THE BOY AND THE MANTLE

1. In the third day of May to Carleile did come A kind curteous child that cold much of wisdome.

2. A kirtle & a mantle this child had vppon, With brauches and ringes full richelye bedone.

3. He had a sute of silke, about his middle drawne; Without he cold of curtesye, he thought itt much shame.

4. 'God speed thee, King Arthur, sitting at thy meate! & the goodly Queene Gueneuer! I canott her fforgett.

5. 'I tell you lords in this hall, I hett you all heede, Except you be the more surer, is you for to dread.'

6. He plucked out of his potewer, & longer wold not dwell, He pulled forth a pretty mantle, betweene two nut-shells.

7. 'Haue thou here, King Arthure, haue thou heere of mee; Give itt to thy comely queene, shapen as itt is alreadye.

8. 'Itt shall neuer become that wiffe that hath once done amisse': Then euery knight in the King's court began to care for his wiffe.

9. Forth came dame Gueneuer, to the mantle shee her bid; The ladye shee was new-fangle, but yett shee was affrayd.

10. When shee had taken the mantle, shee stoode as she had beene madd; It was ffrom the top to the toe as sheeres had itt shread.

11. One while was itt gaule, another while was itt greene; Another while was itt wadded; ill itt did her beseeme.

12. Another while was it blacke, & bore the worst hue; 'By my troth,' quoth King Arthur, 'I thinke thou be not true.'

13. Shee threw downe the mantle, that bright was of blee, Fast with a rudd redd to her chamber can shee flee.

14. Shee curst the weauer and the walker that clothe that had wrought, & bade a vengeance on his crowne that hither hath itt brought.

15. 'I had rather be in a wood, vnder a greene tree, Then in King Arthurs court, shamed for to bee.'

16. Kay called forth his ladye, & bade her come neere; Saies, 'Madam, & thou be guiltye, I pray thee hold thee there.'

17. Forth came his ladye shortlye and anon, Boldlye to the mantle then is shee gone.

18. When shee had tane the mantle, & cast it her about, Then was shee bare all aboue the buttocckes.

19. Then euery knight that was in the Kings court Talked, laug[h]ed, & showted, full oft att that sport.

20. Shee threw downe the mantle, that bright was of blee, Ffast with a red rudd to her chamber can shee flee.

21. Forth came an old knight, pattering ore a creede, & he proferred to this litle boy 20 markes to his meede,

22. & all the time of the Christmasse willinglye to ffeede; For why this mantle might doe his wiffe some need.

23. When shee had tane the mantle, of cloth that was made, Shee had no more left on her but a tassell and a threed: Then euery knight in the Kings court bade euill might shee speed.

24. She threw downe the mantle, that bright was of blee, & fast with a redd rudd to her chamber can shee flee.

25. Craddocke called forth his ladye, & bade her come in; Saith, 'Winne this mantle, ladye, with a litle dinne.

26. 'Winne this mantle, ladye, & it shalbe thine If thou neuer did amisse since thou wast mine.'

27. Forth came Craddockes ladye shortlye & anon, But boldlye to the mantle then is shee gone.

28. When shee had tane the mantle, & cast itt her about, Vpp att her great toe itt began to crinkle & crowt; Shee said, 'Bowe downe, mantle, & shame me not for nought.

29. 'Once I did amisse, I tell you certainlye, When I kist Craddockes mouth vnder a greene tree, When I kist Craddockes mouth before he marryed mee.'

30. When shee had her shreeuen, & her sines shee had tolde, The mantle stoode about her right as shee wold,

31. Seemelye of coulour, glittering like gold; Then euery knight in Arthurs court did her behold.

32. Then spake dame Gueneuer to Arthur our king: 'She hath tane yonder mantle, not with wright but with wronge.

33. 'See you not yonder woman that maketh her selfe soe cleane? I haue seene tane out of her bedd of men fiueteene;

34. 'Preists, clarkes, & wedded men, from her by-deene; Yett shee taketh the mantle, & maketh her selfe cleane!'

35. Then spake the litle boy that kept the mantle in hold; Sayes, 'King, chasten thy wiffe; of her words shee is to bold.

36. 'Shee is a bitch & a witch, & a whore bold; King, in thine owne hall thou art a cuchold.'

37. A litle boy stoode looking ouer a dore; He was ware of a wyld bore, wold haue werryed a man.

38. He pulld forth a wood kniffe, fast thither that he ran; He brought in the bores head, & quitted him like a man.

39. He brought in the bores head, and was wonderous bold; He said there was neuer a cucholds kniffe carue itt that cold.

40. Some rubbed their k[n]iues vppon a whetstone; Some threw them vnder the table, & said they had none.

41. King Arthur & the child stood looking them vpon; All their k[n]iues edges turned backe againe.

42. Craddoccke had a litle kniue of iron & of steele; He birtled the bores head wonderous weele, That euery knight in the Kings court had a morssell.

43. The litle boy had a horne, of red gold that ronge; He said, 'There was noe cuckolde shall drinke of my horne, But he shold itt sheede, either behind or beforne.'

44. Some shedd on their shoulder, & some on their knee; He that cold not hitt his mouth put it in his eye; & he that was a cuckold, euery man might him see.

45. Craddoccke wan the horne & the bores head; His ladye wan the mantle vnto her meede; Euerye such a louely ladye, God send her well to speede!

[Annotations: 2.3: 'brauches,' brooches. 5.2: 'hett,' bid; 'heede,' MS. heate. 6.1: 'potewer.' Child says:— Read potener, French pautonniere, pouch, purse. 8.4: Perhaps the line should end with 'his,' but 'wiffe' is the last word in the manuscript. 9.3: 'new-fangle,' desirous of novelties. 11.1: 'gaule,' perhaps = gules, i.e. red. 11.3: 'wadded,' woad-coloured, i.e. blue. 13.2: 'blee,' colour. 13.3: 'rudd,' complexion. 14.1: 'walker,' fuller. 25.4: 'dinne,' trouble. 28.4: 'crowt,' pucker. 34.2: 'by-deene,' one after another. 37 and 38: Evidently some lines have been lost here, and the rhymes are thereby confused. 42.3: 'birtled,' cut up. 43.2: 'ronge,' rang.]



JOHNEY SCOT

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

1. O Johney was as brave a knight As ever sail'd the sea, An' he's done him to the English court, To serve for meat and fee.

2. He had nae been in fair England But yet a little while, Untill the kingis ae daughter To Johney proves wi' chil'.

3. O word's come to the king himsel', In his chair where he sat, That his ae daughter was wi' bairn To Jack, the Little Scott.

4. 'Gin this be true that I do hear, As I trust well it be, Ye pit her into prison strong, An' starve her till she die.'

5. O Johney's on to fair Scotland, A wot he went wi' speed, An' he has left the kingis court, A wot good was his need.

6. O it fell once upon a day That Johney he thought lang, An' he's gane to the good green wood, As fast as he coud gang.

7. 'O whare will I get a bonny boy, To rin my errand soon, That will rin into fair England, An' haste him back again?'

8. O up it starts a bonny boy, Gold yallow was his hair, I wish his mother meickle joy, His bonny love mieckle mair.

9. 'O here am I, a bonny boy, Will rin your errand soon; I will gang into fair England, An' come right soon again.'

10. O whan he came to broken briggs, He bent his bow and swam; An' whan he came to the green grass growan, He slaikid his shoone an' ran.

11. Whan he came to yon high castel, He ran it roun' about, An' there he saw the king's daughter, At the window looking out.

12. 'O here's a sark o' silk, lady, Your ain han' sew'd the sleeve; You'r bidden come to fair Scotlan', Speer nane o' your parents' leave.

13. 'Ha, take this sark o' silk, lady, Your ain han' sew'd the gare; You're bidden come to good green wood, Love Johney waits you there.'

14. She's turn'd her right and roun' about, The tear was in her ee: 'How can I come to my true-love, Except I had wings to flee?

15. 'Here am I kept wi' bars and bolts, Most grievous to behold; My breast-plate's o' the sturdy steel, Instead of the beaten gold.

16. 'But tak' this purse, my bonny boy, Ye well deserve a fee, An' bear this letter to my love, An' tell him what you see.'

17. Then quickly ran the bonny boy Again to Scotlan' fair, An' soon he reach'd Pitnachton's tow'rs, An' soon found Johney there.

18. He pat the letter in his han' An' taul' him what he sa', But eer he half the letter read, He loote the tears doun fa'.

19. 'O I will gae back to fair Englan', Tho' death shoud me betide, An' I will relieve the damesel That lay last by my side.'

20. Then out it spake his father dear, 'My son, you are to blame; An' gin you'r catch'd on English groun', I fear you'll ne'er win hame.'

21. Then out it spake a valiant knight, Johny's best friend was he; 'I can commaun' five hunder men, An' I'll his surety be.'

22. The firstin town that they came till, They gard the bells be rung; An' the nextin town that they came till, They gard the mess be sung.

23. The thirdin town that they came till, They gard the drums beat roun'; The king but an' his nobles a' Was startl'd at the soun'.

24. Whan they came to the king's palace They rade it roun' about, An' there they saw the king himsel', At the window looking out.

25. 'Is this the Duke o' Albany, Or James, the Scottish king? Or are ye some great foreign lord, That's come a visiting?'

26. 'I'm nae the Duke of Albany, Nor James, the Scottish king; But I'm a valiant Scottish knight, Pitnachton is my name.'

27. 'O if Pitnachton be your name, As I trust well it be, The morn, or I tast meat or drink, You shall be hanged hi'.'

28. Then out it spake the valiant knight That came brave Johney wi'; 'Behold five hunder bowmen bold, Will die to set him free.'

29. Then out it spake the king again, An' a scornfu' laugh laugh he; 'I have an Italian in my house Will fight you three by three.'

30. 'O grant me a boon,' brave Johney cried; 'Bring your Italian here; Then if he fall beneath my sword, I've won your daughter dear.'

31. Then out it came that Italian, An' a gurious ghost was he; Upo' the point o' Johney's sword This Italian did die.

32. Out has he drawn his lang, lang bran', Struck it across the plain: 'Is there any more o' your English dogs That you want to be slain?'

33. 'A clark, a clark,' the king then cried, 'To write her tocher free'; 'A priest, a priest,' says Love Johney, 'To marry my love and me.

34. 'I'm seeking nane o' your gold,' he says, 'Nor of your silver clear; I only seek your daughter fair, Whose love has cost her dear.'

[Annotations: 5.2,4: 'A wot' = I wis. 6.2: See Young Bekie, 16.4; Brown Adam, 5.2. 10: See Lady Maisry, 21; Lord Ingram and Chiel Wyet, 12, etc.: a stock ballad-phrase. 12.1: 'sark,' shift. 12.4: 'Speer' (speir), ask. 13.2: 'gare,' gore: see Brown Robin, 10.4. 18.4: 'loote,' let. 22.4: 'mess,' mass. 27.3: 'or,' ere. 29.2: The second 'laugh' is the past tense of the verb. 31.2: 'gurious,' grim, ugly. 33.2: 'tocher,' dowry.]



LORD INGRAM AND CHIEL WYET

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

1. Lord Ingram and Chiel Wyet Was baith born in one bower; Laid baith their hearts on one lady, The less was their honour.

2. Chiel Wyet and Lord Ingram Was baith born in one hall; Laid baith their hearts on one lady, The worse did them befall.

3. Lord Ingram woo'd her Lady Maisery From father and from mother; Lord Ingram woo'd her Lady Maisery From sister and from brother.

4. Lord Ingram woo'd her Lady Maisery With leave of a' her kin; And every one gave full consent, But she said no to him.

5. Lord Ingram woo'd her Lady Maisery Into her father's ha'; Chiel Wyet woo'd her Lady Maisery Amang the sheets so sma'.

6. Now it fell out upon a day She was dressing her head, That ben did come her father dear, Wearing the gold so red.

7. He said, 'Get up now, Lady Maisery, Put on your wedding gown; For Lord Ingram he will be here, Your wedding must be done.'

8. 'I'd rather be Chiel Wyet's wife, The white fish for to sell, Before I were Lord Ingram's wife, To wear the silk so well.

9. 'I'd rather be Chiel Wyet's wife, With him to beg my bread, Before I were Lord Ingram's wife, To wear the gold so red.

10. 'Where will I get a bonny boy, Will win gold to his fee, And will run unto Chiel Wyet's, With this letter from me?'

11. 'O here I am, the boy,' says one, 'Will win gold to my fee, And carry away any letter To Chiel Wyet from thee.'

12. And when he found the bridges broke He bent his bow and swam; And when he found the grass growing, He hastened and he ran.

13. And when he came to Chiel Wyet's castle, He did not knock nor call, But set his bent bow to his breast, And lightly leaped the wall; And ere the porter open'd the gate, The boy was in the hall.

14. The first line he looked on, A grieved man was he; The next line he looked on, A tear blinded his ee: Says, 'I wonder what ails my one brother, He'll not let my love be!

15. 'But I'll send to my brother's bridal— The bacon shall be mine— Full four and twenty buck and roe, And ten tun of the wine; And bid my love be blythe and glad, And I will follow syne.'

16. There was not a groom about that castle, But got a gown of green, And all was blythe, and all was glad, But Lady Maisery she was neen.

17. There was no cook about that kitchen, But got a gown of gray; And all was blythe, and all was glad, But Lady Maisery was wae.

18. Between Mary Kirk and that castle Was all spread ower with garl, To keep Lady Maisery and her maidens From tramping on the marl.

19. From Mary Kirk to that castle Was spread a cloth of gold, To keep Lady Maisery and her maidens From treading on the mold.

20. When mass was sung, and bells was rung, And all men bound for bed; Then Lord Ingram and Lady Maisery In one bed they were laid.

21. When they were laid into their bed, It was baith saft and warm, He laid his hand over her side, Says, 'I think you are with bairn.'

22. 'I told you once, so did I twice, When ye came me to woo, That Chiel Wyet, your only brother, One night lay in my bower.

23. 'I told you twice, I told you thrice, Ere ye came me to wed, That Chiel Wyet, your one brother, One night lay in my bed.'

24. 'O will you father your bairn on me, And on no other man? And I'll give him to his dowry Full fifty ploughs of land.'

25. 'I will not father my bairn on you, Nor on no wrongeous man, Though ye would give him to his dowry Five thousand ploughs of land.'

26. Then up did start him Chiel Wyet, Shed by his yellow hair, And gave Lord Ingram to the heart A deep wound and a sair.

27. Then up did start him Lord Ingram, Shed by his yellow hair, And gave Chiel Wyet to the heart, A deep wound and a sair.

28. There was no pity for that two lords, Where they were lying slain; But all was for her Lady Maisery, In that bower she gaed brain.

29. There was no pity for that two lords, When they were lying dead; But all was for her Lady Maisery, In that bower she went mad.

30. Said, 'Get to me a cloak of cloth, A staff of good hard tree; If I have been an evil woman, I shall beg till I dee.

31. 'For a bit I'll beg for Chiel Wyet, For Lord Ingram I'll beg three; All for the good and honourable marriage, At Mary Kirk he gave me.'

[Annotations: 1.4: 'honour': Motherwell printed bonheur. 6.3: 'ben,' in. 8.2: 'sell': Motherwell gave kill. 12: Cp. Lady Maisry, 21. 16.4: 'neen,' none, not. 18.2: 'garl,' gravel. 26.1: Motherwell gives did stand. 28.4: 'brain,' mad. 30.2: 'tree,' wood. 31.1: 'a' = ae, each.]



THE TWA SISTERS O' BINNORIE

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 strings he framed of her yellow hair, Whose notes made sad the listening air.'

Stanzas 20-25, therefore, have been supplied from the Jamieson-Brown MS., which after this point does not descend from the high level of ballad-poetry.

The Story.—This is a very old and a very popular story. An early broadside exists, dated 1656, and the same version is printed in Wit Restor'd, 1658. Of Scandinavian ballads on the same subject, nine are Danish, two Icelandic, twelve Norwegian, four Faeroee, and eight or nine Swedish.

THE TWA SISTERS O' BINNORIE

1. There were twa sisters sat in a bour, Binnorie, O Binnorie! There came a knight to be their wooer, By the bonny mill-dams o' Binnorie.

2. He courted the eldest wi' glove and ring, Binnorie, O Binnorie! But he lo'ed the youngest aboon a' thing, By the bonny mill-dams o' Binnorie.

3. He courted the eldest with broach and knife, Binnorie, O Binnorie! But he lo'ed the youngest aboon his life, By the bonny mill-dams o' Binnorie.

4. The eldest she was vexed sair, Binnorie, O Binnorie! And sair envied her sister fair, By the bonny mill-dams o' Binnorie.

5. The eldest said to the youngest ane, Binnorie, O Binnorie! 'Will ye go and see our father's ships come in?' By the bonny mill-dams o' Binnorie.

6. She's ta'en her by the lilly hand, Binnorie, O Binnorie! And led her down to the river-strand, By the bonny mill-dams o' Binnorie.

7. The youngest stude upon a stane, Binnorie, O Binnorie! The eldest came and pushed her in, By the bonny mill-dams o' Binnorie.

8. She took her by the middle sma', Binnorie, O Binnorie! And dashed her bonnie back to the jaw, By the bonny mill-dams o' Binnorie/

9. 'O sister, sister, reach your hand!' Binnorie, O Binnorie! 'And ye shall be heir of half my land,' By the bonny mill-dams o' Binnorie.

10. 'O sister, I'll not reach my hand,' Binnorie, O Binnorie! 'And I'll be heir of all your land,' By the bonny mill-dams o' Binnorie.

11. 'Shame fa' the hand that I should take,' Binnorie, O Binnorie! 'It's twin'd me and my world's make,' By the bonny mill-dams o' Binnorie.

12. 'O sister, reach me but your glove,' Binnorie, O Binnorie! 'And sweet William shall be your love,' By the bonny mill-dams o' Binnorie.

13. 'Sink on, nor hope for hand or glove,' Binnorie, O Binnorie! 'And sweet William shall better be my love,' By the bonny mill-dams o' Binnorie.

14. 'Your cherry cheeks and your yellow hair,' Binnorie, O Binnorie! 'Garr'd me gang maiden evermair,' By the bonnie mill-dams o' Binnorie.

15. Sometimes she sunk, and sometimes she swam, Binnorie, O Binnorie! Until she came to the miller's dam, By the bonny mill-dams o' Binnorie.

16. 'O father, father, draw your dam!' Binnorie, O Binnorie! 'There's either a mermaid or a milk-white swan,' By the bonny mill-dams o' Binnorie.

17. The miller hasted and drew his dam, Binnorie, O Binnorie! And there he found a drowned woman, By the bonny mill-dams o' Binnorie.

18. You could not see her yellow hair, Binnorie, O Binnorie! For gowd and pearls that were sae rare, By the bonny mill-dams o' Binnorie.

19. You could na see her middle sma', Binnorie, O Binnorie! Her gowden girdle was sae bra', By the bonny mill-dams o' Binnorie.

20. An' by there came a harper fine, Binnorie, O Binnorie! That harped to the king at dine, By the bonny mill-dams o' Binnorie.

21. When he did look that lady upon, Binnorie, O Binnorie! He sigh'd and made a heavy moan, By the bonny mill-dams o' Binnorie.

22. He's ta'en three locks o' her yallow hair, Binnorie, O Binnorie! And wi' them strung his harp sae fair, By the bonny mill-dams o' Binnorie.

23. The first tune he did play and sing, Binnorie, O Binnorie! Was, 'Farewell to my father the king,' By the bonny mill-dams o' Binnorie.

24. The nextin tune that he play'd syne, Binnorie, O Binnorie! Was, 'Farewell to my mother the queen,' By the bonny mill-dams o' Binnorie.

25. The lasten tune that he play'd then, Binnorie, O Binnorie! Was, 'Wae to my sister, fair Ellen!' By the bonny mill-dams o' Binnorie.

[Annotations: 8.3: 'jaw,' wave. 11.3: 'my world's make,' my earthly mate.]



YOUNG WATERS

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.

YOUNG WATERS

1. About Yule, when the wind blew cule, And the round tables began, A there is cum to our king's court Mony a well-favor'd man.

2. The queen luikt owre the castle-wa', Beheld baith dale and down, And there she saw Young Waters Cum riding to the town.

3. His footmen they did rin before, His horsemen rade behind; Ane mantel of the burning gowd Did keip him frae the wind.

4. Gowden-graith'd his horse before, And siller-shod behind; The horse Young Waters rade upon Was fleeter than the wind.

5. Out then spack a wylie lord, Unto the queen said he: 'O tell me wha 's the fairest face Rides in the company?'

6. 'I've sene lord, and I've sene laird, And knights of high degree, Bot a fairer face than Young Waters Mine eyne did never see.'

7. Out then spack the jealous king, And an angry man was he: 'O if he had bin twice as fair, You micht have excepted me.'

8. 'You're neither laird nor lord,' she says, 'Bot the king that wears the crown; There is not a knight in fair Scotland Bot to thee maun bow down.'

9. For a' that she coud do or say, Appeas'd he wad nae bee, Bot for the words which she had said, Young Waters he maun die.

10. They hae ta'en Young Waters, And put fetters to his feet; They hae ta'en Young Waters, and Thrown him in dungeon deep.

11. 'Aft have I ridden thro' Stirling town, In the wind bot and the weit; Bot I neir rade thro' Stirling town Wi' fetters at my feet.

12. 'Aft have I ridden thro' Stirling town, In the wind bot and the rain; Bot I neir rade thro' Stirling town Neir to return again.'

13. They hae ta'en to the heiding-hill His young son in his craddle, And they hae ta'en to the heiding-hill His horse bot and his saddle.

14. They hae ta'en to heiding-hill His lady fair to see, And for the words the queen had spoke Young Waters he did die.

[Annotations: 1.2: 'round tables,' an unknown game. 4.1: 'graith'd,' harnessed, usually; here perhaps shod. 6.1: 'laird,' a landholder, below the degree of knight.—Jamieson. 13.1: 'heiding-hill': i.e. heading (beheading) hill. The place of execution was anciently an artificial hillock.—Percy.]



BARBARA ALLAN

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

1. It was in and about the Martinmas time, When the green leaves were afalling, That Sir John Graeme, in the West Country, Fell in love with Barbara Allan.

2. He sent his men down through the town, To the place where she was dwelling; 'O haste and come to my master dear, Gin ye be Barbara Allan.'

3. O hooly, hooly rose she up, To the place where he was lying, And when she drew the curtain by, 'Young man, I think you're dying.'

4. 'O it's I am sick, and very, very sick, And 't is a' for Barbara Allan.' 'O the better for me ye 's never be, Tho' your heart's blood were aspilling.'

5. 'O dinna ye mind, young man,' said she, 'When ye was in the tavern a drinking, That ye made the healths gae round and round, And slighted Barbara Allan?'

6. He turn'd his face unto the wall, And death was with him dealing; 'Adieu, adieu, my dear friends all, And be kind to Barbara Allan.'

7. And slowly, slowly raise she up, And slowly, slowly left him, And sighing, said, she coud not stay, Since death of life had reft him.

8. She had not gane a mile but twa, When she heard the dead-bell ringing, And every jow that the dead-bell geid, It cry'd, 'Woe to Barbara Allan!'

9. 'O mother, mother, make my bed, O make it saft and narrow! Since my love died for me to-day, I'll die for him to-morrow.'



THE GAY GOSHAWK

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 GAY GOSHAWK

1. 'O well's me o' my gay goss-hawk, That he can speak and flee; He'll carry a letter to my love, Bring back another to me.'

2. 'O how can I your true-love ken, Or how can I her know? When frae her mouth I never heard couth, Nor wi' my eyes her saw.'

3. 'O well sal ye my true-love ken, As soon as you her see; For, of a' the flow'rs in fair Englan', The fairest flow'r is she.

4. 'At even at my love's bow'r-door There grows a bowing birk, An' sit ye down and sing thereon As she gangs to the kirk.

5. 'An' four-and-twenty ladies fair Will wash and go to kirk, But well shall ye my true-love ken, For she wears goud on her skirt.

6. 'An' four-and-twenty gay ladies Will to the mass repair, But well sal ye my true-love ken, For she wears goud on her hair.'

7. O even at that lady's bow'r-door There grows a bowin' birk, An' she sat down and sang thereon, As she ged to the kirk.

8. 'O eet and drink, my marys a', The wine flows you among, Till I gang to my shot-window, An' hear yon bonny bird's song.

9. 'Sing on, sing on, my bonny bird, The song ye sang the streen, For I ken by your sweet singin', You 're frae my true-love sen'.'

10. O first he sang a merry song, An' then he sang a grave, An' then he peck'd his feathers gray, To her the letter gave.

11. 'Ha, there's a letter frae your love, He says he sent you three; He canna wait your love langer, But for your sake he'll die.

12. 'He bids you write a letter to him; He says he's sent you five; He canno wait your love langer, Tho' you're the fairest woman alive.'

13. 'Ye bid him bake his bridal bread, And brew his bridal ale, An' I'll meet him in fair Scotlan' Lang, lang or it be stale.'

14. She's doen her to her father dear, Fa'n low down on her knee: 'A boon, a boon, my father dear, I pray you, grant it me.'

15. 'Ask on, ask on, my daughter, An' granted it sal be; Except ae squire in fair Scotlan', An' him you sall never see.'

16. 'The only boon my father dear, That I do crave of the, Is, gin I die in southin lans, In Scotland to bury me.

17. 'An' the firstin kirk that ye come till, Ye gar the bells be rung, An' the nextin kirk that ye come till, Ye gar the mess be sung.

18. 'An' the thirdin kirk that ye come till, You deal gold for my sake, An' the fourthin kirk that ye come till, You tarry there till night.'

19. She is doen her to her bigly bow'r, As fast as she coud fare, An' she has tane a sleepy draught, That she had mix'd wi' care.

20. She's laid her down upon her bed, An' soon she's fa'n asleep, And soon o'er every tender limb Cauld death began to creep.

21. Whan night was flown, an' day was come, Nae ane that did her see But thought she was as surely dead As ony lady coud be.

22. Her father an' her brothers dear Gard make to her a bier; The tae half was o' guid red gold, The tither o' silver clear.

23. Her mither an' her sisters fair Gard work for her a sark; The tae half was o' cambrick fine, The tither o' needle wark.

24. The firstin kirk that they came till, They gard the bells be rung, An' the nextin kirk that they came till, They gard the mess be sung.

25. The thirdin kirk that they came till, They dealt gold for her sake, An' the fourthin kirk that they came till, Lo, there they met her make!

26. 'Lay down, lay down the bigly bier, Lat me the dead look on'; Wi' cherry cheeks and ruby lips She lay an' smil'd on him.

27. 'O ae sheave o' your bread, true-love, An' ae glass o' your wine, For I hae fasted for your sake These fully days is nine.

28. 'Gang hame, gang hame, my seven bold brothers, Gang hame and sound your horn; An' ye may boast in southin lan's Your sister's play'd you scorn.'

[Annotations: 2.3: 'couth,' word.—Jamieson. The derivation, from Anglo-Saxon cwide, is hard. 7.3: 'she' is the goshawk; called 'he' in 1.2. 8.3: 'shot-window,' here perhaps a bow-window. 9.2: 'streen' = yestreen, last evening. 19.1: 'bigly,' lit. habitable; the stock epithet of 'bower.' 25.4: 'make,' mate, lover. 27.1: 'sheave,' slice.]



BROWN ROBIN

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

1. The king but an' his nobles a' } bis Sat birling at the wine; } He would ha' nane but his ae daughter To wait on them at dine.

2. She's served them butt, she's served them ben, Intill a gown of green, But her e'e was ay on Brown Robin, That stood low under the rain.

3. She's doen her to her bigly bow'r, As fast as she coud gang, An' there she's drawn her shot-window, An' she's harped an' she sang.

4. 'There sits a bird i' my father's garden, An' O but she sings sweet! I hope to live an' see the day When wi' my love I'll meet.'

5. 'O gin that ye like me as well As your tongue tells to me, What hour o' the night, my lady bright, At your bow'r sal I be?'

6. 'Whan my father an' gay Gilbert Are baith set at the wine, O ready, ready I will be To lat my true-love in.'

7. O she has birl'd her father's porter Wi' strong beer an' wi' wine, Untill he was as beastly drunk As ony wild-wood swine: She's stown the keys o' her father's yates An latten her true-love in.

8. When night was gane, an' day was come, An' the sun shone on their feet, Then out it spake him Brown Robin, 'I'll be discover'd yet.'

9. Then out it spake that gay lady: 'My love ye need na doubt, For wi' ae wile I've got you in, Wi' anither I'll bring you out.'

10. She's ta'en her to her father's cellar, As fast as she can fare; She's drawn a cup o' the gude red wine, Hung 't low down by her gare; An' she met wi' her father dear Just coming down the stair.

11. 'I woud na gi' that cup, daughter, That ye hold i' your han', For a' the wines in my cellar, An' gantrees whare the[y] stan'.'

12. 'O wae be to your wine, father, That ever 't came o'er the sea; 'Tis pitten my head in sic a steer I' my bow'r I canna be.'

13. 'Gang out, gang out, my daughter dear, Gang out an' tack the air; Gang out an' walk i' the good green wood, An' a' your marys fair.'

14. Then out it spake the proud porter— Our lady wish'd him shame— 'We'll send the marys to the wood, But we'll keep our lady at hame.'

15. 'There's thirty marys i' my bow'r, There's thirty o' them an' three; But there 's nae ane amo' them a' Kens what flow'r gains for me.'

16. She's doen her to her bigly bow'r As fast as she could gang, An' she has dresst him Brown Robin Like ony bow'r-woman.

17. The gown she pat upon her love Was o' the dainty green, His hose was o' the saft, saft silk, His shoon o' the cordwain fine.

18. She's pitten his bow in her bosom, His arrow in her sleeve, His sturdy bran' her body next, Because he was her love.

19. Then she is unto her bow'r-door As fast as she coud gang; But out it spake the proud porter— Our lady wish'd him shame— 'We'll count our marys to the wood, And we'll count them back again.'

20. The firsten mary she sent out Was Brown Robin by name; Then out it spake the king himsel', 'This is a sturdy dame.'

21. O she went out in a May morning, In a May morning so gay, But she never came back again, Her auld father to see.

[Annotations: 1.2: 'birling,' drinking: cf. 7.1. 3.1: 'bigly,' commodious: see The Gay Goshawk, 19.1. 3.3: 'shot-window,' here perhaps a shutter with a pane of glass let in. 7.1: 'birl'd,' plied: cf. 1.2. 7.4: Cf. Fause Footrage 16.4: a popular simile. 7.5: 'stown,' stolen: 'yates,' gates. 10.4: 'gare,' gore; i.e. by her knee: a stock ballad phrase. 11.4: 'gantrees,' stands for casks. 12.3: 'sic,' such: the MS. gives sick: 'steer,' disturbance. 13.4: 'marys,' maids. 15.4: 'gains for,' suits, is meet (Icelandic, gegna). Cf. Jamieson's version of Sir Patrick Spence:— 'For I brought as much white money As will gain my men and me.' 17.4: 'cordwain,' Cordovan (Spanish) leather. 21.2: 'gay': the MS. gives gray. This is Child's emendation, who points out that the sun was up, 8.2.]



LADY ALICE

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

1. Lady Alice was sitting in her bower-window, At midnight mending her quoif, And there she saw as fine a corpse As ever she saw in her life.

2. 'What bear ye, what bear ye, ye six men tall? What bear ye on your shoulders?' 'We bear the corpse of Giles Collins, An old and true lover of yours.'

3. 'O lay him down gently, ye six men tall, All on the grass so green, And to-morrow, when the sun goes down, Lady Alice a corpse shall be seen.

4. 'And bury me in Saint Mary's church, All for my love so true, And make me a garland of marjoram, And of lemon-thyme, and rue.'

5. Giles Collins was buried all in the east, Lady Alice all in the west, And the roses that grew on Giles Collins's grave, They reached Lady Alice's breast.

6. The priest of the parish he chanced to pass, And he severed those roses in twain; Sure never were seen such true lovers before, Nor e'er will there be again.

[Annotations: 1.2: 'quoif,' cap. The line should doubtless be:— 'Mending her midnight quoif.']



CHILD MAURICE

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.'

Perhaps in the same year in which the play was produced in London, the poet Gray wrote from Cambridge:— 'I have got the old Scotch ballad on which Douglas was founded; it is divine, and as long as from hence to Aston. Aristotle's best rules are observed in it in a manner which shows the author never had heard of Aristotle. It begins in the fifth act of the play. You may read it two-thirds through without guessing what it is about; and yet, when you come to the end, it is impossible not to understand the whole story.'

CHILD MAURICE

1. Child Maurice hunted ithe siluer wood, He hunted itt round about, And noebodye that he ffound therin, Nor none there was with-out.

2. ... ... ... ... ... ... And he tooke his siluer combe in his hand, To kembe his yellow lockes.

3. He sayes, 'Come hither, thou litle ffoot-page, That runneth lowlye by my knee, Ffor thou shalt goe to Iohn Stewards wiffe And pray her speake with mee.

4. ... ... ... ... ... ... I, and greete thou doe that ladye well, Euer soe well ffroe mee.

5. 'And, as itt ffalls, as many times As knotts beene knitt on a kell, Or marchant men gone to leeue London Either to buy ware or sell;

6. 'And, as itt ffalles, as many times As any hart can thinke, Or schoole-masters are in any schoole-house Writting with pen and inke: Ffor if I might, as well as shee may, This night I wold with her speake.

7. 'And heere I send her a mantle of greene, As greene as any grasse, And bid her come to the siluer wood, To hunt with Child Maurice.

8. 'And there I send her a ring of gold, A ring of precyous stone, And bidd her come to the siluer wood, Let ffor no kind of man.'

9. One while this litle boy he yode, Another while he ran, Vntill he came to Iohn Stewards hall, I-wis he never blan.

10. And of nurture the child had good, Hee ran vp hall and bower ffree, And when he came to this lady ffaire, Sayes, 'God you saue and see!

11. 'I am come ffrom Child Maurice, A message vnto thee; And Child Maurice, he greetes you well, And euer soe well ffrom mee;

12. 'And, as itt ffalls, as oftentimes As knotts beene knitt on a kell, Or marchant-men gone to leeue London Either ffor to buy ware or sell;

13. 'And as oftentimes he greetes you well As any hart can thinke, Or schoolemasters are in any schoole, Wryting with pen and inke.

14. 'And heere he sends a mantle of greene, As greene as any grasse, And he bidds you come to the siluer wood, To hunt with Child Maurice.

15. 'And heere he sends you a ring of gold, A ring of the precyous stone; He prayes you to come to the siluer wood, Let ffor no kind of man.'

16. 'Now peace, now peace, thou litle ffoot-page, Ffor Christes sake, I pray thee! Ffor if my lord heare one of these words, Thou must be hanged hye!'

17. Iohn Steward stood vnder the castle-wall, And he wrote the words euerye one, ... ... ... ... ... ...

18. And he called vnto his hors-keeper, 'Make readye you my steede!' I, and soe he did to his chamberlaine, 'Make readye thou my weede!'

19. And he cast a lease vpon his backe, And he rode to the siluer wood, And there he sought all about, About the siluer wood.

20. And there he ffound him Child Maurice Sitting vpon a blocke, With a siluer combe in his hand, Kembing his yellow locke.

... ... ...

21. But then stood vp him Child Maurice, And sayd these words trulye: 'I doe not know your ladye,' he said, 'If that I doe her see.'

22. He sayes, 'How now, how now, Child Maurice? Alacke, how may this bee? Ffor thou hast sent her loue-tokens, More now then two or three;

23. 'Ffor thou hast sent her a mantle of greene, As greene as any grasse, And bade her come to the siluer woode To hunt with Child Maurice.

24. 'And thou [hast] sent her a ring of gold, A ring of precyous stone, And bade her come to the siluer wood, Let ffor noe kind of man.

25. 'And by my ffaith, now, Child Maurice, The tone of vs shall dye!' 'Now be my troth,' sayd Child Maurice, 'And that shall not be I.'

26. But hee pulled forth a bright browne sword, And dryed itt on the grasse, And soe ffast he smote att Iohn Steward, I-wisse he neuer rest.

27. Then hee pulled fforth his bright browne sword, And dryed itt on his sleeue, And the ffirst good stroke Iohn Stewart stroke, Child Maurice head he did cleeue.

28. And he pricked itt on his swords poynt, Went singing there beside, And he rode till he came to that ladye ffaire, Wheras this ladye lyed.

29. And sayes, 'Dost thou know Child Maurice head, If that thou dost itt see? And lap itt soft, and kisse itt oft, For thou louedst him better than mee.'

30. But when shee looked on Child Maurice head, She neuer spake words but three: 'I neuer beare no child but one, And you haue slaine him trulye.'

31. Sayes, 'Wicked be my merrymen all, I gaue meate, drinke, and clothe! But cold they not haue holden me When I was in all that wrath!

32. 'Ffor I haue slaine one of the curteousest knights That euer bestrode a steed, Soe haue I done one [of] the fairest ladyes That euer ware womans weede!'

[Annotations: 1.1: 'siluer': the Folio gives siluen. 4.3,4: These lines in the Folio precede st. 6. 5.2: i.e. as many times as there are knots knit in a net for the hair; cf. French cale. 5.3: 'leeue,' lovely. 8.4: 'Let,' fail: it is the infinitive, governed by 'bidd.' 9.1: 'yode,' went. 9.4: 'blan,' lingered. 13.3: 'are': omitted in the Folio. 18.3: 'I,' aye. 19.1: 'lease,' leash, thong, string: perhaps for bringing back any game he might kill. After 20 at least one verse is lost. 22.1,2: In the Folio these lines precede 21.1,2. 24.1: 'hast' omitted in the Folio. 25.2: 'tone,' the one (or other).]



FAUSE FOOTRAGE

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 rich Svend wooes Lisbet, who favours William for his good qualities. Svend, ill with grief, is well-advised by his mother, not to care for a plighted maid, and ill-advised by his sister, to kill William. Svend takes the latter advice, and kills William. Forty weeks later, Lisbet gives birth to a son, but Svend is told that the child is a girl. Eighteen years later, the young William, sporting with a peasant, quarrels with him; the peasant retorts, 'You had better avenge your father's death.' Young William asks his mother who slew his father, and she, thinking him too young to fight, counsels him to bring Svend to a court. William charges him in the court with the murder of his father, and says that no compensation has been offered. Not a penny shall be paid, says Svend. William draws his sword, and slays him.

Icelandic, Swedish, and Faeroee ballads tell a similar story.

FAUSE FOOTRAGE

1. King Easter has courted her for her gowd, King Wester for her fee; King Honor for her lands sae braid, And for her fair body.

2. They had not been four months married, As I have heard them tell, Until the nobles of the land Against them did rebel.

3. And they cast kaivles them amang, And kaivles them between; And they cast kaivles them amang, Wha shoud gae kill the king.

4. O some said yea, and some said nay, Their words did not agree; Till up it gat him Fa'se Footrage, And sware it shoud be he.

5. When bells were rung, and mass was sung, And a' man boon to bed, King Honor and his gay ladie In a hie chamer were laid.

6. Then up it raise him Fa'se Footrage, While a' were fast asleep, And slew the porter in his lodge, That watch and ward did keep.

7. O four and twenty silver keys Hang hie upon a pin, And ay as a door he did unlock, He has fasten'd it him behind.

8. Then up it raise him King Honor, Says, 'What means a' this din? Now what's the matter, Fa'se Footrage, Or wha was't loot you in?'

9. 'O ye my errand well shall learn Before that I depart'; Then drew a knife baith lang and sharp And pierced him thro' the heart.

10. Then up it got the Queen hersell, And fell low down on her knee: 'O spare my life now, Fa'se Footrage! For I never injured thee.

11. 'O spare my life now, Fa'se Footrage! Until I lighter be! And see gin it be lad or lass, King Honor has left me wi'.'

12. 'O gin it be a lass,' he says, 'Weel nursed she shall be; But gin it be a lad-bairn, He shall be hanged hie.

13. 'I winna spare his tender age, Nor yet his hie, hie kin; But as soon as e'er he born is, He shall mount the gallows-pin.'

14. O four and twenty valiant knights Were set the Queen to guard, And four stood ay at her bower-door, To keep baith watch and ward.

15. But when the time drew till an end That she should lighter be, She cast about to find a wile To set her body free.

16. O she has birled these merry young men Wi' strong beer and wi' wine, Until she made them a' as drunk As any wall-wood swine.

17. 'O narrow, narrow is this window, And big, big am I grown!' Yet thro' the might of Our Ladie, Out at it she has won.

18. She wander'd up, she wander'd down, She wander'd out and in; And at last, into the very swines' stye, The Queen brought forth a son.

19. Then they cast kaivles them amang Wha should gae seek the Queen; And the kaivle fell upon Wise William, And he's sent his wife for him.

20. O when she saw Wise William's wife, The Queen fell on her knee; 'Win up, win up, madame,' she says, 'What means this courtesie?'

21. 'O out of this I winna rise, Till a boon ye grant to me, To change your lass for this lad-bairn, King Honor left me wi'.

22. 'And ye maun learn my gay gos-hawke Well how to breast a steed; And I shall learn your turtle-dow As well to write and read.

23. 'And ye maun learn my gay gos-hawke To wield baith bow and brand; And I sall learn your turtle-dow To lay gowd wi' her hand.

24. 'At kirk and market where we meet, We dare nae mair avow But—"Dame, how does my gay gose-hawk?" "Madame, how does my dow?"'

25. When days were gane, and years come on, Wise William he thought long; Out has he ta'en King Honor's son, A hunting for to gang.

26. It sae fell out at their hunting, Upon a summer's day, That they cam' by a fair castle, Stood on a sunny brae.

27. 'O dinna ye see that bonny castle Wi' wa's and towers sae fair? Gin ilka man had back his ain, Of it you shoud be heir.'

28. 'How I shoud be heir of that castle, In sooth I canna see; When it belongs to Fa'se Footrage, And he's nae kin to me.'

29. 'O gin ye shoud kill him Fa'se Footrage, You woud do what is right; For I wot he kill'd your father dear, Ere ever you saw the light.

30. 'Gin you shoud kill him Fa'se Footrage, There is nae man durst you blame; For he keeps your mother a prisoner, And she dares no take you hame.'

31. The boy stared wild like a gray gose-hawk, Says, 'What may a' this mean?' 'My boy, you are King Honor's son, And your mother's our lawful queen.'

32. 'O gin I be King Honor's son, By Our Ladie I swear, This day I will that traytour slay, And relieve my mother dear!'

33. He has set his bent bow till his breast, And lap the castle-wa'; And soon he's siesed on Fa'se Footrage, Wha loud for help gan ca'.

34. 'O haud your tongue now, Fa'se Footrage, Frae me ye shanno flee.' Syne pierced him through the foul fa'se heart, And set his mother free.

35. And he has rewarded Wise William Wi' the best half of his land; And sae has he the turtle dow Wi' the truth o' his right hand.

[Annotations: 3.1: 'kaivles,' lots. 13.4: 'gallows-pin,' the projecting beam of the gallows. 16.1: 'birled,' plied. 16.4: 'wallwood,' wild wood: a conventional ballad-phrase. 25.2: A stock ballad-phrase. 33.1: A ballad conventionality.]



FAIR ANNIE OF ROUGH ROYAL

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

—Germaine.

The Text is Fraser Tytler's, taken down from the recitation of Mrs. Brown in 1800, who had previously (1783) recited a similar version to Jamieson. The later recitation, which was used by Scott, with others, seems to contain certain improvisations of Mrs. Brown's which do not appear in the earlier form.

The Story.—A mother, who feigns to be her own son and demands tokens of the girl outside the gate, turns her son's love away, and is cursed by him. Similar ballads exist in France, Germany, and Greece.

There is an early eighteenth-century MS. (Elizabeth Cochrane's Song-Book) of this ballad, which gives a preliminary history. Isabel of Rochroyal dreams of her love Gregory; she rises up, calls for a swift steed, and rides forth till she meets a company. They ask her who she is, and are told that she is 'Fair Isabel of Rochroyal,' seeking her true-love Gregory. They direct her to 'yon castle'; and thenceforth the tale proceeds much as in the other versions.

'Lochryan,' says Scott, 'lies in Galloway; Roch—or Rough—royal, I have not found, but there is a Rough castle in Stirlingshire' (Child).

FAIR ANNIE OF ROUGH ROYAL

1. 'O wha will shoe my fu' fair foot? And wha will glove my hand? And wha will lace my middle jimp, Wi' the new-made London band?

2. 'And wha will kaim my yellow hair, Wi' the new-made silver kaim? And wha will father my young son, Till Love Gregor come hame?'

3. 'Your father will shoe your fu' fair foot, Your mother will glove your hand; Your sister will lace your middle jimp Wi' the new-made London band.

4. 'Your brother will kaim your yellow hair, Wi' the new-made silver kaim; And the king of heaven will father your bairn, Till Love Gregor come haim.'

5. 'But I will get a bonny boat, And I will sail the sea, For I maun gang to Love Gregor, Since he canno come hame to me.'

6. O she has gotten a bonny boat, And sail'd the sa't sea fame; She lang'd to see her ain true-love, Since he could no come hame.

7. 'O row your boat, my mariners, And bring me to the land, For yonder I see my love's castle, Closs by the sa't sea strand.'

8. She has ta'en her young son in her arms, And to the door she's gone, And lang she's knock'd and sair she ca'd, But answer got she none.

9. 'O open the door, Love Gregor,' she says, 'O open, and let me in; For the wind blaws thro' my yellow hair, And the rain draps o'er my chin.'

10. 'Awa', awa', ye ill woman, You 'r nae come here for good; You 'r but some witch, or wile warlock, Or mer-maid of the flood.'

11. 'I am neither a witch nor a wile warlock, Nor mer-maid of the sea, I am Fair Annie of Rough Royal; O open the door to me.'

12. 'Gin ye be Annie of Rough Royal— And I trust ye are not she— Now tell me some of the love-tokens That past between you and me.'

13. 'O dinna you mind now, Love Gregor, When we sat at the wine, How we changed the rings frae our fingers? And I can show thee thine.

14. 'O yours was good, and good enneugh, But ay the best was mine; For yours was o' the good red goud, But mine o' the dimonds fine.

15. 'But open the door now, Love Gregor, O open the door I pray, For your young son that is in my arms Will be dead ere it be day.'

16. 'Awa', awa', ye ill woman, For here ye shanno win in; Gae drown ye in the raging sea, Or hang on the gallows-pin.'

17. When the cock had crawn, and day did dawn, And the sun began to peep, Then it raise him Love Gregor, And sair, sair did he weep.

18. 'O I dream'd a dream, my mother dear, The thoughts o' it gars me greet, That Fair Annie of Rough Royal Lay cauld dead at my feet.'

19. 'Gin it be for Annie of Rough Royal That ye make a' this din, She stood a' last night at this door, But I trow she wan no in.'

20. 'O wae betide ye, ill woman, An ill dead may ye die! That ye woudno open the door to her, Nor yet woud waken me.'

21. O he has gone down to yon shore-side, As fast as he could fare; He saw Fair Annie in her boat But the wind it toss'd her sair.

22. And 'Hey, Annie!' and 'How, Annie! O Annie, winna ye bide?' But ay the mair that he cried 'Annie,' The braider grew the tide.

23. And 'Hey, Annie!' and 'How, Annie! Dear Annie, speak to me!' But ay the louder he cried 'Annie,' The louder roar'd the sea.

24. The wind blew loud, the sea grew rough, And dash'd the boat on shore; Fair Annie floats on the raging sea, But her young son raise no more.

25. Love Gregor tare his yellow hair, And made a heavy moan; Fair Annie's corpse lay at his feet, But his bonny young son was gone.

26. O cherry, cherry was her cheek, And gowden was her hair, But clay cold were her rosey lips, Nae spark of life was there.

27. And first he's kiss'd her cherry cheek, And neist he's kissed her chin; And saftly press'd her rosey lips, But there was nae breath within.

28. 'O wae betide my cruel mother, And an ill dead may she die! For she turn'd my true-love frae the door, When she came sae far to me.'

[Annotations: 10.3: 'warlock,' wizard, magician. 18.2: 'gars me greet,' makes me weep.]



HIND HORN

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.

At the end of the allotted time, Rymenhild was to be married to King Modi of Reynis. Horn, hearing of this, went back to Westerness, arrived on the marriage-morn, met a palmer (the old beggar man of the ballad), changed clothes with him, and entered the hall. According to custom, Rymenhild served wine to the guests, and as Horn drank, he dropped her ring into the vessel. When she discovered it, she sent for the palmer, and questioned him. He said Horn had died on the voyage thither. Rymenhild seized a knife she had hidden to kill King Modi and herself if Horn came not, and set it to her breast. The palmer threw off his disguise, saying, 'I am Horn.' Still he would not wed her till he had regained his father's kingdom of Suddenne, and went away and did so. Meanwhile a false friend seized Rymenhild; but on the marriage-day Horn returned, killed him, and finally made Rymenhild his wife and Queen of Suddenne.

Compare the story of Torello and the Saladin in the Decameron, Tenth Day, Novel 9.

HIND HORN

1. In Scotland there was a babie born, Lill lal, etc. And his name it was called young Hind Horn, With a fal lal, etc.

2. He sent a letter to our king That he was in love with his daughter Jean.[A]

... ... ...

3. He's gi'en to her a silver wand, With seven living lavrocks sitting thereon.

4. She's gi'en to him a diamond ring, With seven bright diamonds set therein.

5. 'When this ring grows pale and wan, You may know by it my love is gane.'

6. One day as he looked his ring upon, He saw the diamonds pale and wan.

7. He left the sea and came to land, And the first that he met was an old beggar man.

8. 'What news, what news?' said young Hind Horn; 'No news, no news,' said the old beggar man.

9. 'No news,' said the beggar, 'no news at a', But there is a wedding in the king's ha'.

10. 'But there is a wedding in the king's ha', That has halden these forty days and twa.'

11. 'Will ye lend me your begging coat? And I'll lend you my scarlet cloak.

12. 'Will you lend me your beggar's rung? And I'll gi'e you my steed to ride upon.

13. 'Will you lend me your wig o' hair, To cover mine, because it is fair?'

14. The auld beggar man was bound for the mill, But young Hind Horn for the king's hall.

15. The auld beggar man was bound for to ride, But young Hind Horn was bound for the bride.

16. When he came to the king's gate, He sought a drink for Hind Horn's sake.

17. The bride came down with a glass of wine, When he drank out the glass, and dropt in the ring.

18. 'O got ye this by sea or land? Or got ye it off a dead man's hand?'

19. 'I got not it by sea, I got it by land, And I got it, madam, out of your own hand.'

20. 'O I'll cast off my gowns of brown, And beg wi' you frae town to town.

21. 'O I'll cast off my gowns of red, And I'll beg wi' you to win my bread.'

22. 'Ye needna cast off your gowns of brown, For I'll make you lady o' many a town.

23. 'Ye needna cast off your gowns of red, It's only a sham, the begging o' my bread.'

24. The bridegroom he had wedded the bride, But young Hind Horn he took her to bed.

[Footnote A: After stanza 2 there is a gap in the story. Other versions say that Hind Horn goes, or is sent, to sea.]

[Annotations: 10.2: The bride has lingered six weeks in hopes of Hind Horn's return. 12.1: 'rung,' staff.]



EDWARD

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.

Motherwell points out that the verses of which Edward consists generally form the conclusion of the ballad of The Twa Brothers, and also of certain versions of Lizie Wan; and is inclined to regard Edward as detached from one of those ballads. More probably the reverse is the case, that the story of Edward has been attached to the other ballads.

The present version of the ballad exhibits an unusual amplification of the refrain. The story is told in two lines of each eight-lined stanza; but the lyrical effect added by the elaborate refrain is almost unique.

EDWARD

1. 'Why dois your brand sae drap wi' bluid, Edward, Edward? Why dois your brand sae drap wi' bluid, And why sae sad gang yee, O?' 'O, I hae killed my hauke sae guid, Mither, mither: O, I hae killed my hauke sae guid, And I had nae mair bot hee, O.'

2. 'Your haukis bluid was nevir sae reid, Edward, Edward. Your haukis bluid was nevir sae reid, My deir son I tell thee, O.' 'O, I hae killed my reid-roan steid, Mither, mither: O, I hae killed my reid-roan steid, That erst was sae fair and frie, O.'

3. 'Your steid was auld, and ye hae gat mair, Edward, Edward: Your steid was auld, and ye hae gat mair, Sum other dule ye drie, O.' 'O, I hae killed my fadir deir, Mither, mither: O, I hae killed my fadir deir, Alas! and wae is mee, O!'

4. 'And whatten penance wul ye drie for that, Edward, Edward? And whatten penance will ye drie for that. My deir son, now tell me, O, 'Ile set my feit in yonder boat, Mither, mither: Ile set my feit in yonder boat, And Ile fare ovir the sea, O.'

5. 'And what wul ye doe wi' your towirs and your ha', Edward, Edward? And what wul ye doe wi' your towirs and your ha', That were sae fair to see, O?' 'Ile let thame stand tul they doun fa', Mither, mither: Ile let thame stand tul they doun fa', For here nevir mair maun I bee, O.'

6. 'And what wul ye leive to your bairns and your wife, Edward, Edward? And what wul ye leive to your bairns and your wife, Whan ye gang ovir the sea, O?' 'The warldis room, late them beg thrae life, Mither, mither: The warldis room, let them beg thrae life, For thame nevir mair wul I see, O.'

7. 'And what wul ye leive to your ain mither deir, Edward, Edward? And what wul ye leive to your ain mither deir? My deir son, now tell me, O.' 'The curse of hell frae me sall ye beir, Mither, mither: The curse of hell frae me sall ye beir, Sic counseils ye gave to me, O.'

[Annotations: 3.4: 'dule,' grief; 'drie,' suffer. 6.5,7: i.e. The world is wide.]



LORD RANDAL

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.

Child gives a collation of seven versions secured in America of late years, in each of which the name of Lord Randal has become corrupted to 'Tiranti.'

The antiphonetic form of the ballad is popular, as being dramatic and suitable for singing. Compare Edward, also a dialogue between mother and son.

LORD RANDAL

1. 'O where hae ye been, Lord Randal, my son? O where hae ye been, my handsome young man?' 'I hae been to the wild wood; mother, make my bed soon, For I'm weary wi' hunting, and fain wald lie down.'

2. 'Where gat ye your dinner, Lord Randal, my son? Where gat ye your dinner, my handsome young man?' 'I din'd wi' my true-love; mother, make my bed soon, For I'm weary wi' hunting, and fain wald lie down.'

3. 'What gat ye to your dinner, Lord Randal, my son? What gat ye to your dinner, my handsome young man?' 'I gat eels boil'd in broo'; mother, make my bed soon, For I'm weary wi' hunting, and fain wald lie down.'

4. 'What became of your bloodhounds, Lord Randal, my son? What became of your bloodhounds, my handsome young man?' 'O they swell'd and they died; mother, make my bed soon, For I'm weary wi' hunting, and fain wald lie down.'

5. 'O I fear ye are poison'd, Lord Randal, my son! O I fear ye are poison'd, my handsome young man!' 'O yes, I am poison'd; mother, make my bed soon, For I'm sick at the heart, and I fain wald lie down.'

[Annotations: 3.3: 'broo',' broth.]



LAMKIN

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.

LAMKIN

1. It's Lamkin was a mason good As ever built wi' stane; He built Lord Wearie's castle, But payment got he nane.

2. 'O pay me, Lord Wearie, Come, pay me my fee': 'I canna pay you, Lamkin, For I maun gang o'er the sea.'

3. 'O pay me now, Lord Wearie, Come, pay me out o' hand': 'I canna pay you, Lamkin, Unless I sell my land.'

4. 'O gin ye winna pay me, I here sail mak' a vow, Before that ye come hame again, Ye sall hae cause to rue.'

5. Lord Wearie got a bonny ship, To sail the saut sea faem; Bade his lady weel the castle keep, Ay till he should come hame.

6. But the nourice was a fause limmer As e'er hung on a tree; She laid a plot wi' Lamkin, Whan her lord was o'er the sea.

7. She laid a plot wi' Lamkin, When the servants were awa', Loot him in at a little shot-window, And brought him to the ha'.

8. 'O whare's a' the men o' this house, That ca' me Lamkin?' 'They're at the barn-well thrashing; 'Twill be lang ere they come in.'

9. 'And whare's the women o' this house, That ca' me Lamkin?' 'They're at the far well washing; 'Twill be lang ere they come in.'

10. 'And whare's the bairns o' this house, That ca' me Lamkin?' 'They're at the school reading; 'Twill be night or they come hame.'

11. 'O whare's the lady o' this house, That ca's me Lamkin?' 'She's up in her bower sewing, But we soon can bring her down.'

12. Then Lamkin's tane a sharp knife, That hung down by his gaire, And he has gi'en the bonny babe A deep wound and a sair.

13. Then Lamkin he rocked, And the fause nourice sang, Till frae ilkae bore o' the cradle The red blood out sprang.

14. Then out it spak' the lady, As she stood on the stair: 'What ails my bairn, nourice, That he's greeting sae sair?

15. 'O still my bairn, nourice, O still him wi' the pap!' 'He winna still, lady, For this nor for that.'

16. 'O still my bairn, nourice, O still him wi' the wand!' 'He winna still, lady, For a' his father's land.'

17. 'O still my bairn, nourice, O still him wi' the bell!' 'He winna still, lady, Till ye come down yoursel'.'

18. O the firsten step she steppit, She steppit on a stane; But the neisten step she steppit, She met him Lamkin.

19. 'O mercy, mercy, Lamkin, Hae mercy upon me! Though you've ta'en my young son's life, Ye may let mysel' be.'

20. 'O sall I kill her, nourice, Or sall I lat her be?' 'O kill her, kill her, Lamkin, For she ne'er was good to me.'

21. 'O scour the bason, nourice, And mak' it fair and clean, For to keep this lady's heart's blood, For she's come o' noble kin.'

22. 'There need nae bason, Lamkin, Lat it run through the floor; What better is the heart's blood O' the rich than o' the poor?'

23. But ere three months were at an end, Lord Wearie came again; But dowie, dowie was his heart When first he came hame.

24. 'O wha's blood is this,' he says, 'That lies in the chamer?' 'It is your lady's heart's blood; 'T is as clear as the lamer.'

25. 'And wha's blood is this,' he says, 'That lies in my ha'?' 'It is your young son's heart's blood; 'Tis the clearest ava.'

26. O sweetly sang the black-bird That sat upon the tree; But sairer grat Lamkin, When he was condemn'd to die.

27. And bonny sang the mavis Out o' the thorny brake; But sairer grat the nourice, When she was tied to the stake.

[Annotations: 6.1: 'limmer,' wretch, rascal. 7.3: 'shot-window': see special section of the Introduction. 12.2: 'gaire'; i.e. by his knee: see special section of the Introduction. 13.3: 'bore,' hole, crevice. 14.4: 'greeting,' crying. 23.3: 'dowie,' sad. 24.2: 'chamer,' chamber. 24.4: 'lamer,' amber. 25.4: 'ava,' at all. 26.3: 'grat,' greeted, wept.]



FAIR MARY OF WALLINGTON

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.

In the Scottish ballad, a 'scope' is put in Mary's mouth when the operation takes place. In the Breton ballad it is a silver spoon or a silver ball. 'Scope,' or 'scobs' as it appears in Herd, means a gag, and was apparently used to prevent her from crying out. But the silver spoon and ball in the Breton ballad would appear to have been used for Marguerite to bite on in her anguish, just as sailors chewed bullets while being flogged.

FAIR MARY OF WALLINGTON

1. When we were silly sisters seven, Sisters were so fair, Five of us were brave knights' wives, And died in childbed lair.

2. Up then spake Fair Mary, Marry woud she nane; If ever she came in man's bed, The same gate wad she gang.

3. 'Make no vows, Fair Mary, For fear they broken be; Here's been the Knight of Wallington, Asking good will of thee.'

4. 'If here's been the knight, mother, Asking good will of me, Within three quarters of a year You may come bury me.'

5. When she came to Wallington, And into Wallington hall, There she spy'd her mother dear, Walking about the wall.

6. 'You're welcome, daughter dear, To thy castle and thy bowers'; 'I thank you kindly, mother, I hope they'll soon be yours.'

7. She had not been in Wallington Three quarters and a day, Till upon the ground she could not walk, She was a weary prey.

8. She had not been in Wallington Three quarters and a night, Till on the ground she coud not walk, She was a weary wight.

9. 'Is there ne'er a boy in this town, Who'll win hose and shun, That will run to fair Pudlington, And bid my mother come?'

10. Up then spake a little boy, Near unto a-kin; 'Full oft I have your errands gone, But now I will it run.'

11. Then she call'd her waiting-maid To bring up bread and wine; 'Eat and drink, my bonny boy, Thou'll ne'er eat more of mine.

12. 'Give my respects to my mother, She sits in her chair of stone, And ask her how she likes the news, Of seven to have but one.

13. 'Give my respects to my mother, As she sits in her chair of oak, And bid her come to my sickening, Or my merry lake-wake.

14. 'Give my love to my brother William, Ralph, and John, And to my sister Betty fair, And to her white as bone:

15. 'And bid her keep her maidenhead, Be sure make much on 't, For if e'er she come in man's bed, The same gate will she gang.'

16. Away this little boy is gone, As fast as he could run; When he came where brigs were broke, He lay down and swum.

17. When he saw the lady, he said, 'Lord may your keeper be!' 'What news, my pretty boy, Hast thou to tell to me?'

18. 'Your daughter Mary orders me, As you sit in a chair of stone, To ask you how you like the news, Of seven to have but one.

19. 'Your daughter gives commands, As you sit in a chair of oak, And bids you come to her sickening, Or her merry lake-wake.

20. 'She gives command to her brother William, Ralph, and John, [And] to her sister Betty fair, And to her white as bone.

21. 'She bids her keep her maidenhead, Be sure make much on 't, For if e'er she came in man's bed, The same gate woud she gang.'

22. She kickt the table with her foot, She kickt it with her knee, The silver plate into the fire, So far she made it flee.

23. Then she call'd her waiting-maid To bring her riding-hood, So did she on her stable-groom To bring her riding-steed.

24. 'Go saddle to me the black, [the black,] Go saddle to me the brown, Go saddle to me the swiftest steed That e'er rid [to] Wallington.'

25. When they came to Wallington, And into Wallington hall, There she spy'd her son Fenwick, Walking about the wall.

26. 'God save you, dear son, Lord may your keeper be! Where is my daughter fair, That used to walk with thee?'

27. He turn'd his head round about, The tears did fill his e'e: ''Tis a month' he said, 'since she Took her chambers from me.'

28. She went on . . . And there were in the hall Four and twenty ladies, Letting the tears down fall.

29. Her daughter had a scope Into her cheek and into her chin, All to keep her life Till her dear mother came.

30. 'Come take the rings off my fingers, The skin it is so white, And give them to my mother dear, For she was all the wite.

31. 'Come take the rings off my fingers, The veins they are so red, Give them to Sir William Fenwick, I'm sure his heart will bleed.'

32. She took out a razor That was both sharp and fine, And out of her left side has taken The heir of Wallington.

33. There is a race in Wallington, And that I rue full sare; Tho' the cradle it be full spread up The bride-bed is left bare.

[Annotations: 1.1: 'silly,' simple. 1.4: 'lair,' lying-in. 2.4: 'gate,' way. 5.3: 'her mother' is, of course, her mother-in-law. 9.2: 'shun' = shoon, shoes. 13: This stanza is not in the original, but is supplied from the boy's repetition, st. 19. 13.4: 'lake-wake' = lyke-wake: watching by a corpse. 22: This, in ballads, is a customary method of giving expression to strong emotion. 29.1: 'scope,' a gag. 30.4: 'wite,' blame: i.e. her mother was the cause of all her trouble.]



END OF THE FIRST SERIES



INDEX OF TITLES

Page

Barbara Allan 150 Brown Adam 100 Brown Robin 158

Child Maurice 165 Child Waters 37

Earl Brand 44 Edward 189

Fair Annie 29 Fair Annie of Rough Royal 179 Fair Janet 94 Fair Margaret and Sweet William 63 Fair Mary of Wallington 201 Fause Footrage 172

Glasgerion 1

Hind Horn 185

Johney Scot 128

Lady Alice 163 Lady Maisry 70 Lamkin 196 Little Musgrave and Lady Barnard 19 Lord Ingram and Chiel Wyet 135 Lord Lovel 67 Lord Randal 193 Lord Thomas and Fair Annet 54

Old Robin of Portingale 13

The Bonny Birdy 25 The Boy and the Mantle 119 The Brown Girl 60 The Child of Ell 52 The Cruel Brother 76 The Cruel Mother 35 The Douglas Tragedy 49 The Gay Goshawk 153 The Marriage of Sir Gawaine 107 The Nutbrown Maid 80 The Twa Sisters o' Binnorie 141

Willie o' Winsbury 104

Young Bekie 6 Young Waters 146



INDEX OF FIRST LINES Page

About Yule, when the wind blew cule 147 As it fell one holy-day 19 As it fell out on a long summer's day 63

Be it right, or wrong, these men among 81

Child Maurice hunted ithe siluer wood 166 Childe Watters in his stable stoode 37

Glasgerion was a king's own son 2 God! let neuer soe old a man 13

'I am as brown as brown can be 60 In Scotland there was a babie born 186 In the third day of May 120 It's Lamkin was a mason good 196 'It's narrow, narrow, make your bed 30 It was in and about the Martinmas time 150

Kinge Arthur liues in merry Carleile 109 King Easter has courted her for her gowd 173

Lady Alice was sitting in her bower-window 163 Lord Ingram and Chiel Wyet 135 Lord Lovel he stood at his castle-gate 68 Lord Thomas and Fair Annet 54

O Johney was as brave a knight 129 'O well's me o' my gay goss-hawk 153 'O wha will shoe my fu' fair foot? 180 O wha woud wish the win' to blaw 101 'O where hae ye been, Lord Randal, my son? 194 'Oh did ye ever hear o' brave Earl Bran'? 46

'Rise up, rise up now, Lord Douglas,' she says 49

Sayes, 'Christ thee saue, good child of Ell 52 She leaned her back unto a thorn 35

The king but an' his nobles a' 158 The king he hath been a prisoner 104 The young lords o' the north country 70 There was a knight, in a summer's night 25 There was three ladies play'd at the ba' 77 There were twa sisters sat in a bour 141

When we were silly sisters seven 202 'Why dois your brand sae drap wi' bluid 190

'Ye maun gang to your father, Janet 94 Young Bekie was as brave a knight 7

Printed by T. and A. Constable, Printers to His Majesty at the Edinburgh University Press

* * * * * * * * * * * * * *

Errata:

Introduction:

[Footnote 3: Little Musgrave and Lady Barnard (see p. 19, etc.).] footnote marker missing from text [Footnote 5: For the most recent discussions, see Bibliography, p. lii.] footnote marker missing or invisible carefully balanced antitheses, and all the mechanical devices text reads "aud" Coleridge's annus mirabilis was 1797 "Cole/ridge's" printed at line break without visible hyphen his friend Humphrey Pitt of Shifnal, in Shropshire, text has extra close quote after "Shropshire," 1794. Joseph Ritson. Scotish Song. 2 vols. London. spelling unchanged

Ballads:

The Douglas Tragedy [Stanza 5.] 'Light down, light down, Lady Margret,' he said, close quote after "Lady Margret," not visible [Annotation to 8.3] 'dighted,' dressed. reference "8.3" missing in text Lord Lovel [Introduction] Of the former the commonest is Der Ritter und die Maid spelling unchanged Fair Annie of Rough Royal [Introduction] 'Lochryan,' says Scott, 'lies in Galloway; text has extra close quote after "Galloway" Lord Randal [Stanza 2.] 'Where gat ye your dinner, Lord Randal, my son? Where gat ye your dinner, my handsome young man?' text has empty line where "man?'" is expected

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