett's place. Robin, shooting for a penny with Little John along the way, comes to a black water with a plank across it, and an old woman on the plank is cursing Robin Hood. He has been already reminded by Scarlett that he has a yeoman foe at Kirklees; but neither the banning of the witch, nor the weeping of others ('We,' 9.3), presumably women, deter him. The explanation of the witch is lost.

The Text is taken from the same manuscript as the last. This manuscript is ascribed, from the style of handwriting, to the reign of Henry VI. The ballad is there written without division into stanzas in twenty-four long lines. The Story.--The miraculous resuscitation of a roast fowl (generally a cock, as here), in confirmation of an incredible prophecy, is a tale found in nearly all European countries. Originally, we find, the miracle is connected with the Passion, not the Nativity. See the Carnal and the Crane. An interpolation in a late Greek MS. of the apocryphal Gospel of Nicodemus relates that Judas, having failed to induce the Jews to take back the thirty pieces of silver, went home to hang himself, and found his wife roasting a cock. On his demand for a rope to hang himself, she asked why he intended to do so; and he told her he had betrayed his master Jesus to evil men, who would kill him; yet he would rise again on the third day. His wife was incredulous, and said, 'Sooner shall this cock, roasting over the coals, crow again'; whereat the cock napped his wings and crew thrice. And Judas, confirmed in the truth, straightway made a noose in the rope, and hanged himself.

The Text is taken from the Percy Folio MS., but the spelling is modernised. There is another version, extant in broadsides to be found in nearly all the large collections; this, when set beside the Folio MS. text, provides a remarkable instance of the loss a ballad sustained by falling into the hands of the broadside-printers. The present text, despite the unlucky hiatus after st. 35, is a splendid example of an English ballad, which cannot be earlier than the sixteenth century. There is a fine rhythm throughout, and, as Child says, 'not many better passages are met with in ballad poetry than that which tells of the three gallant attempts on the mainmast tree (stt. 52-66).' The Story told in the ballad is a piece of history, and belongs originally to the beginning of the sixteenth century. Andrew Barton was one of three sons of John Barton, a Scots trader whose ship had been plundered by the Portuguese in 1476; letters of reprisal were granted to the brothers Barton, and renewed to them in 1506 'as no opportunity had occurred of effectuating a retaliation.' It seems, however, that this privilege was abused, at least by Andrew, who was reported in June 1511 to Henry VIII. as seizing English ships under the pretext that they were Portuguese. The king did not send Lord Charles Howard, as the ballad states--Lord Charles was not born till twenty-five years afterwards--but Sir Thomas and Sir Edward Howard set out against the pirate by Henry's leave. They took two ships, not one, the meeting with Henry Hunt (st. 18) being the ballad-maker's invention. Lord Charles's fraudulent use of the 'white flag' in st. 37 is supported by Bishop Lesley's partisan account of the engagement, written c. 1570. The time-scheme of the ballad is unusually vague: it begins 'in midsummer-time,' and the punitive expedition starts on 'the day before midsummer even'--i.e. June 19, which agrees with the chronicles. The fight takes place within the week; but Lord Charles does not get home until December 29 (st. 71). Hall's chronicle says that they returned on August 2. Lord Charles Howard was created Earl of Nottingham in 1596; but the adoption of this into the ballad (st. 78) dates only our text. It is quite probable that it existed in a previous version with names and facts more correctly stated.

The Text given here is comparatively a late one, from the Roxburghe collection (iii. 456). An earlier broadside, in the same and other collections, gives a longer but curiously corrupted version, exhibiting such perversions as 'Screw' for 'Scroop,' and 'Garlard' for 'Carlisle.' The Story in its full form relates that Sir Hugh in the Grime (Hughie Graeme or Graham) stole a mare from the Bishop of Carlisle, by way of retaliation for the Bishop's seduction of his wife. He was pursued by Lord Scroop, taken, and conveyed to Carlisle and hanged. Scott suggested that Hugh Graham may have been one of four hundred Borderers accused to the Bishop of Carlisle of various murders and thefts about 1548.

The Text is given from Jamieson's Popular Ballads, as taken down by him from Mrs. Brown's recitation. The Story of the ballad is told at length in at least two ancient monastic records; in the Annals of the Monastery of Waverley, the first Cistercian house in England, near Farnham, Surrey (edited by Luard, vol. ii. p. 346, etc., from MS. Cotton Vesp, A. xvi. fol. 150, etc.); more fully in the Annals of the Monastery at Burton-on-Trent, Staffordshire (edited by Luard, vol. i. pp. 340, etc., from MS. Cotton Vesp. E. iii. fol. 53, etc.). Both of these give the date as 1255, the latter adding July 31. Matthew Paris also tells the tale as a contemporary event. The details may be condensed as follows. All the principal Jews in England being collected at the end of July 1255 at Lincoln, Hugh, a schoolboy, while playing with his companions (jocis ac choreis) was by them kidnapped, tortured, and finally crucified. His body was then thrown into a stream, but the water, tantam sui Creatoris injuriam non ferens, threw the corpse back on to the land. The Jews then buried it; but it was found next morning above-ground. Finally it was thrown into a well, which at once was lit up with so brilliant a light and so sweet an odour, that word went forth of a miracle. Christians came to see, discovered the body floating on the surface, and drew it up. Finding the hands and feet to be pierced, the head ringed with bleeding scratches, and the body otherwise wounded, it was at once clear to all tanti sceleris auctores detestandos fuisse Judaeos, eighteen of whom were subsequently hanged.

The Text is from Motherwell's Minstrelsy (1827). It is based on a stall-copy, presumably similar to one preserved by Sir Walter Scott at Abbotsford, combined with a version from recitation, which Child none the less calls 'well remembered from print.' The Story has no historical foundation, as far as can be discovered; and for once we have a traditional tale inculcating a moral, though we do not understand why the 'nourice' betrays Sir James to his enemies. Michael Bruce wrote a version of the story of this ballad, which seems to have become more popular than the ballad itself. It may be seen in A. B. Grosart's edition of his works (1865), p. 197.

The Text is taken from Percy's Reliques (1765), vol. i. p. 71, 'given from two MS. copies, transmitted from Scotland.' Herd had a very similar ballad, which substitutes a Sir Andrew Wood for the hero. The version of this ballad printed in most collections is that of Scott's Minstrelsy, Sir Patrick Spens being the spelling adopted.[1] Scott compounded his ballad of two manuscript copies and a few verses from recitation, but the result is of unnecessary length. [Footnote 1: Coleridge, however, wrote of the 'grand old ballad of Sir Patrick Spence.'] The Story.--Much labour has been expended upon the question whether this ballad has an historical basis or not. From Percy's ballad--the present text--we can gather that Sir Patrick Spence was chosen by the king to convey something of value to a certain destination; and later versions tell us that the ship is bound for Norway, the object of the voyage being either to bring home the king of Norway's daughter, or the Scottish king's daughter, or to take out the Scottish king's daughter to be queen in Norway. The last variation can be supported by history, Margaret, daughter of Alexander III. of Scotland, being married in 1281 to Erik, king of Norway. Many of the knights and nobles who accompanied her to Norway were drowned on the voyage home.

=all' ' toi pr'tista le'n genet' 'ugeneios, autar epeita drak'n kai pardalis 'de megas sus; gigneto d' hugron hud'r kai dendreon hupsipet'lon.=

The Text is from Ravenscroft's Deuteromelia (1609), reprinted almost verbatim in Tom Durfey's Pills to Purge Melancholy. The Story was sufficiently popular not only to have been revived, at the end of the seventeenth century, but to have had three other 'Parts' added to it, the whole four afterwards being combined into one broadside. In similar Spanish, Portuguese, and French ballads, the damsel escapes by saying she is a leper, or the daughter of a leper, or otherwise diseased. Much the same story is told in Danish and German ballads.

The Text is formed by a collation of six broadsides printed between 1672 and 1700: they do not, however, present many variations. Here, if anywhere, one would demand licence to make alterations and improvements. In stanza 12 the rhymes are almost certainly misplaced; and the last stanza is quite superfluous. It would be much more in keeping with ballad-style to end with the twelfth, and many of the variants now sung conclude thus. This ballad is still extremely popular, and not only has it been included in many selections and song-books, but it is also still in oral tradition. The Story is simple and pre-eminently in the popular vein. Counterparts exist elsewhere in the languages derived from Latin, and in Romaic. THE BAILIFF'S DAUGHTER OF ISLINGTON

The Text is from Alexander Laing's Scarce Ancient Ballads (1822). A similar version occurs in Buchan's Gleanings (1825). Professor Gummere, in printing the first text, omits six stanzas, on the assumption that they represent part of a second ballad imperfectly incorporated. But I think the ballad can be read as it stands below, though doubtless 'his ladie's' remark, st. 11, is out of place. The Story seems to be a combination of at least two. An old Baron of Brackley, 'an honest aged man,' was slain in 1592 by 'caterans' or freebooters who had been entertained hospitably by him. In 1666 John Gordon of Brackley began a feud with John Farquharson of Inverey by seizing some cattle or horses--accounts differ--by way of fines due for taking fish out of season. This eventually led to the slaying of Brackley and certain of his adherents. Professor Child suspects a commixture of the two episodes in the one ballad, or more probably, a grafting of a later ballad on to an earlier one. The character of the Baron as revealed in the ballad more closely resembles that of the 1592 episode, while the details of the fray are in keeping with the later story.

The Text of this ballad was sent to Professor Child by Mr. C. E. Dalrymple of Kinaldie, Aberdeenshire, from whose version the printed variants (Notes and Queries, Third Series, vii. 393, and Aytoun's Ballads of Scotland, i. 75) have been more or less directly derived. The ballad is one of those mentioned in The Complaynt of Scotland (1549), like the 'Hunttis of Chevet' (see p. 2 of this volume). It is again mentioned as being in print in 1668; but the latter may possibly refer to a poem on the battle, afterwards printed in Allan Ramsay's Evergreen. The fact that the present ballad omits all reference to the Earl of Mar, and deals with the Forbes brothers, who are not otherwise known to have taken part in the battle, disposes Professor Child to believe that it is a comparatively recent ballad. The Story.--The battle of Harlaw was fought on July 24, 1411. Harlaw is eighteen miles north-west of Aberdeen, Dunidier a hill on the Aberdeen road, and Netherha' is close at hand. Balquhain (2.2) is a mile south of Harlaw, while Drumminnor (15.3) is more than twenty miles away--though the horse covered the distance there and back in 'twa hours an' a quarter' (16.3).

The Text is given mainly from the Cotton MS., Cleopatra C. iv. (circa 1550). It was printed by Percy in the fourth edition of the Reliques; in the first edition he gave it from Harleian MS. 293, which text also is made use of here. A separate Scottish ballad was popular at    least as early as 1549, and arguments to prove that it was derived from the English ballad are as inconclusive as those which seek to prove the opposite. The Story.--The battle of Otterburn was fought on Wednesday, August 19, 1388. The whole story is given elaborately by Froissart, in his usual lively style, but is far too long to be inserted here. It may, however, be condensed as follows. The great northern families of Neville and Percy being at variance owing to the quarrels of Richard II. with his uncles, the Scots took the advantage of preparing a raid into England. Earl Percy, hearing of this, collected the Northumbrian powers; and, unable to withstand the force of the Scots, determined to make a counter-raid on the east or west of the border, according as the Scots should cross. The latter, hearing of the plan through a spy, foiled it by dividing their army into two parts, the main body under Archibald Douglas being directed to Carlisle. Three or four hundred picked men-at-arms, with two thousand archers and others, under James, Earl of Douglas, Earl of March and Dunbar, and the Earl of Murray, were to aim at Newcastle, and burn and ravage the bishopric of Durham. With the latter alone we are now concerned.

Text.--From the Jamieson-Brown MS. Jamieson, in printing this ballad, enlarged and rewrote much of it, making the burden part of the dialogue throughout. The Story is much the same as that of Little Musgrave and Lady Barnard; but the ballad as a whole is worthy of comparison with the longer English ballad for the sake of its lyrical setting. THE BONNY BIRDY

The Text is given from Allan Ramsay's Tea-Table Miscellany, where it first appeared in the tenth edition (1740) in vol. iv. pp. 356-7. Child had not seen this, and gave his text from the eleventh edition of 1750. There is, however, scarcely any difference. The Story of the murder of the Earl of Murray by the Earl of Huntly in February 1592 is found in several histories and other accounts:-- The History of the Church of Scotland (1655) by John Spottiswoode, Archbishop of Glasgow and of St. Andrews: History of the Western Highlands and Isles of Scotland (1836) by Donald Gregory: The History and Life of King James (the Sixth), ed. T. Thomson, Bannatyne Club, (1825): Extracts from the Diarey of R[obert] B[irrel], Burges of Edinburgh (? 1820): and Sir Walter Scott's Tales of a Grandfather. The following condensed account may suffice:--James Stewart, son of Sir James Stewart of Doune ('Down,' 6.2), Earl of Murray by his marriage with the heiress of the Regent Murray, 'was a comely personage, of a great stature, and strong of body like a kemp,' whence he was generally known as the Bonny Earl of Murray. In the last months of 1591, a rumour reached the King's ears that the Earl of Murray had assisted in, or at least countenanced, the attack recently made on Holyrood House by Stewart, Earl of Bothwell; and Huntly was commissioned to arrest Murray and bring him to trial. Murray, apprehended at Donibristle (or Dunnibirsel), his mother the Lady Doune's house, refused to surrender to his feudal enemy the Earl of Huntly, and the house was fired. Murray, after remaining behind the rest of his party, rushed out and broke through the enemy, but was subsequently discovered (by the plumes on his headpiece, which had caught fire) and mortally wounded. Tradition says that Huntly was compelled by his followers to incriminate himself in the deed, and struck the dying Murray in the face, whereat the bonny Earl said, 'You have spoiled a better face than your own.' THE BONNY EARL OF MURRAY

Text.--The Percy Folio is the sole authority for this excellent lively ballad. It is here given as it stands in the manuscript, except for division into stanzas. Percy printed the ballad 'verbatim,'--that is, with emendations--and also a revised version. The Story, which exists in countless variations in many lands, is told from the earliest times in connection with the Arthurian legend-cycle. Restricting the article used as a criterion of chastity to a mantle, we find the elements of this ballad existing in French manuscripts of the thirteenth century (the romance called Cort Mantel); in a Norse translation of this 'fabliau'; in the Icelandic Mantle Rhymes of the fifteenth century; in the Scalachronica of Sir Thomas Gray of Heton (circ. 1355); in Germany, and in Gaelic (a ballad known in Irish writings, but not in Scottish); as well as in many other versions. The trial by the drinking-horn is a fable equally old, as far as the evidence goes, and equally widespread; but it is not told elsewhere in connection with the parallel story of the mantle. Other tests used for the purpose of discovering infidelity or unchastity are:-- a crown, a magic bridge (German); a girdle (English; cp. Florimel's girdle in the Faery Queen, Book iv. Canto 5); a bed, a stepping-stone by the bedside, a chair (Scandinavian); flowers (Sanskrit); a shirt (German and Flemish); a picture (Italian, translated to England--cp. Massinger's The Picture (1630), where he localises the story in Hungary); a ring (French); a mirror (German, French, and Italian); and so forth.

The Text was communicated to Percy by Dr. Robertson of Edinburgh, but it did not appear in the Reliques. In 9.1, 'Then' is doubtless an interpolation, as are the words 'Now Douglas' in 11.1 But on the whole it is the best text of the fifteen or twenty variants. The Story.--James Hogg and Sir Walter Scott referred the ballad to two different sources, the former legendary, and the latter historical. It has always been very popular in Scotland, and besides the variants there are in existence several imitations, such as the well-known poem of William Hamilton, 'Busk ye, busk ye, my bonny bonny bride.' This was printed in vol. ii. of Percy's Reliques.

The Text is taken from Scott's Minstrelsy (1803). It would be of great interest if we could be sure that the reference to 'Hive Hill' in 8.1 was from genuine Scots tradition. In Wager's comedy The Longer thou Lived the more Fool thou art (about 1568) Moros sings a burden:-- 'Brome, brome on hill, The gentle brome on hill, hill,

The Text of this ballad was taken down before the end of the nineteenth century by the Rev. S. Baring Gould, from a blacksmith at Thrushleton, Devon. The Story is a simple little tale which recalls Barbara Allen, Clerk Sanders, Lord Thomas and Fair Annet, and others. I have placed it here for contrast, and in illustration of the disdain of 'brown' maids. THE BROWN GIRL

The Text is taken from Sandys' Christmas Carols, where it is printed from a broadside. The only alterations, in which I have followed Professor Child, are the obvious correction of 'east' for 'west' (8.1), and the insertion of one word in 16.2, where Child says 'perhaps a preposition has been dropped.' The Story is compounded of popular legends connected with the life and miracles of Christ. For the miracle of the cock, see Saint Stephen and King Herod. The adoration of the beasts is derived from the Historia de Nativitate Mari', and is repeated in many legends of the infancy of Christ, but is not sufficiently remarkable in itself to be popular in carols. The origin of the miracle of the harvest is unknown, though in a Breton ballad it forms one of the class known as the miracles of the Virgin (cp. Brown Robyn's Confession). Swedish, Proven'al, Catalan, Wendish, and Belgian folk-tales record similar legends. It is much to be regretted that this ballad, which from internal evidence (e.g. the use of the word 'renne,' 1.2) is to be attributed to an early age, should have become so incoherent and corrupted by oral tradition. No manuscript or printed copy is known earlier than about 1750, when it occurs in broadside form. The very word 'Carnal' has lapsed from the dictionaries, though somewhere it may survive in speech. Stanza 17 is obviously out of place; one may suspect gaps on either side, for surely more beasts than the 'lovely lion' were enumerated, and a new section begins at stanza 18.

The Text.--As this carol consists of two parts, the first containing the actual story of the cherry-tree, and the second consisting of the angel's song to Joseph, I have taken the first part (stt. 1-12 inclusive) from the version of Sandys (Christmas Carols), and the second (stt. 13-17) from W. H. Husk's Songs of the Nativity. The Story of the cherry-tree is derived from the Pseudo-Matthew's gospel, and is also to be found in the fifteenth of the Coventry Mysteries. In other languages the fruit chosen is naturally adapted to the country: thus in Proven'al it is an apple; elsewhere (as in the original), dates from the palm-tree; and again, a fig-tree. The second part is often printed as a separate carol, and might well stand alone. Readers of Westward Ho! will remember how Amyas Leigh trolls it forth on Christmas Day. Traditional versions are still to be heard in Somerset and Devon.

There are here put in juxtaposition three versions in ballad-form of the same story, though fragmentary in the two latter cases, not only because each is good, but to show the possibilities of variation in a popular story. There is yet another ballad, Erlinton, printed by Sir Walter Scott in the Minstrelsy, embodying an almost identical tale. Earl Brand preserves most of the features of a very ancient story with more exactitude than any other traditional ballad. But in this case, as in too many others, we must turn to a Scandinavian ballad for the complete form of the story. A Danish ballad, Ribold and Guldborg, gives the fine tale thus:-- Ribold, a king's son, in love with Guldborg, offers to carry her away 'to a land where death and sorrow come not, where all the birds are cuckoos, where all the grass is leeks, where all the streams run with wine.' Guldborg is willing, but doubts whether she can escape the strict watch kept over her by her family and by her betrothed lover. Ribold disguises her in his armour and a cloak, and they ride away. On the moor they meet an earl, who asks, 'Whither away?' Ribold answers that he is taking his youngest sister from a cloister. This does not deceive the earl, nor does a bribe close his mouth; and Guldborg's father, learning that she is away with Ribold, rides with his sons in pursuit. Ribold bids Guldborg hold his horse, and prepares to fight; he tells her that, whatever may chance, she must not call on him by name. Ribold slays her father and some of her kin and six of her brothers; only her youngest brother is left: Guldborg cries, 'Ribold, spare him,' that he may carry tidings to her mother. Immediately Ribold receives a mortal wound. He ceases fighting, sheathes his sword, and says to her, 'Wilt thou go home to thy mother again, or wilt thou follow so sad a swain?' And she says she will follow him. In silence they ride on. 'Why art not thou merry as before?' asks Guldborg. And Ribold answers, 'Thy brother's sword has been in my heart.' They reach his house: he calls for one to take his horse, another to fetch a priest; for his brother shall have Guldborg. But she refuses. That night dies Ribold, and Guldborg slays herself and dies in his arms. A second and even more dramatic ballad, Hildebrand and Hilde, tells a similar story.

These two ballads must be considered together, as the last six verses (18-23) of The Clerk's Twa Sons, as here given, are a variant of The Wife of Usher's Well. Texts.--The Clerk's Twa Sons is taken from Kinloch's MSS., in the handwriting of James Chambers, as it was sung to his grandmother by an old woman. The Wife of Usher's Well is from Scott's Minstrelsy of the Scottish Border, and however incomplete, may well stand alone.

The Text is that obtained in 1800 by Alexander Fraser Tytler from Mrs. Brown of Falkland, and by him committed to writing. The first ten and the last two stanzas show corruption, but the rest of the ballad is in the best style. The Story emphasises the necessity of asking the consent of a brother to the marriage of his sister, and therefore the title The Cruel Brother is a misnomer. In ballad-times, the brother would have been well within his rights; it was rather a fatal oversight of the bridegroom that caused the tragedy. Danish and German ballads echo the story, though in the commonest German ballad, Graf Friedrich, the bride receives an accidental wound, and that from the bridegroom's own hand.

The Text is given from Motherwell's Minstrelsy, earlier versions being only fragmentary. The Story has a close parallel in a Danish ballad; and another, popular all over Germany, is a variation of the same theme, but in place of the mother's final doom being merely mentioned, in the German ballad she is actually carried away by the devil. In a small group of ballads, the penknife appears to be the ideal weapon for murder or suicide. See the Twa Brothers and the Bonny Hind.

The Text is from Kinloch's MSS., 'from the recitation of T. Kinnear, Stonehaven.' Child remarks of it that 'probably by the fortunate accident of being a fragment' it 'leaves us to put our own construction upon the weird seaman; and, though it retains the homely ship-carpenter, is on the whole the most satisfactory of all the versions.' The Story is told more elaborately in a broadside, and resembles Enoch Arden in a certain degree. James Harris, a seaman, plighted to Jane Reynolds, was captured by a press-gang, taken overseas, and, after three years, reported dead and buried in a foreign land. After a respectable interval, a ship-carpenter came to Jane Reynolds, and eventually wedded her, and the loving couple had three pretty children. One night, however, the ship-carpenter being on a three days' journey, a spirit came to the window, and said that his name was James Harris, and that he had come to take her away as his wife. She explains that she is married, and would not have her husband know of this visit for five hundred pounds. James Harris, however, said he had seven ships upon the sea; and when she heard these 'fair tales,' she succumbed, went away with him, and 'was never seen no more.' The ship-carpenter on his return hanged himself. Scott's ballad in the Minstrelsy spoils its own effect by converting the spirit into the devil. An American version of 1858 tells the tale of a 'house-carpenter' and his wife, and alters 'the banks of Italy' to 'the banks of old Tennessee.'

The Text.--There are two texts available for this ballad, of which the second one, here given, was said to have been taken down from the singing of an old woman by James Telfer of Liddesdale, and was so printed in Richardson's Borderers' Table Book (1846). It preserves almost the whole of the other version, taken from Robert White's papers, who recorded it in 1829; but it obviously bears marks of having been tampered with by Telfer. However, it contains certain stanzas which Child says may be regarded as traditional, and it is therefore preferred here. The Story.--Percival or Parcy Reed was warden of the district round Troughend, a high tract of land in Redesdale. In the discharge of his duties he incurred the enmity of the family of Hall of Girsonsfield (two miles east of Troughend) and of some moss-troopers named Crosier. As the ballad shows, the treachery of the Halls delivered Parcy Reed into the Crosiers' hands at a hut in Batinghope, a glen westward of the Whitelee stream. Local tradition adds to the details narrated in the ballad that Parcy's wife had been warned by a dream of her husband's danger, and that on the following morning his loaf of bread happened to be turned upside down--a very bad omen. Further, we learn from the same source, the Crosiers' barbarous treatment of Parcy's corpse aroused the indignation of the neighbourhood, and they and the treacherous Halls were driven away.

There are here put in juxtaposition three versions in ballad-form of the same story, though fragmentary in the two latter cases, not only because each is good, but to show the possibilities of variation in a popular story. There is yet another ballad, Erlinton, printed by Sir Walter Scott in the Minstrelsy, embodying an almost identical tale. Earl Brand preserves most of the features of a very ancient story with more exactitude than any other traditional ballad. But in this case, as in too many others, we must turn to a Scandinavian ballad for the complete form of the story. A Danish ballad, Ribold and Guldborg, gives the fine tale thus:-- Ribold, a king's son, in love with Guldborg, offers to carry her away 'to a land where death and sorrow come not, where all the birds are cuckoos, where all the grass is leeks, where all the streams run with wine.' Guldborg is willing, but doubts whether she can escape the strict watch kept over her by her family and by her betrothed lover. Ribold disguises her in his armour and a cloak, and they ride away. On the moor they meet an earl, who asks, 'Whither away?' Ribold answers that he is taking his youngest sister from a cloister. This does not deceive the earl, nor does a bribe close his mouth; and Guldborg's father, learning that she is away with Ribold, rides with his sons in pursuit. Ribold bids Guldborg hold his horse, and prepares to fight; he tells her that, whatever may chance, she must not call on him by name. Ribold slays her father and some of her kin and six of her brothers; only her youngest brother is left: Guldborg cries, 'Ribold, spare him,' that he may carry tidings to her mother. Immediately Ribold receives a mortal wound. He ceases fighting, sheathes his sword, and says to her, 'Wilt thou go home to thy mother again, or wilt thou follow so sad a swain?' And she says she will follow him. In silence they ride on. 'Why art not thou merry as before?' asks Guldborg. And Ribold answers, 'Thy brother's sword has been in my heart.' They reach his house: he calls for one to take his horse, another to fetch a priest; for his brother shall have Guldborg. But she refuses. That night dies Ribold, and Guldborg slays herself and dies in his arms. A second and even more dramatic ballad, Hildebrand and Hilde, tells a similar story.

The Text is from a broadside in black letter in the Pepysian Library at Cambridge; bound up at the end of a book published in 1673. The Story of this ballad but poorly represents the complete form of the story as exhibited in many German and other ballads, where alternate bargaining and riddling ensues between a man and a maid. This long series of ballads is akin to the still longer series in which the person upon whom an impossible task is imposed is considered to have got the mastery by retaliating with another impossible task. The opening stanzas of this ballad correspond closely with those of Lady Isabel and the Elf-Knight.

The Text is taken from the Introduction to Motherwell's Minstrelsy, p. lxxiv. The Story appears to be a conversation between a wee boy and the devil, the latter under the guise of a knight. The boy will be carried off unless he can 'have the last word,' a charm of great power against all evil spirits. A very similar ballad, of repartees between an old crone and a wee boy, was found at the Lappfiord, Finland.

The Text is from Motherwell's Minstrelsy. He received the ballad from Charles Kirkpatrick Sharp. In Maidment's North Countrie Garland there is a similar version with a number of small verbal differences. The Story.--Frendraught in Aberdeenshire, and Rothiemay in Banffshire, lie on opposite sides of the Deveron, which separates the counties. A feud began (as the result of a dispute over fishing rights) between Crichton of Frendraught and Gordon of Rothiemay, and in a fight on the first day of the year 1630, Rothiemay and others were killed. Kinsmen of both parties were involved; and though the broil was temporarily settled, another soon sprang up. The Lord John of the ballad was Viscount Melgum, the second son of the Marquis of Huntly, who was appealed to as a peacemaker between the factions of Leslie and Crichton. Lord John and Rothiemay were sent by the Marquis to escort Frendraught to his home, a precaution rendered necessary by the knowledge that the Leslies were in ambuscade. Arrived at Frendraught, the laird and lady entreated the two young men to remain the night, and eventually prevailed on them to do so. However (though it was long disputed whether the fire was an accident or not), it seems that the ancient grudge against Rothiemay moved Frendraught to sacrifice 'a great quantity of silver, both coined and uncoined,' in the firing of his house for the sake of burning Rothiemay.

The Text is taken from Buchan's MSS., the Scots version being rather more condensed than the corresponding English broadside. There is a reference to this ballad in Munday's Downfall of Robert, Earl of Huntington (1598); but earlier still, Skelton hints at it in Colyn Cloute. The Story can be paralleled in French, Danish, and Persian ballads and tales, but is simple enough to have been invented by almost any people. Compare also the story of The Wright's Chaste Wife by Adam of Cobsam, E.E.T.S., 1865, ed. F. J. Furnivall. THE FRIAR IN THE WELL

The Text of this pretty little song is taken from Kinloch's MSS., where it is in James Beattie's handwriting. In Five Excellent New Songs, printed at Edinburgh in 1766, there is an older but much corrupted version of this song, confused with two other songs, a 'Thyme' song and the favourite 'I sowed the seeds of love.' It is printed as two songs, The New Lover's Garland and The Young Maid's Answer, both with the following refrain:-- 'Brave sailing here, my dear, And better sailing there,

The Text is from the Jamieson-Brown MS., on which version Scott drew partly for his ballad in the Minstrelsy. Mrs. Brown recited the ballad again to William Tytler in 1783, but the result is now lost, with most of the other Tytler-Brown versions. The Story.--One point, the maid's feint of death to escape from her father to her lover, is the subject of a ballad very popular in France; a version entitled Belle Isambourg is printed in a collection called Airs de Cour, 1607. Feigning death to escape various threats is a common feature in many European ballads. It is perhaps needless to remark that no goshawk sings sweetly, much less talks. In Buchan's version (of forty-nine stanzas) the goshawk is exchanged for a parrot.

The Text is from Motherwell's MS., a copy from tradition in Renfrewshire in 1825. The ballad exists both in English and Scottish, and though the English ballad is probably derived from the Scottish, it was the first in print. It is also called Johnnie Faa. Motherwell, in printing an elaborated version of the following text (Minstrelsy, 1827, p. 360), called it Gypsie Davy. The Story.--Singers--presumably gipsies--entice Lady Cassillis down to hear them, and cast glamour on her. She follows their chief, Gipsy Davy, but finds (stt. 5 and 6) that the conditions are changed. Her lord misses her, seeks her 'thro' nations many,' and finds her drinking with the gipsy chief. He asks her to return home with him. At this point the present version becomes difficult, and the bearing of st. 12 is not apparent. We may gather that the lady returned home with her husband, as he proceeded to hang sixteen of the gipsies. This version calls the lady 'Jeanie Faw,' but the majority call the gipsy chief Johnnie Faa, which is a well-known name amongst gipsies, and occurs as early as 1540 as the name of the 'lord and earl of Little Egypt.' Gipsies being expelled from Scotland by Act of Parliament in 1609, a Captain Johnn' Faa and seven others were hanged in 1624 for disobeying the ordinance, and this execution is sufficient to account for the introduction of the name into a ballad of this kind.

The Text was communicated to the Society of Antiquaries of Scotland by Captain F. W. L. Thomas, who took it down from the dictation of an old woman of Shetland. The Story is concerned with the Finn-myth. The Finns live in the depths of the sea. 'Their transfiguration into seals seems to be more a kind of deception they practise. For the males are described as most daring boatmen, with powerful sweep of the oar, who chase foreign vessels on the sea.... By means of a "skin" which they possess, the men and the women among them are able to change themselves into seals. But on shore, after having taken off the wrappage, they are, and behave like, real human beings.... Many a Finn woman has got into the power of a Shetlander, and borne children to him; but if the Finn woman succeeded in re-obtaining her sea-skin, or seal-skin, she escaped across the water' (Karl Blind in the Contemporary Review, September 1881, pp. 399-400). The same writer, in quoting a verse of this ballad, says, 'Sh'ol Skerry means Seal's Isle.' The whole article is of great interest. 'G. S. L.,' the author of Shetland Fireside Tales, or the Hermit of Trosswickness (1877), remarks: 'The belief that witches and wizards came from the coast of Norway disguised as seals was entertained by many of the Shetland peasantry even so late as the beginning of the present century.' He goes on to prove the supernatural character of seals by relating an exploit of his own, in which a gun pointed at a seal refused to go off.

The Text is taken from the Percy Folio, but I have modernised the spelling. For the Reliques Percy made a ballad out of the Folio version combined with 'a modern ballad on a similar subject,' a broadside entitled The Drunkard's Legacy, thus producing a very good result which is about thrice the length of the Folio version. The Scottish variant was noted by Motherwell and Buchan, but previous editors--Herd, Ritson, Chambers, Aytoun--had used Percy's composition. The Story.--There are several Oriental stories which resemble the ballad as compounded by Percy from The Drunkard's Legacy. In most of these--Tartar, Turkish, Arabic, Persian, etc.--the climax of the story lies in the fact that the hero in attempting to hang himself by a rope fastened to the ceiling pulls down a hidden treasure. There is, of course, no such episode in The Heir of Linne, but all the stories have similar circumstances, and the majority present the moral aspect of unthriftiness, and of friends deserting a man who loses his wealth.

The Text here given is that of a MS. in the Bodleian Library (Ashmole 48) of about the latter half of the sixteenth century. It was printed by Hearne, and by Percy in the Reliques, and the whole MS. was edited by Thomas Wright for the Roxburghe Club in 1860. In this MS. The Hunting of the Cheviot is No. viii., and is subscribed 'Expliceth, quod Rychard Sheale.' Sheale is known to have been a minstrel of Tamworth, and it would appear that much of this MS. (including certain poems, no doubt his own) is in his handwriting--probably the book belonged to him. But the supposition that he was author of the Hunting of the Cheviot, Child dismisses as 'preposterous in the extreme.' The other version, far better known as Chevy Chase, is that of the Percy Folio, published in the Reliques, and among the Pepys, Douce, Roxburghe, and Bagford collections of ballads. For the sake of differentiation this may be called the broadside form of the ballad, as it forms a striking example of the impairment of a traditional ballad when re-written for the broadside press. Doubtless it is the one known and commented on by Addison in his famous papers (Nos. 70 and 74) in the Spectator (1711), but it is not the one referred to by Sir Philip Sidney in his Apologie. Professor Child doubts if Sidney's ballad, 'being so evill apparelled in the dust and cobwebbes of that uncivill age,' is the traditional one here printed, which is scarcely the product of an uncivil age; more probably Sidney had heard it in a rough and ancient form, 'sung,' as he says, 'but by some blind crouder, with no rougher voyce than rude stile.' 'The Hunttis of the Chevet' is mentioned as one of the 'sangis of natural music of the antiquite' sung by the shepherds in The Complaynt of Scotland, a book assigned to 1549. The Story.--The Hunting of the Cheviot is a later version of the Battle of Otterburn, and a less conscientious account thereof. Attempts have been made to identify the Hunting with the Battle of Piperden (or Pepperden) fought in 1436 between a Percy and a Douglas. But the present ballad is rather an unauthenticated account of an historical event, which made a great impression on the public mind. Of that, its unfailing popularity on both sides of the Border, its constant appearance in broadside form, and its inclusion in every ballad-book, give the best witness.

The Text is from a manuscript at Balliol College, Oxford, No. 354, already referred to in the First Series (p. 80) as supplying a text of The Nut-brown Maid. The manuscript, which is of the early part of the sixteenth century, has been edited by Ewald Fl'gel in Anglia, vol. xxvi., where the present ballad appears on pp. 278-9. I have only modernised the spelling, and broken up the lines, as the ballad is written in two long lines and a short one to each stanza. No other text is known to me. The volume of Anglia containing the ballad was not published till 1903, some five years after Professor Child's death; and I believe he would have included it in his collection had he known of it. The Story narrates the subjugation of a proud lady who scorns all her wooers, by a juggler who assumes the guise of a knight. On the morrow the lady discovers her paramour to be a churl, and he is led away to execution, but escapes by juggling himself into a meal-bag: the dust falls in the lady's eye.

The Text is given here from Kinloch's MSS. He gives also three other versions and various fragments. The tale is also found amongst the Roxburghe Ballads, as The Beautifull Shepherdesse of Arcadia, in two broadsides printed about 1655 and 1680. This is the only English version extant. But earlier than any text of the ballad is a quotation from it in John Fletcher's The Pilgrim, iv. 2 (1621). The Scots versions, about a dozen in number, are far more lively than the broadside. Buchan printed two, of sixty and sixty-three stanzas respectively. Another text is delightfully inconsequent:-- '"Some ca' me Jack, some ca' me John, Some ca' me Jing-ga-lee,

The Text of this mutilated ballad is taken from the Skene MS., where it was written down from recitation in the North of Scotland about 1802. The Story is of a double transformation of a sister and brother by a stepmother. Compare the story of The Marriage of Sir Gawaine (First Series, p. 108). Allison Gross should be compared closely with this ballad. The combing of hair seems to be a favourite method of expressing affection, not only in these ballads, but also in Scandinavian folklore. It is needless to take exception to the attribution either of hair to a worm, or of knees to a machrel: though we may note that in one version of Dives and Lazarus Dives 'has a place prepared in hell to sit on a serpent's knee.' However, it is probable that a part of the ballad, now lost, stated that the machrel (whatever it may be) reassumed human shape 'every Saturday at noon.' THE LAILY WORM AND THE MACHREL OF THE SEA

The Text is that of Scott's Minstrelsy, which was repeated in Motherwell's collection, with the insertion of one stanza, obtained from tradition, between Scott's 2 and 3. The Story as told in this variant of the ballad is remarkably true to the historical facts. The Laird was John Wemyss, younger of Logie, a gentleman-in-waiting to King James VI. of Scotland, and an adherent of the notorious Francis Stuart, Earl of Bothwell. After the failure of the two rash attempts of Bothwell upon the King's person--the former at Holyrood House in 1591 and the second at Falkland in 1592--the Earl persuaded the Laird of Logie and the Laird of Burleigh to join him in a third attempt, which was fixed for the 7th or 9th of August 1592; but the King got wind of the affair, and the two Lairds were seized by the Duke of Lennox and 'committed to ward within Dalkeith.'

The Text was sent to Percy in 1768 by R. Lambe of Norham. The ballad is widely known in Scotland under several titles, but the most usual is The Broom of Cowdenknows, which was the title used by Scott in the Minstrelsy. The Story is not consistently told in this version, as in 11.3,4 the daughter gives away her secret to her father in an absurd fashion. An English song, printed as a broadside about 1640, The Lovely Northerne Lasse, is directed to be sung 'to a pleasant Scotch tune, called The broom of Cowden Knowes.' It is a poor variant of our ballad, in the usual broadside style, and cannot have been written by any one fully acquainted with the Scottish ballad. It is in the Roxburghe, Douce, and other collections.

The Text is given from Scott's Minstrelsy (1803), vol. iii. pp. 83-4. His introduction states that it was obtained from recitation in the Forest of Ettrick, and that it relates to the execution of a Border freebooter, named Cokburne, by James V., in 1529. The Story referred to above may have once existed in the ballad, but the lyrical dirge as it now stands is obviously corrupted with a broadside-ballad, The Lady turned Serving-man, given with 'improvements' by Percy (Reliques, 1765, vol. iii. p. 87, etc.). Compare the first three stanzas of the Lament with stanzas 3, 4, and 5 of the broadside:-- 3.

The Text is from the Percy Folio MS., with the spelling modernised, except in two or three instances for the sake of the rhyme (13.4) or metre (102.2). Other alterations, as suggested by Child, are noted. Apart from the irregularities of metre, this ballad is remarkable for the large proportion of 'e' rhymes, which are found in 71 stanzas, or two-thirds of the whole. The redundant 'that,' which is a feature of the Percy Folio, also occurs frequently--in eleven places, three of which are in optative sentences (8.2, 14.4, 91.4). The ballad is more commonly known as The Lord of Lorne, under which title we find it registered in the Stationers' Company on October 6, 1580. Guilpin refers to it in his Skialethia (1598), Satire 1, ll. 107-108:-- '... the old ballad of the Lord of Lorne

The Text is given verbatim et literatim from John Aubrey's MS. of his Remains of Gentilisme & Judaisme (1686-7) in the Lansdowne MSS., No. 231, folio 114 recto and verso. This text has often been printed before, but always with errors. The only change made here is the placing of Aubrey's marginal notes among the footnotes: the spelling is Aubrey's spelling. The present version was obtained by Aubrey in 1686 from an informant whose father had heard it sung sixty years previously. Sir Walter Scott's text, better known than Aubrey's, presents very few variations, the chief being 'sleete' for 'fleet' in 1.3 (see below). This would seem to point to the fact that Scott obtained his version from a manuscript, and confused the antique '[s]' (= s) with 'f.' A collation, incomplete and inexact, of the two texts is given by T. F. Henderson in his edition of the Minstrelsy (1902), vol. iii. pp. 170-2. The Story.--This dirge, of course, is not a ballad in the true sense of the word. But it is concerned with myths so widespread and ancient, that as much could be written about the dirge as almost any one of the ballads proper. I have added an Appendix at the end of this volume, to which those interested in the subject may refer. For the present, the following account may suffice.

The Text is from the Percy Folio MS. The only other known text is a fragment from Sir Walter Scott's recollection, printed in C. K. Sharpe's Ballad Book. The Story is well known in the folklore of Europe, and is especially common in the Scandinavian languages. As a rule, however, all these ballads blend the story of the woman of Samaria with the traditions concerning Mary Magdalen that were extant in medi'val times. From the present ballad it could hardly be gathered (except, perhaps, from stanza 11) that the old palmer represents Christ. This point is at once obvious in the Scandinavian and other ballads.

The Text is from the early part of the Percy Folio, and the ballad is therefore deficient. Where gaps are marked in the text with a row of asterisks, about nine stanzas are lost in each case--half a page torn out by a seventeenth-century maidservant to light a fire! Luckily we can supply the story from other versions. The Story, also given in The Weddynge of Sr Gawen and Dame Ragnell (in the Rawlinson MS. c. 86 in the Bodleian Library), runs as follows:-- Shortly after Christmas, Arthur, riding by Tarn Wadling (still so called, but now pasture-land, in the forest of Inglewood), meets a bold baron, who challenges him to fight, unless he can win his ransom by returning on New Year's Day with an answer to the question, What does a woman most desire? Arthur relates the story to Gawaine, asks him and others for an answer to the riddle, and collects their suggestions in a book ('letters,' 24.1). On his way to keep his tryst with the baron, he meets an unspeakably ugly woman, who offers her assistance; if she will help him, Arthur says, she shall wed with Gawaine. She gives him the true answer, A woman will have her will. Arthur meets the baron, and after proffering the budget of answers, confronts him with the true answer. The baron exclaims against the ugly woman, whom he asserts to be his sister.

The Text is from Arnold's Chronicle, of the edition which, from typographical evidence, is said to have been printed at Antwerp in 1502 by John Doesborowe. Each stanza is there printed in six long lines. Considerable variations appear in later editions. There is also a Balliol MS. (354), which contains a contemporary version, and the Percy Folio contains a corrupt version. This should not be considered as a ballad proper; it is rather a 'dramatic lyric.' Its history, however, is quite as curious as that of many ballads. It occurs, as stated above, in the farrago known as the Chronicle of Richard Arnold, inserted between a list of the 'tolls' due on merchandise entering or leaving the port of Antwerp, and a table giving Flemish weights and moneys in terms of the corresponding English measures. Why such a poem should be printed in such incongruous surroundings, what its date or who its author was, are questions impossible to determine. Its position here is perhaps almost as incongruous as in its original place. From 3.9 to the end of the last verse but one, it is a dialogue between an earl's son and a baron's daughter, in alternate stanzas; a prologue and an epilogue are added by the author.

The Text is derived, with trivial alterations, from Herd's MSS. In the first edition of the Minstrelsy of the Scottish Border, Scott says the principal copy he employed was one 'apparently of considerable antiquity' among the papers of Mrs. Cockburn; he also made use of Herd's MS. and the Glenriddell MS. In the second edition of the Minstrelsy he made further additions, including one of three stanzas between 52 and 58 of the present version, which makes reference to an earlier Sir Walter Scott. The Story of this Scots outlaw makes tame reading after those which precede it in this volume. The ballad was inserted at the end of Child's collection only because he preferred 'to err by including rather than excluding.' He adds, 'I am convinced that it did not begin its existence as a popular ballad, and I am not convinced that (as Scott asserts) it has been for ages a popular song in Selkirkshire.' Nevertheless, it undoubtedly gained a place in popular tradition; and this, while entitling it to a place here, renders the elaborate historical investigation, to which it has been submitted since Child's edition, a waste of erudition and ingenuity. THE OUTLAW MURRAY

The Text is taken from Motherwell's MS., which contains two versions; Motherwell printed a third in his Minstrelsy,--Babylon; or, The Bonnie Banks o' Fordie. Kinloch called the ballad the Duke of Perth's Three Daughters. As the following text has no title, I have ventured to give it one. 'Outlyer' is, of course, simply 'a banished man.' The Story is much more familiar in all the branches of the Scandinavian race than in England or Scotland. In Denmark it appears as Herr Truels' Daughters or Herr Thor's Children; in Sweden as Herr Tor's' Daughters. Iceland and Faroe give the name as Torkild or Thorkell. The incidents related in this ballad took place (i) in Scotland on the bonnie banks o' Fordie, near Dunkeld; (ii) in Sweden in five or six different places; and (iii) in eight different localities in Denmark.

The Text.--As printed in Sharpe's Ballad Book, from the Skene MS. (No. 8). It is fragmentary--regrettably so, especially as stanzas 10-12 belong to Thomas Rymer. The Story is the well-known one of the abduction of a young mother to be the Queen of Elfland's nurse. Fairies, elves, water-sprites, and nisses or brownies, have constantly required mortal assistance in the nursing of fairy children. Gervase of Tilbury himself saw a woman stolen away for this purpose, as she was washing clothes in the Rhone. The genuineness of this ballad, deficient as it is, is best proved by its lyrical nature, which, as Child says, 'forces you to chant, and will not be read.'

The Text is taken from a broadside in the Pepys collection (iv. 196), which can be dated between 1682 and 1685, and is entitled Sir Walter Raleigh sailing in the Low-lands. Three other copies of the same edition of the broadside are known. The Story of the Sweet Trinity has become confused with that of the Golden Vanity (Golden Victorie, Golden Trinitie, Gold Pinnatree are variants), which is probably a corrupted form of it; indeed the weak ending of the broadside challenges any singer to improve upon it. But again there are two distinct variations of the Golden Vanity ballad. In the first class, the boy, having sunk the French galley, calls to the Golden Vanity to throw him a rope, and when it is refused, threatens to sink her too; whereupon they take him aboard and carry out all their promises of reward (which vary considerably in the different versions). In the second class, the boy dies after he is taken up from the water; in one version he sinks from exhaustion before he can be saved. The Sweet Trinity, however, has been taken by a ship of unspecified nationality ('false' might easily become corrupted into 'French'); and thus this ballad deals with three ships, while the Golden Vanity versions mention but two. The latter are still current in folk-song.

The Texts of these two variations on the same theme are taken from T. Ravenscroft's Melismata, 1611, and Scott's Minstrelsy, 1803, respectively. There are several other versions of the Scots ballad, while Motherwell prints The Three Ravens, changing only the burden. Chappell (Popular Music of the Olden Time) says of the English version that he has been 'favored with a variety of copies of it, written down from memory; and all differing in some respects, both as to words and tune, but with sufficient resemblance to prove a similar origin.' Consciously or not, the ballad, as set by him to its traditional tune, is to be sung without the threefold repetition shown by Ravenscroft, thus compressing two verses of the ballad into each repetition of the tune, and halving the length of the song. THE THREE RAVENS

The Text is from Sharpe's Ballad Book (1823). Scott included no version of this ballad in his Minstrelsy; but Motherwell and Jamieson both had traditional versions. Motherwell considered it essential that the deadly wound should be accidental; but it is far more typical of a ballad-hero that he should lose his temper and kill his brother; and, as Child points out, it adds to the pathetic generosity of the slain brother in providing excuses for his absence to be made to his father, mother, and sister. The Story.--Motherwell and Sharpe were more or less convinced that the ballad was founded on an accident that happened in 1589 to a Somerville, who was killed by his brother's pistol going off. This ballad is still in circulation in the form of a game amongst American children--the last state of more than one old ballad otherwise extinct.

Texts.--The version here given is compounded from two different sources, almost of necessity. Stanzas 1-19 were given by Scott, compounded from W. Tytler's Brown MS. and the recitation of an old woman. But at stanza 20 Scott's version becomes eccentric, and he prints such verses as:-- 'A famous harper passing by The sweet pale face he chanced to spy ...

The Text is that communicated to the Folklore Record (vol. i. p. 60) by Miss Charlotte Latham, as it was written down from recitation by a girl in Sussex (1868). The Story is so simple, and so reminiscent of other ballads, that we must suppose this version to be but a fragment of some forgotten ballad. Its chief interest lies in the setting forth of a common popular belief, namely, that excessive grief for the dead 'will not let them sleep.' Cp. Tibullus, Lib. 1. Eleg. 1, lines 67, 68:-- 'Tu Manes ne laede meos: sed parce solutis

The Text is that of Herd's MS. and his Scots Songs. Other versions vary very slightly, and this is the oldest of them. There is a fourteenth-century MS. (in the Cotton collection) containing a poem not unlike The Wee Wee Man; but there is no justification in deriving the ballad from the poem, which may be found in Ritson's Ancient Songs (1829), i. p. 40. Scott incorporates the story with The Young Tamlane.

The Text is from Motherwell's MS. He included it in the Appendix to his Minstrelsy. No other collector or editor notices the ballad--'if it ever were one,' as Child remarks. The only point to be noted is that the second stanza has crept into two versions of Hind Horn, apparently because of the resemblance of the previous stanzas, which present a mere ballad-commonplace. THE WHUMMIL BORE

1. There lived a wife at Usher's Well, And a wealthy wife was she;

The Text is from the Campbell MSS. The Story was imagined by Kinloch to possess a quasi-historical foundation: James V. of Scotland, who eventually married Madeleine, elder daughter of Francis I., having been previously betrothed 'by treaty' to Marie de Bourbon, daughter of the Duke of Vend'me, returned to Scotland in 1537. The theory is neither probable nor plausible. WILLIE O' WINSBURY

The Text is taken from Buchan's Ballads of the North of Scotland. It consists largely of familiar fragments. Stanzas 9-11 can be found in The Grey Cock. The Story is a trivial piece in Buchan's usual style; but the smiling ghost, which is female (17.1), is a delightful novelty. She assumes the position of guardian of Willie's morals, then tears him in pieces, and hangs a piece on every seat in the church, and his head over Meggie's pew! WILLIE'S FATAL VISIT

The Text is from the lost Fraser-Tytler-Brown MS., this ballad luckily having been transcribed before the MS. disappeared. Mrs. Brown recited another and a fuller version to Jamieson. The Story.--Willie's mother, a witch, displeased at her son's choice, maliciously arrests by witchcraft the birth of Willie's son. Willie's travailing wife sends him again and again to bribe the witch, who refuses cup, steed, and girdle. Here our version makes such abrupt transitions, that it will be well to explain what takes place. The Belly Blind or Billie Blin (see Young Bekie, First Series, pp. 6, 7) advises Willie to make a sham baby of wax, and invite his witch-mother to the christening. Willie does so (in stanzas lost between our 33 and 34); the witch, believing the wax-baby to be flesh and blood, betrays all her craft by asking who has loosed the knots, ta'en out the kaims, ta'en down the woodbine, etc., these being the magic rites by which she has suspended birth. Willie instantly looses the knots and takes out the kaims, and his wife presents him with a bonny young son. The story is common in Danish ballads, and occasional in Swedish. In the classics, Juno (Hera) on two occasions delayed childbirth and cheated Ilithyia, the sufferers being Latona and Alcmene. But the latest version of the story is said to have occurred in Arran in the nineteenth century. A young man, forsaking his sweetheart, married another maiden, who when her time came suffered exceedingly. A packman who chanced to be passing heard the tale and suspected the cause. Going to the discarded sweetheart, he told her that her rival had given birth to a fine child; thereupon she sprang up, pulled a large nail out of the beam, and called to her mother, 'Muckle good your craft has done!' The labouring wife was delivered forthwith. (See The Folklore Record, vol. ii. p. 117.)

The Text is taken from Buchan's Ballads of the North of Scotland, and, like nearly all Buchan's versions, exhibits traces of vulgar remoulding. This ballad in particular has lost much of the original features. Kinloch called his version Hynde Etin, Allingham his compilation Etin the Forester. The Story is given in a far finer style in romantic Scandinavian ballads. Prior translated two of them, The Maid and the Dwarf-King, and Agnes and the Merman, both Danish. The Norse ballads on this subject, which may still be heard sung, are exceptionally beautiful. Child says, 'They should make an Englishman's heart wring for his loss.' In the present version we may with some confidence attribute to Buchan the stanzas from 48 to the end, as well as 15 and 16. The preference is given to Buchan's text merely because it retains features lost in Kinloch's version.

The Text is that of the Jamieson-Brown MS., taken down from the recitation of Mrs. Brown about 1783. In printing the ballad, Jamieson collated with the above two other Scottish copies, one in MS., another a stall-copy, a third from recitation in the north of England, a fourth 'picked off an old wall in Piccadilly' by the editor. The Story has several variations of detail in the numerous versions known (Young Bicham, Brechin, Bekie, Beachen, Beichan, Bichen, Lord Beichan, Lord Bateman, Young Bondwell, etc.), but the text here given is one of the most complete and vivid, and contains besides one feature (the 'Belly Blin') lost in all other versions but one. A similar story is current in the ballad-literature of Scandinavia, Spain, and Italy; but the English tale has undoubtedly been affected by the charming legend of Gilbert Becket, the father of Saint Thomas, who, having been captured by Admiraud, a Saracen prince, and held in durance vile, was freed by Admiraud's daughter, who then followed him to England, knowing no English but 'London' and 'Gilbert'; and after much tribulation, found him and was married to him. 'Becket' is sufficiently near 'Bekie' to prove contamination, but not to prove that the legend is the origin of the ballad.

The Text is given from Scott's Minstrelsy (1803). He remarks, 'The ballad is given from tradition.' No. 29 in the Abbotsford MS., 'Scotch Ballads, Materials for Border Minstrelsy,' is Young Benjie (or Boonjie as there written) in thirteen stanzas, headed 'From Jean Scott,' and written in William Laidlaw's hand. All of this except the first stanza is transferred, with or without changes, to Scott's ballad, which is nearly twice as long. The Story of this ballad, simple in itself, introduces to us the elaborate question of the 'lyke-wake,' or the practice of watching through the night by the side of a corpse. More about this will be found under The Lyke-Wake Dirge, and in the Appendix at the end of this volume. Here it will suffice to quote Sir Walter Scott's introduction:-- 'In this ballad the reader will find traces of a singular superstition, not yet altogether discredited in the wilder parts of Scotland. The lykewake, or watching a dead body, in itself a melancholy office, is rendered, in the idea of the assistants, more dismally awful, by the mysterious horrors of superstition. In the interval betwixt death and interment, the disembodied spirit is supposed to hover around its mortal habitation, and, if provoked by certain rites, retains the power of communicating, through its organs, the cause of its dissolution. Such enquiries, however, are always dangerous, and never to be resorted to unless the deceased is suspected to have suffered foul play, as it is called.... One of the most potent ceremonies in the charm, for causing the dead body to speak, is setting the door ajar, or half open. On this account, the peasants of Scotland sedulously avoid leaving the door ajar    while a corpse lies in the house. The door must either be left wide open or quite shut; but the first is always preferred, on account of the exercise of hospitality usual on such occasions. The attendants must be likewise careful never to leave the corpse for a moment alone, or, if it is left alone, to avoid, with a degree of superstitious horror, the first sight of it.' --(Ed. 1803, vol. iii. pp. 251-2.)

The Text is given from two copies in Herd's MSS. as collated by Child, with the exception of two lines, 9.3,4, which are taken from a third and shorter copy in Herd's MSS., printed by him in the Scottish Songs. Scott's ballad, Earl Richard, is described by him as made up from the above-mentioned copies of Herd, with some trivial alterations adopted from tradition--a totally inadequate account of wholesale alterations. Scott also gives a similar ballad in Lord William. The Story.--Young Hunting, a king's son, tells a former mistress that he has a new sweetheart whom he loves thrice as well. The lady conceals her anger, plies him with wine, and slays him in his drunken sleep. Her deed unluckily is overseen by a bonny bird, whom she attempts to coax into captivity, but fails. She dresses Young Hunting for riding, and throws him into the Clyde. The king his father asks for him. She swears by corn (see First Series, Glasgerion, p. 1) that she has not seen him since yesterday at noon. The king's divers search for him in vain, until the bonny bird reminds them of the method of finding a drowned corpse by the means of candles. The lady still denies her guilt, and accuses her maid 'Catheren,' but the bonfire refuses to consume the innocent Catheren. When the real culprit is put in, she burns like hoky-gren. The discovery of a drowned body by candles is a recognised piece of folklore. Usually the candle is stuck in a loaf of bread or on a cork, and set afloat in the river; sometimes a hole is cut in a loaf of bread and mercury poured in to weight it; even a chip of wood is used. The superstition still survives. The most rational explanation offered is that as eddies in rapid streams form deep pools, in which a body might easily be caught, so a floating substance indicates the place by being caught in the centre of the eddy.

The Text is that of a copy mentioned by Percy, 'printed not long since at Glasgow, in one sheet 8vo. The world was indebted for its publication to the lady Jean Hume, sister to the Earle of Hume, who died lately at Gibraltar.' The original edition, discovered by Mr. Macmath after Professor Child's version (from the Reliques) was in print, is:-- 'Young Waters, an Ancient Scottish Poem, never before printed. Glasgow, printed and sold by Robert and Andrew Foulis, 1755.' This was also known to Maidment. Hardly a word differs from Percy's version; but here I have substituted the spellings 'wh' for Percy's 'quh,' in 'quhen,' etc., and 'y' for his 'z' in 'zoung, zou,' etc. The Story has had historical foundations suggested for it by Percy and Chambers. Percy identified Young Waters with the Earl of Murray, murdered, according to the chronicle of Sir James Balfour, on the 7th of February 1592. Chambers, in 1829, relying on Buchan's version of the ballad, had no doubt that Young Waters was one of the Scots nobles executed by James I., and was very probably Walter Stuart, second son of the Duke of Albany. Thirty years later, Chambers was equally certain that the ballad was the composition of Lady Wardlaw. In a Scandinavian ballad, Folke Lovmandson is a favourite at court; a little wee page makes the fatal remark and excites the king's jealousy. The innocent knight is rolled down a hill in a barrel set with knives--a punishment common in Scandinavian folklore.