Gleanings of old songs, from manuscripts, songbooks, broadsides, and even a newspaper: English, Scots, Irish, and even a few American. A few are not known to have ever been printed.
I have expanded Middle English thorns to 'th'. Spelling was modernized in printed works by about 1600, but manuscripts, even some copied from printed works, continued to use the thorn for about another 60 to 70 years. I don't know what to do about 'e' and 'o', these are sometimes indistinguishable. 'Shoo' is really 'shee', and 'hoo' is 'hee', but I have left the literal translations as found, as is common. Four verses of "Jerusalem my happy home" were copied onto scattered pages of a book in the Folger Shakespeare Library, along with the author's name which appears with the first verse as 'I Leigho', and so the librarians have given it in the Manuscript Index of Poetry. The name appears again with another verse, however, and this time clearly as 'I Leighe'. The superfluous trailing 'e' is extremely common, so the name is just 'J. Leigh', much more reasonable. [I. or J. was almost always 'John']
I have deleted superscripts which are common in manuscripts and on 18th century single sheet songs with music. 'w' with superscript 't' is common for 'with' or 'what', and with superscript 'ch' is common for 'which'. 'y' with super script 'u' is 'you', and with superscript 'r' it is 'your'. The thorn which looks most like a 'p' in print, could also look like a 'y' in script, so 'y' with superscript 't' is not 'yat', it 'that' or even 'what', context tells which. 'yat' is a common mistaken translation.
For purposes of comparison I have put English, Irish, and Scots texts together in some places, grouped by subject matter, or to same tune, so the division into Sections, English, Irish and Scots on the disk file is only nominal, and "Father Abney's Will" with English songs is actually American, and one under "Granuaile" is Irish-American historical of 1775. Sometimes for convenience of subject or tune I have grouped more than one sung under a finding code, but have tried to list all the songs given under the finding code, except for fragment and short excerpts, in the index below.
Many of the tunes are in C. M. Simpson's The British Broadside Ballad and Its Music, BBBM, but I give a few here which Simpson didn't identify, usually Scots ones, e.g. "Robin Cushie" and "The Beds making". One of his big lapses was in noting "An the kirk wad let me be" came from a fragment in Herd's Scots Songs, but missing the fact that the first line there, "I am a silly old man", was the tune citation on a broadside issued before 1677, on which "The blythsome bridal" was based. The broadside text, "The Scotish Contract" is given below.
Some abbreviations used.
BUCEM - British Union Catalog of Early Music. 2
vols, 1957.
NTI - National Tune Index, 1980
CPC - J. Oswald's Caledonian Pocket Companion, 12
books, 1743 - c 1760. Dates for the individual books were given
together by James Dick in The Songs of Robert Burns,
but these are the ones scattered through the pages of John Glen's
Early Scottish Melodies, 1900
BL - British Library (London), formerly British Museum
NLS - National Library of Scotland, Edinburgh
SS - single sheet song with music.
SMM - Scots Musical Museum, 6 vols, 1787-1803[1804]
BBBM - C. M. Simpson's The British Broadside Ballad and Its
Music, 1966.
PMOT - Wm. Chappell's Popular Music of the Olden
Time, 2 vols, 1855-8.
JFSS - Journal of the Folk-Song Society, London.
Continued as:
JEFDSS - Journal of the English Folk Dance and Song
Society. Continued as:
FMJ - Folk Music Journal.
Note: PLAY commands below are to tunes here in ABC. See note on home page for playing them. Tunes Bxxx are among the broadside ballad tunes. Others are in S1.ABC
...........................
Anne Geddes Gilchrist gave several traditional examples in an article in JFSS, V, #20, 1942, supplemented it with a few more songs in JEFDSS, IV, 1942. She gave only songs she had collected, excepting "Martin said to his man", in the 1942 article, and really didn't go very far with the subject.
* Below, means the text will be found in Scarce Songs 1 (this file), and ** in Scarce Songs 2. Traditional songs can be located easily in Steve Roud's folksong index.
A: BRAGS- Narrator's fantastic accomplishments:
Taliesin's song in the 'Tale of Taliesin'*, in Forde's
'Mabinogion'; Whetstone for Lyers*; Jovial Broome man*; I was
born about 10,000 years ago.
B: Narrator is participator or relator of farcical news, gossip,
or fantastical events, but not primary instigator:
"Newes! newes! newes! newes! Ye never herd so many newes!" BL MS
Cotton Vesp. A25* (This titleless song could possibly be
represented by a Stationers' Register entry of Sept. 18, 1579
which is "Jone came over London bridge and told me all this
geere". This date is same as the other latest pieces in the MS).
Gossip Joan* (plus 2nd part and imitations, e.g., "How comes it
neighbor Dick"). 'Old Woman of Ratcliffe Highway' (prose
chapbook, entered in 1660, extract in Ashton's 'Chapbooks'. Early
example of text with self-contradictory lines).
"Martin said to his man/ Hurrah Lie", "Tom Tell-truth"* and descendants: "A Shoulder of Mutton Jumped over from France", Cecil Sharp, JFFS 20, p. 292, 1916; As I was going to Banbury: 'A Selection of English Folk Songs', Sharp, Vaughn Williams and others, Novello. Also in Cecil Sharp's Collection of English Folksongs, and in Reeves, 'Idiom of the People', #7.
"Teague's Ramble"*, (imitation, but no direct borrowing of lines in "Paddy Backward"); "Nottamun Town"/ "Nottingham Fair" with directly borrowed lines from "Teague's Ramble" but also draws a little from "Tom Tell-Truth", above. "Nottamun Town" in 'English Folk Songs from the Southern Appalachians', II, p. 270. J. Ritchie, 'Singing Family of the Cumberlands', p. 115, 1955; "Nottingham Fair" in V. Randolph's 'Ozark Folksongs', III, p. 201. Bawdy parody in 'Roll Me In Your Arms', #83, 1992, with another long version, "Nottamon Fair" collected by Vance Randolph. "As I set off to Turkey", Reeves, 'Everlasting Circle', #4; "Bryan/Tom O'Lynn"**. "Benjamin Bowmaneer.
C: UTOPIA, (or other impossible places):
prose- Land of Cockagne, c 1400 (ballad or poem?); Jerusalem my
happy home (1587)*; An Invitation to Lubberland*, (c 1685); Big
Rock Candy Mountain, Oleanna. See especially Hal Ramel's book on
comic Utopias in the US, 'Nowhere in America', 1990.
D: Marvelous Creatures:
Wonderful Crocodile, The Darby Ram, Red or Jolly Herring, Fod.
Barely qualifying are: The sow took the measles and she died in
the spring, Cutty Wren**.
E: X will happen when Y, string of impossibles, happen:
get married when - "Things Impossible", Gardner and Chickering,
'Ballads and Songs of Southern Michigan', from broadside "The
young-mans Resolution to the Maids Request" (ZN269), and, with
music, in 'Pills to Purge Melancholy.'
F: Impossible transformations to capture or escape:
prose- part of 2nd Kalandar's tale, 14th of 1001 Nights, prose-
Ceridwen's capture of Gwion Bach in the Welsh 'Tale of Gwion
Bach', broadside ballad- Two lovely lovers, c 1629*, (forerunner
of) The Twa Magicians.
..........................................
Aileen Aroon (original?), Go to
Ah silly pugge wert thou so sore afraid (by Queen Eliz.),
Go to
Alknomook (by Ann Hunter, 1782, not by any of 3 Americans),
Go to
Ally Croker (by Larry Grogan), Go
to
Amors of the Gods, Go to
Andrew & his Cuttie Gun, Mock Battle,
Go to
Angel Gabriel (Carol), Go to
As I gaed to the well at e'en, Go
to
As I walked by myself, Go to
Ay Waukin, O, Go to
Aye me, poor maid, Go to
Ballad of a Tyrannical Husband, Go
to
Beauties Warning-piece Go to
Bess for Abuses, Mock Battle, Go to
Between two foxes, (riddle poem), Go
to
Big Rock Candy Mountain, Cf. Utopia2, Go to
Birds flew over the Green, Go
to
Birds Harmony, Go to
Bird's Noats on May Day Last (1655), Go to
Blackbird, The, Go to
Black Joke and Imitations (Anglo-Irish), Go to
Blow the Candle Out, Go to
The blazing torch is soon burnt out, Go
to
Blythsome Bridal (original?), Go
to
Bob and Joan (Irish); Go to
The Bob-Tail'd Lass, Go to
Bogidon Go to
Bonny Jean of Aberdeen Go to
Bonny Nick the Courier (Scots, c 1605), Go to
Bonny Paisley (with Boys of Kilkenny) Go
to
Bonny Portmore, Go to
Border Widow's Lament, Go to
Boys of Kilkenny (original), Go
to
Brandy, O, Go to
Brags, or lies Go to
Burning of Old John/ Wanton Widow (Folktale), Go to
Captain Barnswell, Go to
Captain McCan (bawdy Irish), Go to
Card Song (original), Go to
Carman's Whistle, Go to
Close and proper new ballad (missing rhyme), Go to
Clout the Caudron, Go to
Colly my Cow, Go to
Comber's Whistle, Go to
Come, come my sweet and bonny one, Go
to
Consent at last, Go to
Contriving Lover (early Keech in Creel3), Go
to
Cooper of Norfolk, ref., Go to
Country Kate's Conquest, Mock Battle, Go to
Country Lass and Taylor's measure, Go
to
Couragio, Mock Battle, Go to
Courteous Shephardess, Go to
The Courtships, Go to
Crab of the Wood, Go to
Cricket and Crab-louse, Go to
Crossed Couple, (Folktale type 1355B), Go to
A Cuckold by Consent (Folktale), Go to
Cupid's Revenge, Go to
Dabbling in the dew, Go to
Dainty & Dorty (Scots Measure); Go
to
A Dainty Duck, Go to
Damon faintly askt once; Go to
Darby's Key to Una's Lock; Go
to
Dear Catholic Brother, Go to
Deed of entayle, Go to
Deplorable News from Southwark, Go
to
Derby Ram,Go to
Derry's Fair, Go to
Diddle, Diddle, (Lavender's Blue), Go
to
Digby's Farewell, Go to
Disappointed Widow, Go
to
Down by the sea shore (Laws K17, original), Go to
Down in a garden sat my dearest love, Go to
Down in the North Country, Go
to
Drowned Lover (Laws K17, original), Go
to
Drumion Dubh (Drimindown, Irish); Go
to
Edinburgh Ramble, Go to
Epitaphs, Go to
Fain I would, Go to
Fair Fidelia, tempt no more, Go
to
Fancy Lad, Go to
Farmer's Curst Wife (original?), Go
to
Farmer's Daughter of Merry Wakefield, Go to
Father Abney's Will (American, c 1729), Go to
Father Grumble, Go to
Fine Old English/ Irish Gentleman, Go
to
Fineboy, Go to
Fit for any man (well qualified maid), Go to
Flee stately Juno Samo fro, Go
to
Fleming bark in Edinburgh, Mock Battle Go to
Flowers of the Forest, Go to
Foggy, Foggy Dew (original), Go
to
Forlorn Lover (The week before Easter), Go to
Fortune my Foe, Go to
Fortune hath taken thee away my love (S. Walter Raleigh),
Go to
Four Drunken Maidens (early version), Go to
French Privateer, and City Caper, Mock Battles, Go to
Fright'ned Yorkshire Damosel (Foggy, foggy Dew), Go to
The Friar and the Nun (c 1500), Go
to
Gardener Lad (original)Go to
Geld him, lasses, geld him, Go
to
The Girl I left behind me (earliest?), Go to
Glasgow Lass's Garland, Go to
Go Sweet Lynes, Go to
Go to the kye wi' me Jonny, Go
to
Gossip Joan (complete), Go to
Granuaile/ Commodore Gale; Go to
Greensickness Grief, Go to
Hans Carvel's Ring (Song versions of Folktale), Go to
Hawthorn tree, (complete) Go
to
Henry Newel, Go to
Highland Tinker, The, appended to "Clout the Caldron" (qv)
Highlander's farewell to bonny port more, The Go to
An Historical Ballad, Go to
The Holland Smock, Go to
How Oxford Schollars Spend Their Time, Go
to
The Huntsman's Delight (The Keeper), Go
to
Husband with no courage in him, Go
to
I came unto a Puritan to woo, Go
go
I have a sister Sally, she's younger than I am, Go to
I never will marry, Go to
I saw me thought, Go to
I was born about four (or ten) thousand years ago, Go to
I'll go to my love where he lies in the deep, Go to
I'll never love thee more (early MS copy), Go to
In Good Old Colony Times, Cf., Go
to
In secret place this hinder nycht, Go
to
In Summer Time, Go to
In summer time, when flowers smell (Scots kiss), Go to
An Invitation to Lubberland (Big Rock Candy Mountain?),
Go to
Jerusalem, my happy home, (by J. Leigh, 1587), Utopia1, Go to
Jockey shall have our Jenny (Scotch Wedding), Go to
John Robinson's Park, Go to
Jovial Broome man (with proper tune), Go
to
Katy Cruel, Go to
Keech in the Creel, Cf., Go to
Keep Legs together, Go to
The Keeper, Go to
Kempy Kay, ref., Go to
Kettlebender, Go to
Kind Lad and Scornful Lass, Go to
Kind Robin loves me (original?) Go
to
Kissing goes by favour, Go to
The Knave, Go to
Ladies Case (Waggoner's Lad opening), Go to
The Ladies Delight, or Narcissus his Love-Flower, Go to
Ladies Fort Beseiged, Mock Battle, Go
to
The Ladies Lamentation, Go to
The Landlady of France, Go to
Langolee I and II (Irish), Go
to
Larry Grogan (song as well as tune); Go
to
Du ca tu non Vanna tu Aileen aroon San Duca tu non Vanna tu aileen aroon Duca tu non Vanna tu Duca tu non Vanna tu Duca tu, Duca tu, Duca tu non Vanna tu O Duca tu non Vanna tu aileen aroon. Kead mille Faltie rote aileen aroon Kead mille Faltie rote aileen aroon Kead mille Faltie rote Kead mille Faltie rote Oct mille, nee mille, deh mille Faltie rote O Faltie gus fine rote aileen aroon. Tuca me sni anna me sgra ma chree stu O Tuca me sni anna me sgra ma chree stu Tuca me sni anna me Tuca me sni anna me Tuca me sni anna me sni anna me sgra me chree stu.This and another edition of about the same date listed in BUCEM, p. 294. BUCEM lists another later edition printed in Dublin about 1770, as sung by 'Sigr Savoi at the Rotunda.' A copy with music, crediting Sigr Tenducci with singing it, was printed in Dublin in Exshaw's London Magazine, 1769. Although Exshaw's magazine was largely pirated from the London edition, the song was not in the 1769 issue of The London Magazine. The same song was printed without music in a songbook The Charms of Melody, Dublin, 1776. This probably stems from the singing of one of the two Italians mentioned below.
Ducatu non vanutu Aileen Aroon,
San ducatu non vanutu Aileen Aroon;
Ducatu nun vanutu, Ducata non vanutu,
Ducatu, ducatu, ducatu, ducatu non vanutu,
O ducatu non vanutu, Aileen Aroon.
Kead mille faltierote Aileen Aroon,
Kead mille faltierote Aileen Aroon;
Kead mille faltierote, Schat mille faltierote,
Oct mille nee mille, deh mille faltierote,
O faltiegus fine root [rote] Aileen Aroon.
Tuca me sni anna me sgramachree hu,
O tuca me sni anna me sgramachree hu,
Tucca me sni anna me, tucca me sni anna me,
Tuca me, tucca me, tuca me sni anna me
O tuca me sni anna me sgramachree hu.
The first verse was printed to the tune by Domenico Corri in
A Select Collection of the Most Esteemed Songs, Vol.
III, p. 21, Edinburgh, n. d. [c 1798]The song is in Gaelic, spelled phonetically, and apparently in Ulster dialect. [Private communication from Dr. Patrick A. G. O'Hare, ] Dr. O'Hare's literal translation of the 1776 version is as follows:
Will you go or will you stay, Aileen Aroon, And will you go or will you stay, Aileen Aroon, Will you go or will you stay, Will you go or will you stay, Will you, will you, will you, Will you go or stay, O will you go or will you stay, Aileen Aroon. One hundred thousand welcomes to you Aileen Aroon, One hundred thousand welcomes to you Aileen Aroon, One hundred thousand welcomes to you, Seven thousand welcomes to you, Eight thousand, nine thousand, Ten thousand welcomes to you, O welcomes and fine [?] root [?], Aileen Aroon. I shall go and shall not stay love of my heart, O I shall go and shall not stay love of my heart, I shall go and shall not stay, I shall go and shall not stay, I shall go, I shall go, I shall go and shall not stay, O, I shall go and shall not stay, love of my heart.A traditional version in JFSS VI (#25) 1925 (with music not given here) has only one verse (in Gaelic) which translated goes (with Eileen a riu/in = Eileen, darling):
Oh, I would drive the calves with you, Eileen, darling (bis)
Oh, I would drive the calves with you,
Westwards through the glens with you,
Hoping to be married to you, Eileen darling
The tune with title "Ellen a Roon" is first found in Charles Coffey's ballad opera The Beggars Wedding, 1729. Coffey's song there is unrelated to "Eileen Aroon". This was acted in both Dublin and London, and at least four editions of the play were printed in that year, with additions to each subsequent edition. The music was printed at the end of the 4th edition, but not with the 1st ed. Music is in some, but not all, copies of the 2nd ed. I have not found out if the music was included with the 3rd edition. The Folger copy of the 4th. edition, 1729, contains the music, as does another copy styled the 4th ed. by different printers, in 1731. The fifth edition, 1733, by yet a different printer does not contain the music.
The second printing of the tune is that on the single sheet song with music, from Kitty Clive's singing. According to Roger Fiske's English Theatre Music in the 18th Century, 2nd edit., p. 626, says that it was sung at Drury Lane Theatre on Aug. 3, 1742, and he hadn't seen any earlier example. However, in Arthur Scouten's et. all.'s The London Stage Kitty Clive is noted to have sung it in Dublin before she sang it at a production of The Man of Mode on Mar. 8, 1742. She sang it least 8 other times, until her last known singing of it in Apr. 1745.
The third printing of the tune seems to have been the elaborated version with a bass given by Burk Thumoth [Thomond of Burke] in Twelve Scotch and Twelve Irish Airs, John Simpson, London, n.d. (c 1744) In this work the tune is in the Irish section. This work contains an advertisement on the title page for James Oswald's A Collection of Curious Scots Tunes, which is known to have appeared in November, 1742, so Thumoth's book is probably to be dated 1743-4. I subsequently discovered that the deduction of a date of 1743 was also arrived at by Francis O'Neill in Irish Music and Musicians, Chicago, 1923? Old estimates of the date range from 1720 to 1760.
The tune was printed in Scots collections in the eighteenth century, and this has given rise to some Scots claims to the tune, however, the Irish evidently had a song to the tune, while the Scots seemed to know only Lady Keppel's song "Robin Adair," more on which below.
The fourth and fifth printings of the tune that I have come across are those in James Oswald's Caledonian Pocket Companion, Book V, c 1753, and in his A Collection of Scots Tunes with Variations, c 1756. These were both published by Oswald after leaving Edinburgh in 1741 or 1742.
The tune from Oswald's Caledonian Pocket Companion is reprinted in James Dick's The Songs of Robert Burns, #45, p. 45, 1903, as the setting for Burn's song "Phyllis the Fair." Burns was actually familiar with the variant of the tune "Robin Adair," from a printing with music of Lady Caroline Keppel's song in a Scots songbook of the 1790's. Robert Burns, however, had met a Highland Scotsman who claimed that his mother had sung a Gaelic song to the tune. Unfortunately we do not have the title or a single line of the song, and we know that Burns was occasional misinformed, memory of far past events being notoriously error prone. I have not ascertained when the version of the tune "Robin Adair" first made its appearance. The song was by Lady Charlotte Keppel, probably between 1750 and 1760, and certainly before her marriage to her Irish "Robin" Robert Adair. The song is certainly not a Scots one.
A Cantata on the "Roast Beef of Old England" contains about 30 total verses using about a dozen different tunes. Among these are two non-descript verses to the tune of "Ellen Aroon." I do not know when this first appeared. It is in The London Songster , 1767; The Humming Bird, London, 1776; The Linnets, Wolverhampton, 1777; and in The British Muse, Newcastle, 1787, all without music. It is with music as a single sheet with music printed by J. Longman & Co., c 1780? On the latter and the first of the books above it is styled 'A Cantata taken from a Celebrated Print by the ingenious Mr. Hogarth.'
A song without title, set to the tune in Vocal Music, or, the Songsters Companion, London, n.d. [c 1778] [Single sheet ed, 'A favorite Irish ballad,' c 1770, noted in BUCEM], goes:
How sweet and how pleasing the birds sing in tune! How sweet and how pleasing the birds sing in tune! Gay prospects abounding, All nature resounding, And will delight my sweet Ai---leen Aroon! And will delight my sweet Aileen Aroon. The roses and li---lies in May and in June, The roses and lilies in May and in June, So charming and blooming, Around all perfuming, So charming and blooming, Around all perfuming, Are not half so sweet as my Aileen Aroon. When sultry bright Phoebus, makes fervid the noon, When sultry bright Phoebus, makes fervid the noon, In the grove or the bow'r I'll pass the long hour, And sing in the praise of sweet Aileen Aroon! And sing,---- sing in praise of sweet Aileen Aroon!The latter song is also in The Thrush, London, p. 16, 1827.
A song to the tune "Aileen Aroon" was written and published by a songwriter in London, William Collins. His songs have tune directions which are mostly Irish tunes, and several of the songs are set in Ireland, and all are much better songs than the general run of Anglo-Irish songs, most of which are supposedly comic songs about the backwardness of the Irishman. His song is in his collection of sixty songs entitled The New Vocal Miscellany, 1787.
Ah haste to these arms sweet Sheela my dear,
Ah haste to these arms sweet Sheela my dear,
Poor Murtagh no ease can find
Your image still haunts my mind;
When Sheela is absent, each day seems a year,
When Sheela is absent, each day seems a year.
I'll travel to Dublin in search of my love,
I'll travel to Dublin in search of my love,
There, fly to the play each night,
To meet my own heart's delight;
And then to Kilkenny return with my love,
And then to Kilkenny return with my love.
[one more verse, not copied.]Another song to the tune, headed:
Oh! welcome, my Aileen; the moment is blest That brings thee to soothe ev'ry care of my breast; These eyes that behold thee, These arms that enfold thee; This faithful heart beating, In joy of our meeting, Welcome a thousand times, Aileen a Roon. My faithful companion* who walk'd by my side, Flew away like the wind when my Aileen he spy'd: With music he greets thee, In rapture he meets thee, Now to thy side clinging; Now up to thy lap springing, He welcomes, a thousand ways Aileen a Roon. My flocks gaze and bleat as my Aileen draws nigh, And my little stream flows more melodiously by; At her feet the flow'rs springing; The birds round her singing; In her presence delighting, All nature uniting, Proclaims a glad welcome to Ailen a Roon. Thy presence my Garden rejoices to hail, And gives thee her welcome perfum'd in the gale, Amid' thy charms straying, Fond zephyrs are playing, Now on thy cheek lying, Soft breathing and sighing, With whispers they welcome thee, Aileen a Roon. The blossoms are clust'ring, more verdant the grove, And my fields smile with gladness to welcome my love, To thee all is owing, In thee pleasure showing; All objects appearing More soft and endearing, What wonder we welcome thee, Aileen a Roon. In their gayest apparel the shepherds appear, And are thronging to see and to welcome thee here; Thy dear name resounding, From hill to hill rebounding; Fond echo conveying, And joyfully saying Welcome, a thousand times, Aileen a Roon. If to welcome thee all things in nature unite, In what strains shall thy Donald express his delight? At sight of his treasure, Transported with pleasure; Thus gazing and pressing To his bosom his blessing-- He has scarce breath to welcome thee, Aileen a Roon.* a favourite Spaniel
Above from a songbook without music, issued in 100 parts, of which there is no complete collection, The Charms or Melody, or Syren Medley, Dublin, n.d. [c 1795-1810, from paper watermark dates.]
Hutchinson is noted in D. J. O'Donoghue's The Poets of Ireland, as having a reputation as a poet, however, O'Donoghue could not locate any poetical pieces attributed to him. Hutchinson's death was given by O'Donoghue as Sept. 4, 1794. The song appears to be little known in Ireland, probably because it was published in London in The European Magazine, April, 1794, as "AILUN A' Roon," with an appended note, 'Words to Ailun A'Roon. By the Right Hon. J. H. H. Secretary of State for Ireland.' [Huntington Library, Catalogue of Music Printed Before 1801.]
I have not found when Gerald Griffin's familiar song "Aileen Aroon" was written. He was born about 1803, and stayed in Ireland to complete his education when his parents emigrated to the US about 1820. This is the one sung by Jean Redpath.
Play: S1, AILNRON, Tune from Beggars Wedding, 1729
There liv'd a man in Ballinocrazy, Who wanted a wife to make him uneasy; Long had he sigh'd for dear Ally Croker, And thus the gentle youth bespoke her, Will you marry me, dear Ally Croker? Will you marry me, dear Ally Ally Croker? This artless young man, just come from the schoolery, A novice in love and all its foolery; Too dull for a wit, too grave for a joker, And thus the gentle youth bespoke her - Will you marry me, dear Ally Croker? Will you marry me, dear Ally Ally Croker? He drank with the father, he talk'd with the mother, He romp'd with the sister, he gam'd with the brother, He gam'd till he pawn'd his coat to the broker, Which lost him the heart of his Ally Croker. O the fickle fickle Ally Croker! O the fickle Ally Ally Croker! To all young men who are fond of gaming, Who are spending their money while others are saving, Fortune''s a jilt, the Devil may choak her, A jilt more inconstant then Ally Croker. O the inconstant Ally Croker! O the inconstant Ally Ally Croker!Larry Grogan was an Irish piper of the first half of the 18th century, traditionally credited with composition of "Ally Croker" about 1725. The tune for this is familiar as that for William Collins' "Golden Days of Good Queen Bess," George Colman's "Unfortunate Miss Bailey," (from Act 2 of 'Love Laughs at Locksmiths, premiered on July 25, 1803) song in The Whim of the Day for 1804 with tune direction "Ally Croaker", and Samuel Woodward's "The Hunters of Kentucky." T. Crofton Croker in Popular Songs of Ireland, 1839, related a traditional story about the composition of the tune for "Ally Croaker," about 1725. The song of that title was said to be written on rejection of his suit by a jilt, Alicia Croker. I had doubts about this story until I found that there is a single sheet copy of the song with music of about 1730, with Alicia Croker's last name spelled correctly. Unfortunately I have not seen a copy of this issue, which commences "There lived a man in Ballenocrazy". Other copies of the song and tune, of which there are many, stem from 1753, when it appeared as "Ally Croaker" in S. Foote's The Englishman in Paris. The tune under the "Ally Croaker" title appeared with and without the song in several publications over the next few years. A copy of the song "Ally Croaker" in The Universal Magazine, London, 1753, was termed "A New Song". This did not fool everyone. In G. A. Stevens' Songs, Comic and Satirical, 1772, is a song with tune direction "Ally Croker", not "Croaker", and therre are many other songs with the same tune direction.
Wm. Chappell in Popular Music of the Olden Time, II, p. 713, unaware of the early single sheet issues of "Ally Croker" assumed the song "Ally Croaker" originated in Foote's play. He stated that the tune appeared in Love in a Riddle, 1729, as the tune for a song "No more, fair Virgins boast your power". The tune in Love in a Riddle seems to me to be only vaguely similar to "Ally Croker". I have not run across any early copy of Wm. Collins' "The Golden Days of Good Queen Bess". With music it is in The British Musical Miscellany, p. 42, Edinburgh, 1805. As with George Colman later, Irish tunes were favorites with Collins and several, including some now unknown, are cited for songs in his The New Vocal Miscellany, 1787. [Unknown, at least to me, are "Pegeine O'Leary", "Pearl of Wicklow" and "Mortaugh Delany and Jenny O'Danelly"]
Reference to our song is made in: A song, "The Irish Proker", Sung by Mr. Dignum, The Charms of Chearfulness, or Merry Songster's Companion>, p. 145, 1789. - "About 20 years ago Ally Croaker made a great noise"
Play: S1, ALYCRK1, Love in a village
S1, ALYCRK3, Riley's Flute Melodies
By your leave Larry Grogan, Enough has been spoken, It's time to give over your sonnet, your sonnet; Come listen to mine sir, Much truer than thine sir, For these very eyes were upon it. It is of a buck slain, This very campaign, To let him live longer, 'twere a pity, 'twere a pity: For head and for branches, For fat and for haunches, Exceeding the mayor of a city, a city. [Alicia Croker reappears in this song in the fourth verse, Cf. ALYCRKR above]
The first half of this verse clearly refers to an older song about Larry Grogan, which is evidently our song "Larry Grogan".
The song "Larry Grogan" is much earlier than the songbooks in which it is appears, The Charms of Chearfulness, p. 143, London, 1781, and The Polite Songster, p. 377, North-Shields, 1781. It is without music or tune direction in either, but the title gives the tune. Note the fifth line, "We'll send for sweet Larry, be merry, be merry." A song "Robin John Clarke" in A Collection of Loyal Songs, Poems, 1750, has the tune direction, "sweet Larry, be merry," undoubtably from our song. "Robin John Clark" is printed from a manuscript, but with a different tune, in J. Hogg's Jacobite Relics, I, p. 24, 1819.
Ye rakes that are jolly and hate melancholy, Who through the wide world are a jogging; In the land of good ale did you never hear tell, Of that frolicksome lad Larry Grogan. We'll send for sweet Larry, be merry, be merry; Hah, there is his bagpipe a humming; Zounds boys join in chorus, hey! all the world for us, I knew the dear Joy was a coming. Now peace with your singing, we'll make a'round ring, an Young Larry, shall play in the middle; Now for it my ranter, one tune from your chanter, Shall beat the harp, hautboy or fiddle, Your pipes Larry Grogan all other ones flogging, Tune up in a measure so frisky, To hear Lanstrum pone what heart can be stony, [* While'er we've a bumper of whisky. Come Larry play over the march of the rover, The rakes and the drunkards and troopers; Lads rather than quarrel we'll stave a whole barrel So damn it more work for the coopers. Come drink about plumpers, lads fill up your bumpers, And landlady bring us a twitcher; But hearkee__ no roguing,--- you know Larry Grogan, Can find out the hole in a pitcher. Come drink about Larry, let's laugh and be merry, This world is nothing but sorrow; To day let us caper and sweal out life's taper,__ It may be extinguish'd tomorrow. Yet if death do approach us, he never dare broach us; The rascal had better be civil; We'd call him a liar, put's dart in the fire, And shove his dry bones to the Devil. Amongst other crochets we'll play up to Hatchet's, And drink a whole hogshead at Hammond's, From there to Moll Wheelers we'll visit the females, And toss off a cog to Doll Cummins. We'll touzle the tatters of each mother's daughter,-- What says my young worthy sweet Larry? Come lads never fear us, we'll rant it like heros, But mind we are never to marry. Now faith Larry Grogan, with never a brogue on, I'll skip to thy music with pleasure; So down with the glasses, and haul in our lasses; In dancing we'll stick to no measure. Well broke Larry Grogan, 'tis time to be jogging, We reel with a motion so weary; For piping and dancing for singing and prancing, Who e'er so a blade like young Larry.* Pipe tune of which there are many versions, and now called "Langstern's pony". "Lastrum Pone" in the Neals' A Choice Collection of Country Dances, Dublin, c 1726; "Lestrum pone" in The Beggar's Wedding, 1729; It appears in several collection of country dances, including, "Lass Trumponey" in Walsh's Caledonian Country Dances, Book 1, c 1734, and is "Lastrumponey" in Oswald's Caledonian Pocket Companion, and elsewhere later.
The tune "Larry Grogan" was printed in 1736 in the second book of J. Walsh's Caledonian Country Dances, and appeared about the same time on a single sheet song with music, (noted in 6/4 rather than 6/8 time) with the title "Larry Grogan, or the London Rakes delight." This song is an English bacchanalian, and Larry Grogan appears only in the title. The tune "Larry Grogan" was also printed in J. Oswald's Caledonian Pocket Companion, Book 10, p. 12, c 1760.
Play: S1, LRYGRGN, from single sheet issue, below
[Following from single sheet song with music, the tune being "Larry Grogan." London, c 1730-40]
Come Boys let's be jolly and drown melancholy, We'll tope off a Hogshead of Sherry, of Sherry. Let doating old Puritans dye in their folly, While we that are Rakes will be merry, be merry Each Rake with his Miss shall tipple & frolic it. Peggy & Nanny & Nanny & Sarah, & Sarah, & Harry & Ionny & Robin no politick Dicky and Doll of the Dairy, the Dairy. We'll Dance and sing and caper, rant, rattle, and Vapour, And revel like true Sons of Thunder, of Thunder, Bauds, Pandors, and Bullies, Pimps, Whores & their Cullies, Amaz'd & afraid shall knock under Boys, under, If they resist we'll beat them all back again, no Man our frolick shall hinder, shall hinder, We'll Booze & we'll drink, & when in a merry Vein, Turn the House out the window, the window. When Drunk with good Sherry Champain of Canary, We always are frisky & Jolly, & Jolly, Each Lass of the Town that is free brisk and airy, Young Cicely Bersheba and Polly, & Polly, Shall fly to our Arms with am'rous embraces, And meet a return from each Gallant, each Gallant, While Liquor inspires us we mind no disgraces, But boldly make use of our Tallent, our Tallent. Our Bottles, Religion, our Lasses, a Region Of bliss there our Joys we do Center, do Center, While Bachus inspires us & Venus she fires us, We Value not Hymens Indenture, Indenture, Those that do marry do often miscarry, Venus you know Cuckold'd Vulcan, old Vulcan, His Horns oft did hinder the sight of his rival, While Mars in a corner lay sculking, lay sculking. Some Women are fickle & lov & to be tickl'd, By those that to them should be Strangers, be Strangers, The Rakes life is best tho' with Pox he is Pickl'd, He need not to fear other dangers, Sir, dangers, For what will come after we have no cause to fret, Think not at all of to morrow, to morrow, A whole pound of grief will ne'er pay an Ounce of Debt, Hang care and cast away Sorrow, Boys, Sorrow.Go to Index
No mortal sure can blame ye man,
Who prompted by Nature will act as he can
With a black joke, & belly so white:
For he ye Platonist must gain say,
that will not Human Nature obey,
in working a joke, as will lather like soap,
& the hair of her joke, will draw more than a rope,
with a black joke, & belly so white.
The first that came in was an English boy,
& then he began for to play & toy,
With her black & c.
He was well vers'd in Venus's School,
Went on like a Lyon came off like a fool,
From her coal black & c
Then Shonup a Morgan from Holly-head
Was stark staring mad to go to bed,
To her black & c
His cruper her saddle did not fit,
So out of door she did him hit;
With her Coal black & c.
Then hastily came in a Hilland man,
His chanter & pipe both in his hand,
To her black & c
But his main spring it was not strong
For he could only flash in the pan
Of her Coal black & c
A Frenchman oh yh wth ruffles & wig
With her he began for to dance a Jig
With her black & c
& wn he felt wt was under her smock,
Begar said Mounsier 'tis a fine Merimot
With a Coal black & c.
A rich Dutch skipper from Amsterdam
He came wth his gilt ready in hand,
To her black & c
He fancy'd himself very fit for ye game,
She sent him to Holland all in a flame,
By her Coal black & c
The good Irish Man he cou'd not forbear
But yt he must have a very good share,
Of her black & c
Madam said he for money I have none.
But I'll play a tune on ye jiging bone
Of your Coal black & c
Then next came in a brave Granadeer,
& calls in for plenty of Ale & beer,
For her black & c
The cuning sly Jade show'd him a trick
& sent him away wth fire in his stick
From her Coal black & c.
Traverse ye Globe & you'l find none,
Who is nott addicted & very much prone,
To a black & c
The Prince, ye Priest, ye Peasant do love it,
& all degrees of Mankind do covet
A Coal black & c
The rigid recluse wth his meager face,
From fasting & prayer wd quickly cease,
For a black & c
Let ye Clergy Cant & say wt they will
They stop ye mouth & tickle the Gill
Of a Coal black & c
The Bishop in his Pontifical Gown,
Wou'd tumble another Susanna down,
For her black & c
The Lawyer his Clients cause wd quit
To dip his pen in ye bottomless Pit
Of a Coal black & c
Text and tune here are from a single sheet song with music, c
1730, here from a copy in the Folger Shakespeare Library. Another
copy is reproduced in reduced facsimile in 'Music in Colonial
Massachusetts', I, Fig 18, 1980. As shown below, the estimated
date of c 1720 for the latter copy is too early. The last copy
that I know of is at Glasgow University Library. 'Joke' is also
later given as 'Joak' and 'Jock.' This is quite possibly the
earliest Irish popular song to be printed with it own tune, but
tune "Captain "Mckean" is earlier and from MS copy of c 1745,
song is quite as bawdy. The first verse and last three of our
song here appear without music in The London
Miscellany, 1730, as "A New Song, to the tune of
Black-Joak the words by the R---d Mr. S---th, Chaplain to a
Man-of War." The fact this this collection announced itself to be
scarce pieces and the word "Original" in our song title here
implies that song was circulating about London inspiring
imitations of both text and tune, before it was printed there.
The earliest known datable copy of the tune is in Charles
Coffey's ballad opera The Begger's Wedding, 4th ed.,
Act I, Air #10, 1729, where it is entitled "Coal Black Joak" and
was followed by use in another ballad opera with the same tune
title. Five others later, that also printed the music, call it
simply "Black Joke," or "Black Joak". Our song here seems to have
nearly established a new industry in London producing immitations
of it.About 1730 John Walsh published The Third Book of the most celebrated jiggs, ... etc, containing the tunes 'the Black Joak, the White Joak, the Brown, the Red and the Yellow Joaks.' [ABC's of all tunes in the book are at www.bath.ac.uk/~exxhf/walsh.abc] Coffey's song from The Begger's Wedding was also published in at least two different issues as a single sheet song with music entitled "The coal black Joke."
"White Joke" appeared in Robin Hood, Air #14, 1730, and both of these tunes appeared in Fielding's The Lottery, 1732. A song, 'The White Joak Sung by Mrs Roberts at the Theatre in Dury Lane The Words by Mr. Davis', commencing "Gay Myra toast of all the town" was published in at least two single sheet editions. Song, "The White Joak" commencing "Thrice happy Lizzy, blooming maid" appeared without music in The Vocal Miscellany, 'Volume the Second and Last', p. 1, 1734. "The City Lass and the Country Lass" to the tune of "White Joak" appears in Vol. 5 of Walsh's The British Musical Miscallany,n.d. [1736] Margaret Crum's First Line Index of English Poetry..Bodleian, item W746a, notes "A New Song to the tune of Coal black Joke", commencing "What though my love has got no pelf".
James Oswald in The Caledonian Pocket Companion, Book 7, pp. 18-19, c 1756, included a "Burlesque on Black Joak." He turned "Black Joke" into a Scots tune about a year later by scoring it in 3/4 time and titling it "Black Jock" in A Collection of Scots Tunes. The tune continued to be published occasionally in dance music collections throughout the 18th century, and was well known even in America.
There was a lady came out of France all for to learn an english Dance with her coal black jack that will lather [like soap and the hair of her Jig will draw more than a rop[e with a black Joak, and belly so white We girls of the Town are Ladies of pleasure We go to the Tavern and stitch at our leisure with her coal &c Whe have such ways to draw men in We'd rather stitch then learn to spin with our--- &c In comes prime phillis then in a great h[--] and swears l--m her soul she'll stitch without m[en with our --- &c She followed me from lane to lane picking my pockets quite so clean with her &c Of all the Collours that are in the Town a red, a flaveen, a Grey or a brown with her---&c Remember you Gallants, that follow the gam[e french Ladies first gave you sauce for the same With] a coal black &c It] is our Delight for to pick up a spark To] walk with at night in the Garden or park Wit]h a Coal black &c You] sparks of saint James's and likeways pall mall I'd] have you take care of this frenchify'd Girl W]ith a Coal black Jack &c
A] Lady of pleasure that came from France She] it was that learned me a dance W]ith her pretty black hair and her hands so white I] hurried me from lane to lane untill she picked my pockets clean W]ith her &c My] watch my sword my rineys[?] likewise the whore she seized on the golden prize with her &c She] striped me naked and got me to bed A]nd laid me close by a whore that was dead with her &c --] in the morning when I did rise I then began for to rub my eyes with her &c When I thought to embrace my paramo[ur] I found nothing there but fullsome ded [whore] with her &c I wish that I had been grut in the street [-- for the comical whore gave me the pox wither her &c Stark naked thro' the streets I did run You would laugh for to see how I riggl[led along with her &c[A second part follows that above]
You Rakes and Bullies and comical fops you say that we sent you away with the [pox with our &C But pox on you for comical fools we scorn to meddle with such dirty Poo[r tools with our &c Its very weel known we are pritty Girl[s and that we are company for Lords and E[arls with our &C And when into Essex street we come the rakes and bullies the[y] turn up one bu[m with our &C And when we come to temple bar Then we pick up a Jolly tar with our &C An]d when we come to featherbed lane O]ur lovers will kindly us entertain with our &c. Finis[New addition, Mar. 1, 1999, but it has now become obvious that this is a cheap and incomplete version made to be palmed off as the original. It appears to lack 2 long verses.]
The Coal black Joke.
[single sheet song with music that is "Black Joke"]
There was a lady came from France
to learn an English country Dance,
wth her black Joke & Belly so white:
She follow'd me from Lane to Lane
& picked my Pockets quite & clean,
she follow'd me from Lane to Lane,
wt her coal black Joke, yt will lather like
Soap,
& ye hairs of her head will draw more yn a
Rope,
black Joke & Belly so white
The Girls of the Town are such Ladies of Pleasure,
They go to the Tavern & stitch at their leisure
with their Black Joke & Bellies so
white:
Their Cullies they call 'em my dear & my honey
They let down their Britches & lug out their money,
They let &c
For their coal black Jokes &c.
They ramble ye Town to pick up a Spark,
& go to ye Tavern, ye Play-house, or
Park,
With their black Jokes & Bellies so
white:
They have such a Way to draw Man in,
They rather chuse to stitch than to Spin,
With their coal black Jokes &c.
Remember yu Sparks yt follow ye
Game
ye French Ladies first gave yu Sauce for
ye same,
With their &c.
ye Girls of our Nation who draw yu in,
Will handsomely pepper yu off to ye
Skin,
They'll handsomely &c.
With their coal black Jokes &c.
[End of this incomplete version.]
Bodleian Library MS Mus. Sch. G 636 contains a song with music "The Black Joak," commencing "No sooner comes [up] a country clown." Not seen there, but headed 'To the Tune of Black Joke' is a copy in The Merry Companion or, Universal Songster, 4th ed., 1750. A song of two verses where a prodigal spends all his money, turns to crime, and is then hung. Another bawdy song entitled "Black Joke" is a traditional one collected 1826-8, given in Emily Lyle's 'Andrew Crawfurd's Collection of Ballads and Songs, I, #69, 1975. There is also to the tune a song on "The Rebels" (Americans) whose reference I've misplaced.
Play: S1, BLCKJKE, from single sheet issue
[A series of related songs: Boys of Kilkenny, Shrowsbury for me, Pleasures of Sunderland, Bonny Paisley, On yonder high mountain. Note on Streams of Lovely Nancy versions.]
Oh the Boys of Kilkenny are brave roaring blades And if ever they Meet with the nice little maids They'll kiss them & coax them & spend their money free And of all Towns in Ireland Kil-kenny for me And of all Towns in Ireland Kilkenny for me. Fal de ral de ral de ral de ral lal ra la la lo. In the Town of Kilkenny there runs a clear stream, In the Town of Kilkenny there lives a pretty Dame, Her lips are lke roses, and her mouth much the same, Like a dish of fresh strawberries smother'd in cream. Fal de ral, &c. Her Eyes are as black as Kilkennys large coal, Which thro' my poor bosom have burnt a big hole; Her mind like its river is mild clear and pure, But her heart is more hard nor its marble I'm sure. Fal de ral, &c. Kilkenny's a pretty Town and shines where it stands, And the more I think on it, the more my heart warms; For, if I was in Kilkenny I'd think myself at home, For its there I'd get sweethearts, but here I get none. Fal de ral, &c.London Printed for M.r Kelly at his Opera Salon 9 Pall Mall.
My London map of 1731 shows 6 bldgs on Pall Mall St. (between Haymarket and St. James St., and opposite a park) but doesn't identify them or give numbers for them (and the map may have been incorrect by the early 19th century. Song and tune here are from a single sheet copy which is believed to be the original publication of this song. If that is true then it must have been based on one of the songs below. Michael Kelly's music shop where it was printed, was in business from 1802 (or 1801) to 1811. The tune here is a variant of that later called by Thomas Moore, "The Old Head of Dennis."
Play: S1, BYSKLKN, from single sheet
Come listen you Gallants
of Shrowsbury fair Town,
For that is the place,
that hath gained renown:
So set forth its praises,
we all will agree:
Then every man to his mind,
Shrowsbury for me.
The merry Town of Shrowsbuy,
God bless it still,
For it stands most gallantly
upon a high hill:
It standeth most bravely,
for all men to see,
Then every man to his mind,
Shrowsbury for me.
There's six Parish Churches
all in that fair Town
And six gallant Ministers,
in their black Gowns:
There's twice a week Market,
for all men to see,
And every man to his mind,
Shrowsbury for me.
The second part, to the same tune.
O the brave bells of Shrowsbury,
merrily doth ring,
And the gallant young-men & Maid[s],
sweetly they sing:
There runs a fair River,
for all men to see
And every man to his mind,
Shrowsbury for me.
O the Pinnacle of Shrowsbury,
shews it self still,
For it's mounted gallantly
on a high hill:
It standeth most bravely
in view for to see,
Then every man to his mind,
Shrowsbury for me.
The Trades-men of Shrowsbury
drive a fine Trade,
Their wives go most gallant,
and bravely aray'd,
And like loving couples
they always agree,
Then every man to his mind,
Shrowsbury for me.
The Sea-men went to Maid-stone,
the Jayl for to see,
And from thence to London,
that noble City:
Then home they returned,
by one, two, and three,
And every man to his mind,
Shrowsbury for me.
The young-men of Shrowsbury,
are jovial Blades,
When they are in company,
with pretty Maids,
They court them compleatly,
with complements free,
Then every man to his mind,
Shrowsbury for me.
There's fishing and fowling
at Shrowsbury Town,
There's shooting and bowling,
both up hill and down:
With brave recreations
for every degree
Then every man to his mind,
Shrowsbury for me.
There is no man in Shrowsbury
needs for to want,
for all things are plenty,
and nothing is scant:
What e're you can wish for,
for all men is free,
Then every man to his mind,
Shrowsbury for me.
The who would not gladly,
live in this brave Town
Which flourishes gallantly,
with high renown:
The like of it is not
in England to see,
Then every man to his mind,
Shrowsbury for me.
Then brave Lads of Shrowsbury,
let us be merry,
Carrouse it most freely,
in white-wine and Sherry:
Cast up your Caps bravely,
for all men to see,
And still cry with one accord,
Shrowsbury for me.
[Here from an issue published by Wright, Clarke, Thackeray, and Passenger. Copies printed by Richard Burton are in the Douce, Rawlinson, and Wood collections. Burton transfered his ownership rights to Coles, Vere, and Gilbertson on July 26, 1658.]
[Next, from The Bishopric Garland, Or, Durham Minstrel, Stockton, 1792, via Ritson's Northern Garlands:]
There's dancing and singing also in the same town,
And many hot scolds there are in the week;
'Tis pleasant indeed the market to see,
And the young maids that are mild and meek.
The damsels of Sunderland would, if they could,
To welcome brave sailors, when they come from
sea,
Build a fine tower of silver and gold;
Every man to his mind, but Sunderland for
me.
The young men of Sunderland are pretty blades,
And when they come in with these handsome
maids,
They kiss and embrace, and compliment free;
Every man to his mind, but Sunderland for
me.
In silver-street there lives one Isabel Rod
She steeps the best ale the town can afford
For gentlemen to drink till they cannot see
Every man to his mind, but Sunderland for
me.
Sunderland's a fine place, it shines where it stands,
And the more I look on it the more my heart
warms;
And if I was there I would make myself free:
Every man to his mind, but Sunderland for
me.
[Wm. Logan in A Pedlar's Pack, p. 405, 1869, gave "Bonny Paisley" from a chapbook dated 1795 as follows:]
Over hills and high mountains, I have oftentimes been, Through hedges and broad ditches I wandered alone. There is nothing that doth grieve me, Or troubles my mind, As the leaving of my sweetheart In Paisley behind. O Paisley is a fine town, It shines where it stands; The more I think on it, The more my heart warms, For if I were in Paisley, I would think myself at home, For there I have a sweetheart, But here I have none. O the weavers in bonny Paisley, They are clever young blades, When they do go a-courting Of pretty young maids; They will kiss them and clap them, And spend their money free; Of all the towns in Scotland, O Paisley is for me. O the lasses in bonny Paisley, They are pretty young maids, For they love the jolly weavers, And despise all other trades. And if any other tradesman Should cast a loving eye, To the arms of a jolly weaver She will suddenly fly. For it is up into the Hoxiehead I will build my love a bower, Where neither Duke nor Lord Shall over her have power. But if anybody ask you, "My dear what is your name?" Tell them that I'm your jolly weaver, And your my dearest swain."Bonny Udny" is in Gavin Greig's Folk-Song of the North East, Article 32, and Greig recognized the similarity of it to other songs, including most of ours here. [See additional versions in The Greig-Duncan Folk Song Collection, VI, #1089, ]. As Greig notes this song seems related also to one in English County Songs, "Bristol City", where the last verse commences "I'll build my love a castle on yonder high ground." The following is intended to draw some references together for those who might wish to pursue a study of this latter song, and hopefully be able to add something that will tie together some vague relationships and history. There is a extensive note on this latter song and its variants by Anne. G. Gilchrist in JFSS, 17, p. 312, 1913, where the copy printed is "Come all you little streamers." [Another version is called "The Streams of Lovely Nancy", in JFSS, of which there are several broadside texts on the Bodley Ballads website. This in Harding B 28(29) dating from 1820-24.] Another American version is "Green Mountain" in 'Folk Songs out of Wisconsin', p. 120, 1977. Thanks to John Moulden for pointing out an Irish version I had overlooked, "The Strands of Magilligan" in Huntington and Herrmann's 'Sam Henry's Songs of the People', p. 259, 1990, also Hugh Shields' 'Shamrock, Rose and Thistle'.
One of the best and earliest copies of "Come all you little streamers" is actually an untitled American one in An Astronomer's Wife, 1908, with its tune, p. 18. This text seems to date from the 1840's, being one of Angelina Hall's father's songs. G. L. Kittridge reprinted this text and tune in Journal of American Folklore, 1917. Except for the order of verses "Faithful Emma" in Broadwood and Fuller Maitland's English County Songs, 1893 is practicaally the same. Surprisingly there's no Emma in the song, but an unfaithful Mary.
On yonder high mountain there the castle doth stand, All decked in green ivy from the top to the strand; Fine arches fine porches, and the limestone so white- 'Tis a guide for the sailor in the dark stormy night. 'Tis a landscape of pleasure, 'tis a garden of green, And the fairest of flowers that ever was seen. For hunting, for fishing, and for fowling also- The fairest of flowers on this mountain doth grow. At the foot of this mountain there the ocean doth flow, And ships from the East Indies to the westward do go, With the red flags aflying and the beating of drums- Sweet instruments of music and the firing of guns. Had Polly proved loyal I'd have made her my bride, But her mind being inconstant it ran like the tide; The king can but love her, and I do the same- I'll crown her my jewel and be her true swain.I have not been able to make any certain connection of these songs with the tune "On yonder high mountain" in The Cobbler's Opera, 1728, Momus turned Fabulist, 1729, and Sylvia,1731, and no verses are known for this tune. C. M. Simpson in The British Broadside Ballad and Its Music, notes in two places that the ballad opera tune is quite similar to "Love will find out the way." This ballad opera tune is quite similar to that of our last song above. Could our song here be descended from a lost original? See also "The Highlander's farewell to bonny port more" for some more related verses. [For more texts see Steve Roud's folksong index, Roud #688, #5638, #3450, #1451.]
Play: S1, YNDRMTN1, On yonder high mountain, Astronomer's
Wife
S1, YNDRMTN2, " , Silvia, 1731
Bon]ny maidens all both great and small
Come listen a while to my ditty, my ditty
I']ll sing you [a] song and before it belong
I'm sure you will say it is pretty is pretty
of Captain Mckean that jolly brave man
that lives in county of carry of carry
who carrys a p__k that's both long & thick
that makes all the lasses full merry, full merry
You maidens that [are] young be sure to come
and make your complaint to ye Captain ye [Captain]
and when you come there you need not to fear
that he will give you full slashes full slashes
Hurey[,] be not so coy when you meet a young b[oy
that's willing to spend all his money his [money
but smile in his face & pity his case
and surely he'll call you his honey his [honey
There's a lass in this town she wears a g[reen gown]
she lies on her back & she's sivle, she's [civil
he['s] worse then a clown that will not knel[l down]
and play up a tune to her fiddle her fiddle
No]t silver or gold nor jewels I'm told
will please this beautiful virgin, this virgin
untill that she feel both morning & eve [--?
a p--k in hand & it sloping it sloping
You Dublin Girls with ribbands & pear[ls]
ye'r decked like ladys of honour of honour
bell Briget & Nell & fair Isabel
and then like ways misconour muiscon [ Miss Connor?
F]air Nell she is kind will tell you her minde
and call you aside with a whisper a whisper
if your p--k it be strong no matter how long
you may play up a tune to her sister her sister
There's never a lass betwixt cork and Belfast
but will drink with the man that she'll fancy she'll fancy
she'll sit at the table & drink while she able
and toss up a bumper of brandy of Brandy
Then without delay the reconing she'll pay
and pull out a hand full of money of money
a guinnea in hand she'll give to that man
who freely will tickle her Cony her cony
In] the dead of the night his pleasure upright
she'll fill him a glass of Canary Canary
to cheerish his heart for she'll never part
untill that she find him grow weery grow weery
Up]on her dear breast he may take his rest
and sleep in her arms some hours some hours
A]fter pasing delight they shall both take their play [rhyme
lost
And] sport in the shades of green bowers green bowers
Captain Mckean is a Jolly brave man
and into the battle will venture will venture
so boldly appears with a heart void of fea[rs]
and swears that a fort he will enter will enter
He's hardy & bold will not be Contrould
untill that he fires a volly a volly
at the port hole hes stand with his prick in hand
at the ballops all able to rallie to rallie
Altho' that porthole were as black as a cole
and its fringes all setteell[?] about it about it [settled?]
in the midst there's a hole most neatly Comp[ressed
which few men can do well without it without it
Now dear loving friends to make you an end
that man is much worse than a sinner a sinner
that would deny but freely comply
to riffle the Charms within it within it ['within her' ?
The tune for the song here may be found in Nicholas Carolan's edition of the Neals' Dublin work of c 1724, A Collection of the Most Celebrated Irish Tunes, #12. See his note to that and "Morgan Magan," #37, for possible attribution to O'Carolan. About two years later the Neals gave a dance version in A Choice Collection of Country Dances (edited by Rich Jackson and George Fogg, Country Dance Soc., Cambridge, Mass, 1990). Here is given a vocal score, from Charles Coffey's ballad opera, The Beggar's Wedding, Act II, Air #1, 1729. Coffey also gave the tune in The Merry Cobler, 1735. The tune is credited to O'Carolan in the recent The Complete Works of O'Carolan, 2nd. ed., Cork, 1989, but no evidence for the attribution is cited.
George Colman wrote a new song for the tune which may be found without the tune in Davenport's Beauties of Song for 1803, commencing "The face of brave Captain Megan, was broad as a big frying pan." With the tune it may be found later in Crosby's Irish Musical Repository, p. 162, 1808, and the tune without a song in Moore/ Stevenson's A Selection of Irish Melodies, issue #3 (1810).
The song here is from a Scots manuscript collection of songs compiled c 1735-50, and although mostly Scots songs, the bawdiest are English and Irish. Narrow margins for binding have obscured beginning of lines on recto of leaves, and ends on verso, and my guesses at original are separated by brackets, [ or ], from the MS text. The repeats at the ends of even numbered lines are the same as in most early songs to "Larry Grogan".
Play: S1, CAPTMGN, from Beggar's Wedding, 1729.
Oh! there was a poor man,
And he had but one cow
And how he had lost her
He couldn't tell how,
But so white was her face
And so sleek was her tail,
That I thought my poor Drumion Dubh
Never would fail.
Agus oro Drumion Dubh
Oro ah!
Oro Drumion Dubh
Mhiel agrah!
Agus oro Drumion Dubh
O, ochone!
Drumion Dubh dheelis
Go dea tu slan.
Returning from mass
On a morning in May,
I met my poor Drumion dubh,
Drowning by the way
I roared and I bawled,
And my neighbours did call,
To save my poor Drumion Dubh,
She being my all.
Agus oro, &c.
Ah, neighbours, was this not
A sorrowful day?
When I gazed on the water;
[Where] my Drumion Dubh lay?
With a drone and a drizzen,
She bid me adieu,
And the answer I made, was
A loud phillilu.
Agus oro, &c.
Poor Drumion Dubh sunk,
And I saw her more
Till I came to an island
Was close by the shore;
And down on that island
I saw her again,
Like a bunch of ripe blackberries
Rolled in the rain.
Agus oro, &c.
Arrah, plague on you Drumion Dubh,
What made you die?
Or why did you leave me?
For what and for why?
I would rather lose Padeen
Ma mhogiel beg ban
Than part with you Drumion Dubh,
Now that you're gone.
Agus oro, &c.
When Drumion dubh lived,
And before she was dead,
She gave me fresh butter
To [eat] to my bread;
And likewise new milk,
That I soaked in my scon,
But now its black water,
Since Drumion Dubh's gone!
Agus oro, &c.
[Text from The Irish Minstrel, c 1828]
'Tis a sorrowful ditty I'm going to sing now,
It's of a poor man and he had but one Cow,
And often drove her to the field to be fed,
But oh! and alas! my poor Drimin dhu's dead!
Agus oh! Ro Drimin dhu, O Ro Ah!
O Ro Drimin dhu muiel agragh
O Ro Drimin dhu Oh! O hone!
Drimin dhu dheelis Go dea tu slaun.
Last Sunday morning just coming from mass,
I milked my Drimin dhu out on the grass,
So white was her face and so sleek was her tail,
I thought that my Drimin dhu never would fail.
Agus oro Drimin dhu &c.
Last friday morning, ochone! and alas!
I saw my poor Drimin dhu stretch'd on the grass,
I called to my Sheelah to view my sad case,
And the soft tear of pity trickled down her poor face.
Agus oro Drimin dhu &c.
Arrah speak to me Drimin dhu, What made you to die,
Och! what made you leave me, for what and for why,
I'd rather lose Padeen, my mhogiel beg ban,
Than part with you Drimin dhu Ochone! Ochone!
Agus oro Drimin dhu &c.
The first text, slightly corrected, is from The
Universal Songster, III, p. 45, London: Jones and Co.,
1828. No music was given, nor was a tune indicated. This is the
earliest complete copy of the song I have found. There are
several incomplete versions of the song from tradition, all, that
I know of, to tunes different from the original one. A slightly
modified text, the second above, from Ref. D below, was given
about the same time, with music. The earliest, 1805? is that in
reference H below.
Play: S1, DRUMDB1, Drimen Duff from Thumoth, c 1744. Source A
below.
S1, DRUMDB2, Drimen Duff Oswald's CPC
Many accounts and comments on this song and tune are badly flawed by confusion with other songs or tunes of the same or similar title. I will note these at the end, and until that point all comments and references here are to slight tune and textual variants of a single tune and its song.
"Oroo Dremendoo" is the tune direction of a song in an Irish ballad opera of 1748 by Henry Brooke. The ballad opera was immediately closed by authorities, but the songs in it were published in Songs in Jack the Gyant Queller, Dublin, 1749. In the song there, it is Jackie that is lost rather than "Druimion Dubh" and Brooke seems to have imitated lines in "Druimion Dubh," given here. The last line of the 4th verse is "But where is my Jackie, now tell me - O where" and the 5th and last verse concludes, "For while lilly lilly loo- my Jackie is gone." Unfortunately this is the only evidence for the existance of the song in the present form from the 18th century. Robert Owenson [originally named Mac Eoghain] is known to have sung "Dhrimminduh" in a Dublin concert in 1778, but no copy of the text or music survives, however, see reference to an early version given by his daughter at ref. H below. Breandan Breathnach, in an article 'The Pipers of Kerry,' Eigse Cheol Tire [Irish Folk Music Studies], IV, p. 5, 1985, quotes from T. Crofton Croker's Legends of the Lakes, I, p. 26, 1829, (Croker's Legends are said elsewhere to be based on another person's manuscripts, unfortunately I failed to copy down the reference for this statement) an account of the renown Kerry piper James Gandsey, in 1815, as follows:
"He sang to a most plaintive melody, the poor man's lamentation for the loss of his cow:
Oh! there was a poor man,
and he had but one cow,
and what way he lost her,
He could not tell how.
Sleek and black was her coat
from the head to the tail,
and copious and pure
flow'd the milk in the pail.
Agus oro drimen dubh
oro bo!
.... and so on."
It is obvious that Breathnach did not recognize the song and
thought little of it. Breathnach's comment was: Croker's
versification runs too close to 'There was an old woman who lived
in a shoe' to excite in the reader much sympathy for the old man
on the loss of his cow.There will probably never be any direct proof that the song here inspired the English broadside ballad, "Colly my Cow," which is in somewhat different meter than "Drumion Dubh." (Roxburghe Ballads, III, 600, Euing Collection, #31, 32) "Colly" has some lines very similar to those in "Druimion Dubh," and is also a lament for a dead cow, and the woodcut of the black cow with white spots on the back fits "Drumin Dubh Dilis: The Dear Black White-Backed Cow," to a tee. It was issued by a number of different printers from about 1680. It was certainly inspired by a Gaelic song or it wouldn't have a pseudo-Gaelic chorus. The chorus was eliminated in a shortened version of about the middle of the 18th century sung at Marylebone Gardens, and it is not found in a traditional version given by the Rev. Baring-Gould in Songs of the West, p. 212, 1905. Francis O'Neill, The Music of Ireland, "The Dear Black Cow," #130, unaccountably gives "Colly my Cow" as an alternate title for our tune here.
The tune given here is from E, below, where verses almost identical to our first text above are set to it. Tune copies, mostly somewhat variant, are as follows:
A. "Drimen Duff." Twelve Scotch and Twelve Irish Airs. by Burke Thumoth. London: J. Simpson, London. n.d. [1743-45] Given as an Irish Air, p. 38.
B. "Drimen Duff." The Caledonian Pocket Companion, by James Oswald. Book 8, p. 12. n.d. [c 1756]. This slight variant was reprinted several times: With tune slightly altered, e.g., Scots Musical Museum, #303, where it is used as a setting for "Hughie Graham," Child, #191; Repeated in R. A. Smith's The Scottish Minstrel; Arranged by J. T. Surenne, it was used in G. F. Graham's Songs of Scotland, II p. 44, 1848, as a setting for a song by Robert Burns, "The gloomy night is gath'ring fast." Bertrand Bronson, The Traditional Tunes of the Child Ballads, III, p. 179, 1966, reprinted the text and tune from SMM, and noted a connection of the tune with "Lumps of Pudding."
C. "Drimindoo." A New Selection of the most Admired Original Irish Airs. Dublin: Hime. n.d. p. 4. [c 1800] All but identical to A above. Having the same theme code is one I have not seen, "Drimindoo" in volume VI, p. 37, of Aird's Airs, c 1803.
D. "Drimin dhu". R. A. Smith, The Irish Minstrel, p. 100-01. 2nd. ed. Edinburgh: Robert Purdie, n.d. [1828?]. Text given above. [Neither text nor tune are in the supposedly suppressed original edition of 1825 in the Library of Congress.]
E. "Drimindub-Deelish." Folio sheet music with song. Words by T.
L. Arranged by C. McDonnell. Baltimore: John Cole. n.d. (c
1830-40). [I can find no Scots or Irish poet or songwriter with
these initials except for Thomas Lyle, who did not give it in his
book of songs in 1828, nor is he credited with it in Smith's
<
F. "Dear Black Cow." The Ancient Music of Ireland.
by Edward Bunting. Dublin: Hodges and Smith. Music page 32, 1840.
Bunting gives a variant chorus with the music, and below it gives
what he claims is a translation from the Gaelic, with English
title "The Poor Irishman's Lamentation for the Loss of His Cow."
No such Gaelic original has been found, and it appears his text
is a version of "Drumion Donn Delish," rather than "Druimion Dubh
Delish," but with his chorus from the latter.
G. "Drimin Dhu" (Old Irish Air) [Copyright, with new verses about
a cow also named Drimin dubh, 1912]. Chicago: Gamble Hinged Music
Co.
H. "Drimendoo" 'A much admir'd ancient Irish air. To which are
adapted some verses written by Miss [Sidney] Owenson' [later Lady
Morgan] (these commence, "Oh farewell dear Erin'). There are also
three rather poor verses given. This is now on the internet as
Box 30, Item 10 at levysheetmusic.jse.jhu.edu. [This was probably
taken from her Twelve Original Hiberian Melodies,
1805, (which I have been unable to locate), but perhaps
more than her "Kate Kearney" were published as sheet music songs
by Michael Kelly at his music shop in London, c 1802-11.
Other tunes for the song.
P. W. Joyce, Old Irish Folk Music and Songs, p.
103, #210, 1909, tune, "Drimin Dhu Dheelis," with chorus only of
the song given here. This is a different tune, but similar. Joyce
also gives, p. 250, # 445, another tune in 3/4 time, "Drumin Dubh
Dilis: The Dear Black White-Backed Cow."
For a few of the references to the song and/or the tune after
1800, cited above, I am indebted to notes by Rae Corson in a
folder in The Archive of Folk Culture at the Library of Congress,
although this list also contains much unrelated to "Druimion Donn
Delis," and even a late 19th century song about an unrelated
Irish cow.
Unrelated Gaelic Cows [bo] (and also unrelated to Caleendhas
Crootheenamoe = Pretty girl milking the cow).
Other, but different tunes:
"Driman Dubh" Scots Gaelic song and tune, apparently unrelated
to Irish songs or tunes. Domenico Corri, A New and Complete
Collection of the most favourite Scots Songs Including a few
English and Irish, 2 books, Corri and Sutherland,
Edinburgh, n.d. [1783]. The Scots Gaelic song there, entitled
"Driman Dubh," is apparently only a chorus, given as follows:
Drumion Dubh texts to other tunes:
Traditional text and tune in Baring-Gould's Songs of the
West.
Wm. Chappell in Popular Music of the Olden Time
had much to say about "The girl I left behind me" being connected
with "Brighton Camp" and being an 18th century song, none of
which has been subsequently verified, and if one studies Chappell
carefully one sees he gives no solid information that would prove
an 18th century date for text or tune. James J. Fuld, The
Book of World Famous Music, tracked down the earliest
known copy of the tune, that in Himes' Pocket Book for the
German Flute, Dublin, n.d [c 1810], and notes the text
"Blyth Camps, or the Girl I Left Behind Me" in Bell's
Rhymes of the Northern Bards, 1812. Fuld points out that
"Brighton Camp Quick March", 1792, is not the same tune.
The tune appears as "Brighton Camp or the Girl I Left Behind
Me" in Riley's Flute Melodies, I, #349, New York,
n.d. [1816], but much yet remains unexplained regarding the
history of this song and tune, and its connection to "Brighton
Camp".
Play: S1, GRLBHND, from Riley's Flute Melodies
[Granuaile. (Gra/inne Mhael, Gra/innu Mhaol, Granny Wale, = Grace
O'Malley)]
"Grania Meuel" is cited as the tune for a two verse song in
Songs in Jack the Gyant Queller, Dublin, 1749, from
Henry Brooke's suppressed Irish ballad opera of 1748. The song
there fits the tune given here. This is the earliest reference to
the tune that I have found. The 1st verse goes:
Though Passions conttend, and Afflictions storm,
The tune "Granuaile" is given in a instrumental setting as
"Granu Weal or Ma Ma Ma" in Edward Bunting's The Ancient
Music of Ireland, p. 36, 1840. Bunting said, p. viii, that
the tune was obtained from a piper named Macdonnell in 1797, and
he thought, p. 93, that the tune was as old as Grace O'Malley
herself. Bunting's setting, however, is unsatisfactory as source
for a vocal score. The melody part of Bunting's tune was
reprinted by Francis O'Neill in The Music of
Ireland, #546. [O'Neill also gives a different tune
"(Graine na Maille) Grace O'Malley," #485.] Fortunately there are
better sources for the tune.
A singable set of the tune is "Granuwail" is in B. Cooke's
Cooke's Selection of Twenty One Favourite Original Irish
Airs, c 1795, copied in Hime's 'New Selection', c 1805.
The tune is Dorian mode. Bunting's setting has a key signature of
two flats (G minor), but he then puts a natural sign in front of
all of the E's.
The second copy of the tune here is an instrumental version, not
suitable for singing, but it seems to be the earliest copy of the
tune.
Play: S1, GRNWALE1, from Cooke's Selection, c 1795.
Another copy of our tune here is "Gr/inne Mhaol," reprinted
from The Dublin Monthly Magazine, May, 1842, by
Georges-Denis Zimmermann in Songs of Irish Rebellion
, p. 183, 1967. The tune there is given as sixteen
measures, but the last eight are simply a repeat of the first
eight. This setting differs little from that published by
Haverty. The earliest copy of the tune I've seen is in the Henry
Beck Flute MS, 1786, in the Library of Congress, but given there
as G major instead of G minor, and it is an intrumental version
unsuitable for singing.
Granau Wale/Weal is (Mother) Ireland in a song which I think
is probably American, although set in Dublin and London. "Old
Granny Wales" there complains to several English statesmen about
the hard times the English are giving to her sons in America. The
song mentions events in America from the Boston tea party up to,
but not including, the start of the Revolutionary War. The song
was printed in the very rare The Green Mountain
Songster of 1823, and I am deeply appreciative of a xerox
copy from Margaret MacArthur. A later copy, with several
corruptions, is printed from the Stevens-Douglas manuscript (c
1841-56) of western New York in A Pioneer Songster,
(by Harold Thompson and Edith Cutting) p. 85, 1958. In the latter
the song is entitled "Old Grannau Weal." Neither copy contains a
tune direction, nor do any of the editors suggest one, but the
song fits our tune here quite well. There is broadside ballad
issue of the song in the Isaiah Thomas collection. I suspect the
song was actually written in America by an Irish American: the
writer does not seen to know the names of any real streets in
Dublin or London, and even after the date of this song Irishmen
were being executed for treason for less provocative acts against
the English.
As granny arose in the morning soon,
Then granny mounted her gelding in rage,
He said noble granny come tell me in haste,
That news is too true, my lord Connor he said,
The weather being wet and her sorrows increas'd,
She said noble gentlemen tell me in fact,
They say noble granny you're wrongly inform'd,
It's a lie! it's a lie! said old granny in haste,
They say noble granny don't make such a vent,
You ne'er need to think for to frighten my sons;
I've thousands of sons that's American born,
Now says noble granny I'll take leave to tell,
They say noble granny don't boast of your sons,
I well know says granny our Warren is dead, [at Bunker hill
battle
We allow noble granny your sons they are brave,
Well, well, say old granny go on with your cause,
I've millions of sons that's American born,
Now say noble granny I'll this to you state,
Oh rubber! oh rubber! cries old granny Wales,
[For tune see song above.]
For another historical song obviously to this tune, and in which
Granu Weale reappears, see "The Hornet and the Peacock" in the
Digital Tradition Database. Thanks to Dick Greenhaus for this
referrence. A fragment of it (which does not mention Granuaile),
and which is to a different tune is "The peacock that lived in
the land of King George" in Mary Eddy's 'Songs and Ballads of
Ohio', #107.
The song and tune here are both entitled "Langolee." The
tune is actually "New Langolee," which is metrically quite
different from the original "Langolee," and the latter cannot be
the tune for any songs mentioned below. The earliest appearance
of the tune that I have seen is among the nine country dance
tunes used for a comic dance performance in London, The
Irish Fair, 1772, where it is entitled "New Langolee," and
is set too high for a vocal score. The tune is also on a single
sheet song with music, "Langolee," commencing "There lives a
sweet lovely dear Girl in the City," c 1775. This brings in the
metaphor used in the songs below. The tune appeared in the
Thompsons' Twenty Four Country Dances for the Year
1775, and several songs were written to it about that
time, one of which, "The Banks of the Dee", is given as #516 in
The Scots Musical Museum.
Play: S1, LANGOLEE, from Irish Fair, 1772
Another "Langolee" song is in both copies of The
Festival of Anacreon, and in Songs of Captain
Morris. It is Captain Morris's song "The Amors of the
Gods," without tune direction, but the first part, at least, of
each verse is in the proper meter and has "Langolee" appearing as
the same metaphor.
Both of these songs can be see to be similar to "The
Kettlebender" which is printed with music in The Muses
Delight, Liverpool, p. 99, 1754. The tune of the latter
appeared with the same title in J. Oswald's Caledonian
Pocket Companion, Book 11, c 1760. "The Kettlebender"
although scored in common time, sounds like an Irish jig, and it
has been stated that it is quite similar to the Irish tune by
Larry Grogan, c 1725, "Ally (Alicia) Croker," or, later, "Ally
Croaker" (a resemblance I do not see at all).
Another song to the tune of "Langolee," is in the c 1791
edition of Festival. This song is entitled "The
Irishman's Journey to London," and is without tune citation or
attribution. It is by William Collins, and its original
appearance seems to have been that in Wm. Reeves' A Picture
of Paris, 1790. I do not know what tune was used in this
production, but in 1792 Collins sang it in an embellished version
of his song concert, 'The Evening Brush' (these commenced before
1789), and his song there with its new title, "Paddy Bull's
Expedition," was sung to "Langolee," as evidenced on a single
sheet copy of the song with the latter title, with tune given and
named "Langolee." "Paddy Bull's Expedition," was printed to
"Langolee" in Crosby's Irish Musical Repository,
1808. This song also appeared under the "Irishman's Journey"
title in Wm. Holland's Paddy Whack's Bottle
Companion, 1791.
An extensively rewritten version of "Langolee" was given in
the c 1825, 'Dublin' edition of The Merry Muses of
Caledonia. [This work contain six songs from the two
editions of The Festival of Anacreon cited above,
not counting "Langolee."] It is here appended from a rare reprint
in this writer's possession, The Merry Muses of Robert
Burns, probably issued about 1935 in New York state, but
is dated 1905.
Ye botanists yield, I've discovered a root,
When winter's keen blasts are corrected by spring,
Ye matrons afflicted with colic or wind,
Ye girls of the cities, with nervous disorders,
Europa's fair bull, as fam'd Ovid did write,
On a visit to Leda Jove went as a swan,
In an amorous mood he to Danae went,
Daphne outstript the fam'd musical God,
Mars, an old soldier, who well understood his trade,
Thue amorous Ovid, in fanciful fiction,
Louise Keroualle, Dutchess of Portsmouth, mistress of Charles
II, was not well like by the English. She made a trip to France
in 1682?, and on her return the following was written, which is
about as obscene as anything I've ever seen. Nothing is as vile
as political slander. No too much new there. An earler mistress
of his, and of severaal others, was Barbara Villiers, on whom
a poem is given very near the end here. [Charles was noted for
ennobling all of his bastards and dutchessing all of his whores
(except Nell Gwinn).] For another political diatribe of about the
same date as our one above see "An Historical Ballad"
'Twas the first day of April, I sat off, like a fool,
Then they scamper'd away, as they said, with a prize,
We set off from Dublin the very next day,
This huge wooden world roll' about on the tide,
Midsts shouts, jests, and laughter they hoisted me in
All confounded with bother I began to look queer,
Then to go down below I exprest a great wish,
With some help I got in, where I rocked all night,
Our thick window shutters we pull'd up with speed,
Then we lather'd away, by my soul, hob and nob,
Now safe on dry land a carousing I'll steer,
This excellent Irish sea song is in two undated songbooks
without music, published by Wm. Lane in London, The London
Songster, Or Musical Boquet, c 1793, and
An Irish traditional tune, subsequently identified as "The
Fine Old Irish Gentleman," with eight verses of "Patrick O'Neal"
from a songbook, The Northern Minstrel, 1829, is in
Huntington and Herrmann's Sam Henry's Songs of the
People, 1990, p. 102. The text there is identical to that
in The Universal Songster, II, p. 82-3, London,
1826.
Another tune is given from the Broadwood Papers, Cecil Sharp
House, along with a text of twelve four-line verses in Roy
Palmer's The Valiant Sailor, Cambridge Univ. Press,
1973. Palmer mentions the text in The Northern
Minstrel, but doesn't say from where his text (derived
from the short form) is taken.
A third tune, that given first here, 'Patrick O'Neil,' is from
a manuscript collection of dance tunes, compiled c 1795-1800.
Play: S1, PATNEAL, tune from MS, and see Fine Old Irish Gentleman
below.
"The Fine Old Irish Gentleman" is said to be in Dinny Blake's
Sprig of Shillelah, but I've only seen it in Howe's
Songs of Ireland, 1864. It is a reworking of Thomas
Hudson's "The [Fine] Old English Gentleman" published without
tune direction in his Comic Songs by Thomas Hudson,
Collection the Fourth, London, 1821. Ebsworth quotes the
song in his edition of Choyce Drollery, p. 313,
1876, and points out that it a successful reworking of "The
Queen's Old Courtier" in An Antidote against
Melancholy, 1661, and elsewhere. The copy in Le
Prince d'Amour, 1660, is reprinted in Roxburghe
Ballads, VI, 756 (given below). Ebsworth also cites
several imitations of the older song and Hudson's song (but
didn't know about Hudson's authorship). See Simpson's BBBM, #385,
for other copies of "Queen's Old Courtier", and "Old Soldiers of
the Queen".
Old Courtier [Roxburghe Ballads, from Le Prince d/Amour,
1660.]
An old song made by an old aged pate,
With an old Lady whose anger one word asswageth,
With an old study, stuft full of old learned books,
With an old hall hung with pikes, guns, and bows,
When an old fashion, when Christmas was come,
With an old faulkner, a huntsman, and a kennel of hounds,
But to his son and heir his lands he assign'd,
The New Courtier
With a flourishing gallant, who is newly come to his land,
With a new lady whose face is beautiful and fair,
With a new study full of pamphlets and playes,
With a new hall builded where an old hall stood,
With a new fashion when Christmas was drawing on,
With a new gentleman-usher whose carriage is compleat,
When new titles of honor bought with his grand-father's old
gold,
Thus have you heard of the old courtiers and the new,
The Old English Gentleman
I'll sing you a good old song, made by a good old pate,
His hall so old was hung around with pikes, and guns and
bows,
When winter's cold brought frost and snow, he open'd house to
all;
But time, though sweet, is strong in flight, and years roll
swiftly by;
Now surely this is better far than all the new parade
The Fine Ould Irish Gentleman [Howe's Songs of Ireland,
1864]
I'll sing you a dacent song, that was made by a Paddy's pate,
His walls so cold were covered wid the devil a thing for
show,
To Donnybrook his custom was, to go to ev'ry fair,
But och! mavrone! once at a row, ould Barney got a knock,
Tho' all things in their course must change, and seasons pass
away,
Play: B385, Queen's Old Courtier
A version of the song was found by Gale Huntington in the log
of the ship Minerva, 1845, and was given to Ewan MacColl, who
sang it as last song in the film and on the record "Whaler out of
New Bedford." It is not printed in Huntington's book, Songs
the Whalemen Sang, 1964, 1970. The latter song has only
its first verse in common with "Outward Bound," above, but the
rest of its verses are in almost all subsequent traditional
versions of the song.
Cf. Hugill's Shanties from the Seven Seas, p.
541, 1961; Shay and Wilson, American Sea Songs and
Shanties, p. 147, 1948. Some of the same additional verses
appear in version I of "Homeward Bound" given by Doerflinger, p.
87 of Shantymen and Shantyboys, 1951, and, 2nd ed.,
Songs of the Sailor and Lumberman, 1972. A text from
a late broadside is given in R. Palmer's Oxford Book of Sea
Songs, #88, (1986).
[American 'traditional' version at end.]
The text above is slightly modified from that in a small
chapbook type songster, The Winter's Amusement; and Jolly
Toper's Companion. I have made some corrections, giving
original readings in brackets. The imprint has been shorn on a
copy in Library of Congress, Music Div. Another copy at Harvard
(Cat# 1655,) has the address '42 Long Lane' (London). The Library
of Congress dates this 179-. A few broadsides issued from this
address, that of Howard and Evans, and J. Evans, were dated 1794,
and a piece by Howard and Evans about Napolean was issued at that
address about 1805, but I have no additional information
regarding a possible date for the printing of this text, which is
certainly not the original. J. Evans seems to disappear about
1805, and in 1807 T. Evans appears at 79 Long Lane. [Frank
Purlsow, in a book review in Folk Music Journal, p.
56, 1970, mentions his favourite [John] Pitts' broadside ballad
is "Pretty Peg o' Derby." This I have not found, but being by
Pitts it can be dated as 1802 or later. For another mention of
this Pitts broadside, a traditional version and references to
others, see H. M. Belden Songs and Ballads collected by the
Missouri Folk-Lore Society, p.169, 1940, 1955. [Addendum:
Steve Roud's broadside ballad index lists several broadside
copies of the song. Others can be found on the Bodleian Ballads
website.]
The first text above is the 10th of 25 songs cramped into 7
pages of song texts. The song is not divided into verses, and
some long lines are continued on a following line, while others
are continued at the end of the preceding line, while the second
line of the 5th verse is not completed at all. The text was
obviously taken down from recitation, and is corrupt in several
places, and has here been amended. The song is an early version
of that now known as "The Bonnie Lass O' Fyvie, O," and some
lines have here been corrected from parallel verses among the
numerous traditional versions of the latter in P. Shuldram-Shaw
and Emily Lyle's The Grieg-Duncan Folk Song
Collection, I, #84, pp. 197-209, 1981. See the notes there
for much of the later Scottish history of the song. [Much the
earliest text of this song appears to be in Peter Buchan's MSS in
the British Library, c 1828, but this text I have not seen.] The
amended readings are in parenthesis and the originals are given
in brackets, except for the second line of the first verse which
reads "They were all marching to Derby, O." The amendment here is
from a medley mentioned below.
The earliest copy of the tune which I have found is for a song
in a play published in 1785, Two to One, written by
George Colman (the younger), and produced the previous year. The
music for the play, composed and/or arranged by Dr. Samuel
Arnold, was published separately from the play text, but with the
play title, on July 5, 1784. The tune is Air V, p. 16, with the
title "Peggy of Derby O!". The tune is a vocal arrangement with
instrumental introduction and conclusion, and is a setting for
Colman's song on "Little Tippet." This song is without title in
the play, and without title or tune direction in a songbook,
The New Vocal Enchantress, London, 1789, p. 275, but
Colman's song was also published with the title "The Dandy O!" in
the same year in The Charms of Chearfulness, p. 11,
London, again without tune direction. This song, one of Colman's
earliest, is not one of his better efforts, even to this tune, as
we shall see later.
In the same meter, and although without tune direction, but
obviously to the same tune, are two other songs entitled "The
Dandy, O." A song, "The Dandy-O," fitting the tune, but without
music, and noted to have been sung by Mr. [Joseph Shepherd]
Munden, is in The Festival of Momus, p. 152, London:
W. Lane. n.d. [c 1791-2]. Munden was known primarily as an actor,
rather than singer, but there are a few other songs also credited
to Munden's performances. We may thus suspect his song was sung
in a play. According to William Montgomerie's 'Bilbiography of
Scottish Ballad Manuscripts' in Studies in Scottish
Literature, V, p. 132, 1967, there is a copy of this song
with title "Dandy O" in the Scottish song collection known as the
Mansfield/ St. Clair Manuscript. I strongly suspect it was Mr.
Munden's song from which the tune came to be called "The Dandy,
O." Mr. Munden's song in Festival is as follows:
Another "Dandy, O" is reprinted in de Sola Pinto and Rodway's
The Common Muse, #67, from an early nineteenth
century broadside, seemingly too late to be the source of the
tune title "Dandy-O."
The national origin of the tune is explicit in the heading of
a copy of it entitled "Peggy Darby. or the Dandys. Irish." This
is tune #431, p. 166, of A Selection of Scotch, English,
Irish and Foreign Airs, III, James Aird, Glasgow, n.d.
[1788]. Except for unnecessary note splitting in the last measure
of each strain, this score is a good vocal version of the tune,
without instrumental elaborations or variations. I have not found
the song corresponding to the title "The Dandys," although a
seeming imitation of it, "The Lady Dandies," will be cited
below.
Another printing of the tune appears as "Peggy Derby or Dandy
O." on p. 22 of John Brysson's A Curious Collection of
Favourite Tunes>. Edinb., n.d. [June, 1791]. This score is
an extended instrumental version of 36 measures, and is not
suitable as a vocal score.
Yet another song to the tune is a broadside printed by J.
Pitts, and thus to be dated after 1802, and given in Holloway and
Black's Later English Broadside Ballads, Vol. II,
1979, #110. There is no tune direction on this copy, but the
meter and rhyme are those of "Pretty Peggy of Derby," which is
the tune direction for the next song given by Holloway and Black,
#111, "The Lady Dandies, Or, Daniel Dewhoofs Luck in London."
This is again a Pitt's issue. The rhyme is 'handy, O/ dandy, O,'
in all verses of these latter two songs.
The tune later acquired some other titles from a single song
which was known by several titles. "The Landlady of France," was
the tune direction for the American naval ballad "The
Constitution and the Guerriere," (G. M. Laws, Native
American Balladry, A6; C. H. Firth, Naval Ballads
and Songs, Naval Record Soc., 1908). The song "The
Landlady of France" is in Wm. Dimond's play, The Foundling
of the Forest, acted and published in 1809. The incidental
music in the play is there stated to be by Michael Kelly. A
footnote to the song in the play credits the song to George
Colman. In the article on Michael Kelly in Grove's
Dictionary, 5th. ed., and The New Grove's
Dictionary, it is stated that there was no musical
score published for the play, consequently the tune for the song
does not seem to be known with certainty in the British Isles.
The Dictionary statement is not quite true. The
songs and the music for them were printed in an American
publication The Favourite Songs in the Comic Opera The
Foundling of the Forest, 'Written by Wm. Dimond Esq.r,
Composed by Mich.l Kelly.' Philadelphia, Published by G. S.
Blake, n.d. [before 1820]. [The only traditional version of
Colman's song that I know of is an unpublished one collected
without tune from a singer in Antioch, Virginia in 1942, "Brandy
O."] Colman's song was probably suggested by that of Mr.
Munden.
But when the bandy officer was order'd to the coast,
She filled him out a bumper, just before he left the town,
"Take a bottle on't,: says she, "for you're going into camp,
.............
Play: S1, PEGDRBY1, from Arnold, 1784
The works I've seen on American historical ballads which give
"The Constitution and the Guerriere" trace the tune, at best, to
this work and ascribe the tune to Kelly, or note the tune is that
of an 'old English drinking song,' doubtlessly Colman's. The
title page of the musical score, as quoted above, implies that
the songs are all by Dimond, and the song in this work is headed
"Brandy, O, a favourite Comic Song sung by Mr. Jefferson in the
Foundling of the Forest. Composed by Michael Kelly." It seems
quite obvious that the American publication of the songs for
The Foundling of the Forest was pirated, or at least
unauthorized, because the song is not by Dimond, and the
tune is certainly not by Michael Kelly. The copy of the tune
there differs little from that used earlier by Colman, as
published by Arnold.
Colman's song was printed in an undated songster of c 1810-15,
Tegg's Comic Song Book, Second Collection, with tune
direction "The Dandy O." In an undated songbook of about 1814,
unfortunately without title page, The Vocal and Musical
Cabinet, there are on p. 76, "Probatum Est. A Comic Ballad
sung by Mr. Fawcett in The Privateer. Tune- Pretty
Peggy of Derby," and on p. 188, "Love and Brandy [Brandy O/
Landlady of France]. Written by Mr. George Colman, Esquire.
Tune-Pretty Peggy of Derby, O." Even without the tune in the
songs for Dimond's play, there is solid evidence for the tune for
Colman's song.
None of the published texts of "The Constitution and
Guerriere" listed by G. M. Laws, Native American
Balladry, (A6), are accompanied by a tune that is clearly
traditional, although the tune, when given, in those works cited
by Laws, is "The Landlady of France/ Brandy O/ Pretty Peggy of
Derby, O". The version recorded by Sidney Robertson Cowell from
Warde Ford in Central Valley Ca, Dec. 1938, is on a tape in the
Library of Congress Folklore Archive, Record #4202 A4, entitled
on the recording "Proud Dacres and Capt. Hull." In an
introduction to the song Mr. Ford says that he 'is not quite sure
about the words or the tune,' and could recollect only one verse
of the song at that time. He later learned the rest of the song
from print. Although his tune is somewhat worn down, it is
recognizable as "The Landlady of France", except for the music
for the third line of the verse, which Mr. Ford apparently didn't
remember, and simply improvised.
The battle of the Constitution and the Guerriere was fought in
1812 and in the following year the English won the battle of the
Chesapeake and the Shannon, and an English ballad using the same
tune commemorated the event. All three traditional versions of
"The Chesapeake and Shannon" listed by G. M. Laws, American
Balladry from British Broadsides, J20 are sung to this,
same tune, which Cecil Sharp named, for the version he collected,
"Pretty Peggy of Derby." John Harrington Cox, Folk-Songs of
the South, p. 257 [1925] 1964, lists many early printings
of this song.
A version of the tune was arranged by Sir John Stevenson for
Thomas Moore's song "Eveleen's Bower." Thomas Moore's song is in
the second number of A Selection of Irish Melodies,
n.d. [1807/8], i.e., the second and last part of Vol. I. The
title of the air is given as unknown, but a footnote states, "Our
claim to the melody has been disputed; but they who are best
acquainted with National Melodies pronounce it to be Irish. It is
generally known by the name of "The Pretty Girl of Derby, O".
The tune was again printed in the United States as "Brandy O
or Peg of Darby," an instrumental setting being on p. 43, of
Riley's Flute Melodies, New York, n.d. Page 43 is in
the third part of the six parts comprising Vol. I, which was
completed in Apr. 1816, and this third part would be of late 1814
or early 1815. The dual title here shows that Edward Riley
recognized the "Brandy, O" tune as a version of "Pretty Peggy of
Derby." Riley also included the tune as "Eveleen's Bower" on p.
30 of the second volume of his collection, 1819-20.
Another American song using the tune is one on the American
Civil War naval battle of the Monitor and the Merrimac, fought
Mar. 9, 1862, and called "The Iron Merrimac." This was collected
at the Library of Congress from Judge Learned Hand in 1942. It is
available on Library of Congress recording AFS L29. The original
song, with tune direction "The Landlady of France", may be seen
in the Lester Levy sheet music collection, at
levysheetmusic.mse.jhu.edu/index.html]
Thomas Lyle, a Scottish surgeon and songwriter of Perth,
collected a version of "Pretty Peggy of Derby, O" in Scotland,
but unfortunately he rewrote the song (as well as the others he
collected) before he published it as "Pretty Peg of Derby" in
Ancient Ballads and Songs, pp. 162-3, London, 1827.
Lyle's book contains no tunes. Since he noted that it was to the
same tune as Moore's "Eveleen's Bower," he obviously collected
the tune also. Lyle's note at the end of the song is ambiguous.
He said he never saw the song in print, yet says his version is
'collated with a copy taken down from recitation.' The verse he
gives at the end of his note, then, is probably the first verse
that he actually collected. He says it is 'in its original
dress.' This verse he gives as follows:
Perhaps slightly earlier "Pretty Peggy of Derby, O" was
rewritten as "The Bonnie Lass o' Fyvie" as evidenced by a copy in
Peter Buchan's MSS in the British Library, which are thought to
date about 1828.
The following lines are from 'An Irish Medley' in The
Universal Songster, II p. 397, 1826.
'A regiment of Irish dragoons,
The first line and a half, almost the same as those above, are
also in a medley in Vol. I, p. 4, 1825. There are songs to the
tune "Pretty Peggy of Derby, O" on p. 107 and 276 of Vol. III,
1828, and the first line of "Peggy of Darby" is in a medley
on p. 284.
T. Crofton Crocker in The Popular Songs of
Ireland, London, 1839, p. 124 (p. 121 of 1886 reprint),
says, "The pretty Maid of Derby, O!" is known to be the
production of an Irishman, but be provides no particulars
whatever, not even mentioning where a copy of the text or tune
could be found. It would appear that Crocker expected his readers
to be familiar with the song and tune. The evidence cited above
seems to me to be quite conclusive for taking "Pretty Peggy of
Derby" to be an Irish song and tune. Lacking this evidence,
however, there were counterclaims. Wm. Chappell in Popular
Music of the Olden Time, II, p. 771, noted Crocker's
claim, but implied that the tune was not Irish, however, he
supplied no direct evidence. Chappell's statement that Bunting
rejected it is without foundation. Bunting didn't mention the
tune, which is certainly not the same as saying he rejected it.
Donnal O'Sullivan, concurs with Chappell in his article on Irish
Folk Music in the 5th ed. of Grove's Dictionary,
but cites no evidence pro or con, so we do not know what evidence
he had seen, if any.
Lastly, two items I haven't yet seen. There is a copy of the tune
in a flute tutor published by T. Cahusac in 1788, and a single
sheet song with music is in two American collections, "Peggy of
Darby", which commences "There was a gay Captain in Darby Town".
BUCEM lists no copy of this in the British Isles.
Unrelated: "Drops of Brandy" is a much older unrelated tune of
similar title, also called "Dribbles of Brandy." The latter title
may stem from Adam Thomson's song to the tune in his Edinburgh
ballad opera 'The Disappointed Gallant', 1738. A few years later
this song was copied into NLS MS 6299. The song could pass for
the original one for the tune if we did not know that the tune
was earlier. "The Dandy, O," Thomas Moore's tune for his song
"Young May Moon" in 5th number of Irish Melodies,
n.d. [1813] is a different tune in 6/8 time with identical title,
evidently supplied by Moore from the chorus of a song in
Robin Hood where the tune appeared without title.
[American version probably derived from that you clicked on. From
Ed. Cray's xerox of pages in a book at Harvard in LC Folklore
Archive. Library of Congress catalog also lists a copy of the
book. Versions were collected by Cecil Sharp in the Southern
Appalachains, and by a few others in the United States.
Pretty Peggy and Other Ballads. / Illustrated/ by Rosina Emmet./
New York,/ Dodd, Mead & Company./ Publishers./ Copyright 1880 by
Dodd Mead & Company. [The dedication is: 'To my two little
sisters I dedicate this book'. According to Ed Cray's
recollection the illustrator Rosina Emmet/ Emmit had two younger
sisters at that time, so she may have had a much larger hand in
the book than that of illustrator. The music is from a hand
engraving and the illustration added later. She was later mother
of the distinguished playwright Robert Emmit Sherwood.]
[One reason I suspect this is not really traditional is the lame
3rd line has not disappeared yet. Few lines that bad are to be
found in traditional songs. The carrage/ coach/ buggy ride seems
to be only in American versions. Hautboys survives precariously
as ha'boys in a version of "The Bonny Lass of Fyvie' O,"
Greig-Duncan Collection, I, #84, and as oboe in another. As we
see from the ABC below, it was not to the Irish (and Scots)
tune.
This] Beauty so bright has Dazled my sight
Tho many there be that daily I see
No way can I find to ease my mind
I know there is some that thinks I do mow[--
A]lace! there is none that can ease my moan
Thes]e lines I intend for to have pen'd
I'll travel to spain from thence to lorrain
Tho' I be sad (Oh!) if I had
P is a part and A is an art [Cap. letters spell out
Vir]gin most kind when you read these b[?][--probably 'lines'
My Dear said he if thou wilt agree
Alas why do you slight me so
O then said she as I am a maid
Text from NLS MS 6299, f. 63, 1740-50. Erratic indentations
make it impossible to guess how much might be hidden under left
margins, anything from about zero to five letters. On left side
pages it is the ends of long lines that are missing. There is
printed copy of this song that I have not seen, British Library,
Roxburghe Collection, Vol. III, p. 468 (Ebsworth's contents
listing, Roxburghe Ballads, VIII, p. 185)
Donal O'Sullivan (The Bunting Collection, Irish
Folk Song Society, JIFSS, XXVI, 1927-32. Part IV, 1932), found
the alternative title "Pearl of the Irish Nation" in Edw.
Bunting's MSS for a tune printed by Bunting in his 1809 work as
"The charming fair Eily". Bunting used the tune as a setting for
one of Thomas Campbell's immitations of old ballads, "Lord
Ullin's Daughter", (but without its usual title). O'Sullivan also
gave an undated Gaelic song found amongst Bunting's papers, and
gave a literal translation of it. He also noted what may be the
original Gaelic song in Edinburgh Univ. Library. O'Sullivan
further notes no less than six variant versions of the tune in
the Stanford-Petrie collecion, all under other titles. P. W.
Joyce gave variants of the third and eleventh verses of our song
here, with the tune in Old Irish Folk Music and
Songs, p. 25, 1909, but said they were written by Patrick
Kelly (see next to last verse of 1st part) at the beginning of
the 19th century, but did he mean 18th?
There is another tune, "The Pearl of the Irish Nation", in 4/4
time, in The Roche Collection, Vol. III, #29, 1927,
but it does not seem to be related to that here, and does not fit
our verses.
Play: S1, PERLIRN, from Joyce
The tune was printed among the Irish ones in Burke Thumoth's
Twelve English and Twelve Irish Airs, London, c
1744. It appears as "The Rakes of London" in Rutherford's
200 Country Dances, c 1756. It occurs in two English
manuscript collections of the 1770's, the Vickers MS from
Northumberland (edited by Math. Seattle as The Great
Northern Tune Book, 1987) and in another annonymous one of
c 1770 in the British Library, MS Add'l. 23971. It appeared in
John Brysson's A Collection of Curious Tunes, p. 33,
n.d. [1791], and was used in a medley of otherwise Scots tunes in
the overture to the Arnolds' comic opera Auld Robin
Gray, 1794. It was printed in Dublin about 1805 in
Hime's Forty Eight Original Irish Dances, part II,
p. 4. The tune copy used here is that from Riley's Flute
Melodies, I, p. 7, n.d. [1814] New York.
Play: S1, RKSMALL. Riley's
The tune is not named, but is obviously that printed in Irish
and Scots music collections as "Bob and Joan," "Bobin John," etc.
There are at least eight English songs to the tune, one of which
is a parody of the original. Only one of the English songs calls
for the tune as "Stony Batter," the rest, "Bob and Joan"
or some variation on it. Its Scots tune seems to be first found
in book 3 of Walsh's Caledonian Country Dances, c
1740, as "The Key of the Cellar." It is also one of the tunes in
a Scottish dance tune MS of 1740, compiled by David Young,
and now in the Bodleian Library, Oxford. The tune was used for
"Robin shure in hairst" [which originally had it own tune, which
can still be found] in The Scot Musical Museum,
#543, and "Cam ye o'er frae France." The tune is "Key of ye
Seller" in British Lib. MS Addl. 23971 and "The Celler door key"
in the Vickers MS, c 1772 (#377 in The Great Northern Tune
Book, 1987).
The Irish also used it later for "Courting in the Kitchen".
The tune was used the late 18th century Irish song, "Love and
Whiskey" and that is set to the tune in Crosby's Irish
Musical Repository, p. 178, 1808. The tune also appears as
"Bobbing Joan" in Himes' Forty Eight Original Irish
Country Dances, Dublin, part I, #2, c 1800, and as "Love &
Whiskey or Bob & Joan" in O'Farrell's Pocket Companion for
the Irish or Union Pipes, II, p. 2, c 1811. There is
considerable variation among various copies of the tune, but even
the most variant are unmistakeably the same tune.
The popularity of the Irish song led to a temporary
displacement of the original tune title in Scotland. The tune
appears as "Bobin John" in Gow's Complete
Repository, Book 2, pp. 22-3, [1802], but in The
Beauties of Niel Gow, Part 3 p. 31, [c 1826] the title is
back to "The Key of the Celler." In the United States the tune
was used in 1812 by Samuel Woodward for "The Patriotic Diggers,"
and from that, for Haverford and Swarthmore school songs. The
tune is also in Riley's Flute Melodies, New York,
#143 [c 1815] as "Bobbing Joan or the Patriotic Diggers."
Thomas Moore wrote his song "Fill the bumper fair" to the
tune, with verses and music appearing in the sixth issue (part 2
of Vol. III) of A Selection of Irish Melodies,
1815.
The song was evidently very popular in England, and about a dozen
new songs were written to the tune "Bob and Joan" or, ocassionaly
"Stoney Batter" most were not bawdy. One was an apparenty polite
imitation of the original. One song to "Bob and Joan", however,
apparently slightly later than the middle of the 19th century,
is quite bawdy.
Come, gentlemen sportsmen, I pray listen well,
Skew Ball then hearing the wager was laid,
Squire Mervin then, smiling, unto them did say,
The day being come, and the cattle walk'd out,
But as they were running in the midst of the sport,
This is an Irish song, with several traditional versions
known, but the only traditional Irish version I've seen, text and
tune, is in the relatively recent book by Hugh Shields, Old
Dublin Songs. Shields in his notes mentions no other copy
of the song or tune. There is a copy of the song in P. Buchan's
MSS in the British Library. Practically identical to the text
above is one probably a little earlier, "Scew Ball", reprinted in
Holloway and Black's Later English Broadside
Ballads, #109. It was printed, in four line verses, at 42
Long Lane, London, the address of Howard and Evans, and J. Evans
(c 1785- c 1806)
Original tune is a puzzle; one old copy says the tune for it
is "Money makes the mare to go". Is this factitious, or real?
"Money makes the mare to go" seems to have been a proverbial
expression, but it was also the title of a 17th century broadside
ballad, which was sung to "She got money by th' bargain", which
we give later here as SHAMBUY4. "Money will make the mare to go"
is also the occasional title of the catch that commences "Wilt
thou lend me thy mare to go a mile?", but the catch tune doesn't
seem to fit this.
[Prototype of "Nottamun Town"]
I set out for Dublin, next michael mass pas[t
I having no haste did ride post to the mail
I] being of Courage I mounted again
And] when I came there not a shoul cou'd I see
Then] nevertheles standing still I did go
To f]ind out new pleasures I was at a loss
I sal]ult'd off my head to his majesties Graces
So by my own self I went stumbling on
Heat[?] soldiers on horseback stood here & lay there
Then by my fait they began to retire
The noise being over, tho' none did I hear
Then down to the Thames I made my appro[ach
I']s quite Choak'd with dust tho' it rained all the day
The] King and the Prince & a great many more
Be]ing Contented to sit on my seat
It] pleased his majestys grace to protest
But all the while that the Conduits did run
I took such a surfeit now at this fine fe[ast
This verse must be sung after the 10th
There was Hollands Genever run thro' every [---
The text here is from a Scots song manuscript in the National
Library of Scotland, MS 6299. This collection was apparently
compiled during the 1740's. Beginning or ends of lines lost in
binding. On the Bodleian Ballads website is a long version, but
the photo is poor, and it's mostly unreadable. There's also a
slightly modified version there called "Teague's Ramble to
the Camp". Other printed copies listed below] A shorter copy of
the song is in the later Scots Mannsfield/ St. Clair MS.
A later revamping is "Nottingham Fair" [or, Nottamun Town] in,
for example, Randolph's Ozark Folksongs, III, p.
202.
The tune for this song is given in Hime's A New
Selection of the most Admired Original Irish Airs, Dublin,
n.d (c 1800). An earlier copy is called "Nell of Connaught" in J.
Oswald's 'The Caledonian Pocket Companion', bk. 9, c 1760. Alfred
Moffat in Irish Minstrelcy, 1897, noted that the
tune was a setting of that called "The Irish Lady, or
Anniseed-water Robin," in The Dancing Master from
the original 1651 edition. See Irish tune index for a copy in
Joyce's OIFMS. Moffat also said this is called "Shane Glas." The
opening of the song here imitates that of "Dear Catholic Brother"
c 1710, (Pills to Purge Melancholy, VI, p. 277,
1720, text below) and the latter has some 'backwards' parts, but
the two tunes don't seem to be related.
Catalogue of English and American Chapbooks .. Harvard
College Library, 1905/ Item #1120a = #2025: Teague's
Ramble to Hyde Park, broadside with woodcut/ #1600, Teague's
garland, including "Teague's ramble to Hyde Park"/ #1601-
"Teague's Ramble to Hyde Park"
Play: S1, TEGRMBL1, Hime's tune
Play: B105, Dear Catholic Brother
The song was know by several titles, and is here "The Lock
that scatters Oonagh's P---. from The Festival of
Anacreon, 1789. A few obvious misprints in the text have
been corrected here. The song was given later as "Una's Lock" and
as "Darby's Key to Una's Lock," the latter in the c 1825 'Dublin'
edition of The Merry Muses of Caledonia. This latter
copy, which contains several more misprints, also contains an
additional verse, as the second, and is here annexed. The latter
copy of the song is printed from the 1825 'Dublin' Merry
Muses in the J. Barke and S. Goodsir Smith edition of
The Merry Muses of Caledonia, 1959, 1964, where the
title is given as "Una's Lock." I have some doubts about their
stated source. I have a rather rare reprint edition of the c
1825, 'Dublin' Merry Muses, in which the song is
entitled "Darby's Key to Una' Lock," from which I've made a few
corrections to the first verse here.
I am somewhat mystified by the apparent connection of the song
with two tunes that do not fit it, both of which are reels.
Play: S1, UNALOCK, from Scots Musical Museum
One night I Dream'd I lay most easy
It was all around me and greite ont
--]ese sudden raptures of Delusion
Th]e moon gave light I could Discern
Oh] friendly shades of night convey me
-]r noisy winds gave over blowing
-] she set down and turn'd her sponnet
O then I fancies she drew near me
Then I arose and Gently ease'd [?] her
She soon recovered her sence and said sir
Then in my arms with amorous kisses
Play: S1, YNGMNDM1, "Young man's dream", SMM #126
The tune here is evidently the original form of "Londonderry
Air" and a history is here:
Michael Robinson's history
A recast version of this song is attributed to James Tytler,
in The Scots Musical Museum, #126. The tune there is
minor mode version of SMM #146, the earliest known copy of the
Irish tune "The Young Man's Dream." The manuscript text below was
obviously inspired by 17th century "Loves fancy or The Young
Mans Dream" as the broadside of 1663-74 entitles it (given
below). The 17th century English tune is in C. M. Simpson's
The British Broadside Ballad and Its Music, 1966, as
"She lay all naked in her bed," Simpson's #425, or his #182, both
4/4 tunes. "Love's Fancy or the Young Man's Dream" is an
expansion of a song found in Wit and Drollery,
1656, and all editions of Merry Drollerie from
1661.
A few related early songs are (1) "Last night I thought my
true love I caught" in Bishop Percy's Folio MS: Loose and
Humorous Songs, and in Folger Lib. MSS V.a. 339 and V.a
345, both of c1625-35; (2) I dreamed my love lay in her bed" (or
"Loves Dream" in Merry Drollery) in Loose and
Humorous Songs, and BL MS Harl. 7332; (3) "Now ffye on
Dreams," Loose and Humorous Songs, c 1625-30, and in
Folger MS V.a. 345. "Maiden's Dream," G. R. Kinlock, Ballad
Book, p. 37.
Other copies of the tune for the Irish song are: The Young
Man's Dream, Bunting's first collection, #17, 1796: The Young
Man's Dream; Hime's New Selection... Irish Airs, p.
6, c 1800: Young Mans Dream; Riley's Flute Melodies,
#64, New York (1814): The Young Man's Dream [for Moore's song, As
a beam o'er the face of the waters]; Moore/ Stevenson, A
Selection of Irish Melodies, 1st issue, #11, 1807: Oh!
When that mild eye is beaming. Air-The Young Man's Dream;
Crosby's Irish Musical Repository, p. 259, 1808: The
Young Man's Dream Irish; O'Farrell's Pocket Companion for
the Irish or Union Pipes, II, p. 44. (1808): O'Neill's
Music of Ireland, #382, gives a simplified copy of
Bunting's version.
For the relationship of our tune to "Londonderry Air" (for Danny
Boy") see Michael Robinson's history at Danny Boy
with his translated Gaelic texts of "The Young Man's dream"
compare the following two:
D. O'Sullivan's edition of Bunting's MSS, JIFSS #22, 1925, gives
another song from Bunting's MSS where no source is noted.
After several corrections by O'Sullivan the song is:
"A chu/ilfhionn mhaiseach, bhe/arfainn geallach dhuit, da/
gereidfea/ me/,
Aisling bheag do chonaire me/ in mo shuan are/ir,
"A ansacht, ciarh' anna\sa dhuit, gra/dh o/n sawghal,
"A spe/irbhean da/ ghe/illim ar maidin roimhe Dia,
Ni pho'sfa ne/ an t-o/igfhear dharbh' ainm do/ Liam
Is deas a mholfainn i/ da/ geodladh si/ aon oidhche liom,
"Bhe/arfainn geallach dhuit, a ainnir dheas ab' o/r-buidhe
ciabh,
A fragmentary version is "The Knight's Dream; or, The Labouring
Man's Daughter", JFSS 9, p. 273, 1906.
The following poem was a very popular piece in manuscripts of
c 1625-50. [previously printed from MS copies in Roxburghe
Ballads, VIII cxli*; J. Wardroper, Love and
Drollery, #330; Bannatyne MS (incomplete).] Also in Folger
Shakespeare Library MSS V.a. 345 and V.a. 162; Bodleian MSS Rawl
poet. 160, Eng. poet. f. 25, Ashmole 38. Variant copies also
commence, "As I lay slumbering" and "Once slumbering"]
Slumbering I lay all night upon my bed,
This was later expanded into a broadside ballad. First verse only
here from The Pepys Ballads, II, 80. 1987.
Related, and to this same tune is "The dainty Damsel's Dream, Or,
Cupid's Visions" given in the file on Laurence Price.
Go to Index
[Sean Buidhe/Bui = Yellow (fair) John]
C. M. Simpson, The British Broadside Ballad and Its
Music, 1966, gives the tune from Flora, his
#424, which he said was a more singable version than the dance
versions, first called "The Jockey," then "Four pence Half-penny
Farthing, or, The Jockey." (But he doesn't mention the song in
Flora. The tune in Flora, however, is
not arranged to fit the song there, which commences "The terrible
law, when it fastens its paw." Simpson also cites two Scottish
manuscript versions earlier than the copies in the ballad operas.
The first he cited from a transcript of the Leyden MS, "Money in
both yr pockets" (not related to a late 19th century Irish tune
of this title) the original of which has been relocated as
Newcastle Univ. MS White, #42. The second of the Scottish copies
is "She gote money by it" in the Agnes Hume MS (MLS MS Adv.
5.2.17). Neither of these, to the best of my knowledge, has been
reprinted.
The tune fits the song much better with the note splitting and
slight alteratiosns made in Songs in Flora's Opera,
[May, 1730] and the independent (pirated?) publication
Songs in Flora, 1737, where the words of "The
terrible Law" are printed right below the melody line, but
even here the tune does not have an exact correspondence between
notes and syllables. "Shawnbuee/ Over the Water to Charlie"
The tune copy here, is the earliest I have seen with the title
"Shambuy", Rutherford's Collection of sixty of the most
celebrated Country Dances, p. 1, n.d. [1754]. It appeared
about two years later in the Thompson's first volume of 200
Country Dances as "Shamboy."
Modern commentators equate the tune with others of different
title. Earliest is that first found as "Pot Stick" in Johnson's
200 Country Dances, IV, [c 1748], and has been
reprinted from this by Frank Kidson in Old English Country
Dances, p. 9. A Scots version was given as "Over the water
to Charlie," about 1752 in J. Oswald's Caledonian Pocket
Companion, book 4, p. 7, in Bremner's Reels,
p. 16, 1757, and was much later printed with the song of the same
title in The Scots Musical Museum, #187. [The "Pot
Stick" title was also used for other tunes. "Pot Stick" in book 9
of Oswald's Caledonian Pocket Companion is the tune
also called "The Irish Footman," which Oswald had already given
in a different key in book 4. Oswald's "Irish Pot Stick," also in
book 9, is the tune later known as "Sheela na Giggg" or "Shilling
a Jig." These in Irish Tune Index.]
About 1759 Oswald gave our tune in book 11, p. 21, as
"Shambuy." G. A. Stevens wrote a song to the tune, "The Marquis
of Granby," with the tune direction "Shanbuy," in Songs,
Comic and Satyrical, p. 188, 1772, and another in the same
work, "The Toper," p. 73 has the same tune direction. "The
Marquis of Granby" appeared as an anonymous single sheet song
with music issue in 1762, but I have not located a copy. The song
appeared without tune direction in The Humours of
London, c 1770. "Marquis of Granby" is reprinted without
title or attribution in The Convivial Songster, p.
330, 1782, with directions to the tune on previous page 172,
where the tune "Shaunbuy" is given for Stevens' "The Topper,"
commencing "Ye lads of true spirit, pay courtship to good
claret." The tune appears under the "Marquis" and "Shawnbuy"
titles in Aird's Airs, I, #98 [1778], and soon
after in two sets in the American Gibbs MS c 1777 [Edited by
Kate Van Keller Winkle, 1974].
Modern commentators also equate "Ligrum Cus" to those above,
but both "Shambuy" and "Lacrum Cus" were used in Kane O'Hara's
Midas, 1764, and this shows that the two were not
considered to be the exactly the same tune at that time. "Ligrum
Cus" is in Hime's Collection of Forty Eight Original Irish
Country Dances, part 2, #20, c 1800, as "Lacrum Cosh" in a
collection by Smolett Holden, (c 1806, not seen), and as 'Lacrum
Cush" in Riley's Flute Melodies, I, #62, New York, c
1815. In a later section of this latter volume, 1816, Riley gave
"Over the water to Charlie" as #341:
A variant of the tune is "Kinlock of Kinlock," which appears in
The Scots Musical Museum, #559, [1803-4] as a
setting for a song said there to be by Robert Burns. John Glen,
Early Scottish Melodies, p. 231, 1900, said the tune
first appeared in Watlen's Circus Tunes, (2nd edit)
1798, and greatly doubted the attribution of the song to Burns,
since the song is an altered version of a much older one. James
Dick did not include the song in The Songs of Robert
Burns, but James Kinsley included it and the tune in
The Poems and Songs of Robert Burns, II, #598,
1968.
Play: S1, SHAMBUY1, Shawnbuy, Rutherford's Dances, 1754?
The Dey of Algiers, when afraid of his ears,
When to England he came, with his p---k in a flame,
As he rode in his coach, how the whores did approach,
When he came to the Court, oh! what giggle and sport;
The dames of intrigue formed their c--- in a league,
When his name was announc'd, how the women all bounc'd,
A Duchess, whose Duke made her ready to puke,
And now to be bor'd by this Ottoman Lord
The next to be tried was an Alderman's bride,
The next to be kiss'd, on the Plenipo's list,
Two sisters next came, Peg and Molly by name,
The next for this plan was an old Harridan,
All heads were bewitch'd and long'd to be stitch'd,
Each sluice-c---d bawd, who was r---'d abroad
Then of Love's sweet reward, measur'd out by the yard,
Later verse, added to copy in late editions of The Merry
Muses of Caledonia.
The next for a shag came the new Yankee flag;
The "Hundreds" tune is not an Irish one, but stems from the
first line of an English song "The Bowman Prigg's Farewell."
BUCEM lists four single sheet copies with music, all tentatively
dated c 1740. There is also a copy in the Marshal collection,
Harvard. However, the tune "To the Hundreds of Drury I write" is
in the ballad opera The Devil of a Duke, 1732, Air
#4. 'Bowman Prig' is mentioned in song #22 of the ballad opera
The Fashionable Lady, 1730, but this may not be a
reference to the song. 'Bowman Prigg' is cant for a pick-purse. I
give the tunes "To the hundreds of Drury I write" from the single
sheet song and "The Night Before Larry Was Stretched" from Levy's
The Dance Music of Ireland, First Series, n.d.
(1858). A slightly variant copy of the latter is in O'Neill's
Music of Ireland, #39.
Play: S1, NTLRYST1, To the hundreds of Drury I write, single
sheet
From 'The Universal Songster', III, p. 77, 1828, reprinted from
Sidney Owenson's book of c 1805. I think Lady Morgan was still
Sidney Owenson when the following was written. Her father, the
Irish singer Robert Owenson (Mac Eoghain), had sung the Gaelic
version, "Emhun uh Chnuick", in a Dublin concert in 1778. Song is
on Edmund Ryan, who is said to have been killed in 1724.
Edmund of the Hills
Some versions of the tune are close to "The Young Man's Dream",
qv.
Play: S1, NEDHILL from Oswald's CPC
See "The Stuttering Lovers" (BRDSFLW) for another 'Irish'
song.
A Sup of Good Whiskey
Near a bog in sweet Ireland
[The song may now be seen at the Bodley Ballads website, but it's
dreadful, and I decline to add it here.]
Play: S1, LARRYGF
"Derry's Fair", a 16th century Irish song that is still
around.
Robert Armin's Foole Upon Foole, 1600, and 1605,
and A Nest of Ninnies, 1608, contains a fragment of
a song sung by Jack Miller, the 'stuttering clean fool,' as Armin
terms him. Armin twice mentions Jack Miller's singing of the song
"Derry's Fair" before he comes to the actual scene where Miller
sings it. Armin there, however, quotes only three lines of the
song, as follows:
I have found no such song, "Derry Fair," among songbooks,
plays, or broadside ballads, but believe it was a song known at
the time on the basis of comparison of Jack Miller's lines with
those of a traditional song known in a number of extremely
variant versions and titles.
The earliest version known to have been printed is "The
Beggars of Coldingham Fair" in Robert Chambers' Popular
Rhymes of Scotland. Chambers noted his source as
Tait's Magazine, X, 121, (Jan., 1833?) but gives no
further information about the song.
The sole version that I have heard sung is "Monaghan Fair,"
sung by the late Francis McPeake, Sr., of Belfast on a phonograph
record, and later, that of an earlier recording of McPeake's song
made by Peter Kennedy. Peter Kennedy published text and tune of a
somewhat modernized version of the song he obtained from Harry
Cox (The Folksongs of Britain and Ireland, #289). In
his notes he gives the first two verses of that he recorded from
Francis McPeake, nearly the same as on his Folktracks cassette
recording, and gives, further, the repetition pattern for five
more verses as sung by McPeake. Mr. Kennedy has generously
supplied me with his commercially available recording of two
verses of the song of McPeake on Folktracks FSA-60-176 A4. The
connection with Armin's song seems obvious when listening to
McPeake's singing, since he pronounces 'beggar' in the second
line of each verse as a stutterer does, when he wishes to
pronounce a word carefully. He momentarily stops, pushes lips
tightly together, and partially filling mouth with air, builds up
pressure, and then opens lips to give the first syllable with
considerable force. Indeed, it is almost impossible to
distinguish between 'b' or 'p' pronounced in this manner. This
emphasized pronunciation cannot be captured well in either
printed text, or music, and one must actually hear the song sung
to appreciate the connection to Jack Miller's song. The song is a
cumulative one, given in a rather free style, as evidenced by
differences in Francis McPeake's singing, and even the tune is
somewhat variable. The names vary in the choruses, and the
pronunciation of 'and' in the chorus varies by verse as to 'and'
or 'an' or 'n'. The leading part of the tune is seems somewhat
atypical for the first verse on the song on Peter Kennedy's taped
version, so the tune here is given for the second verse, as
transcribed by Jennifer Cutting.
J. O. Halliwell-Phillips (Popular Rhymes and Nursery
Tales, p. 272, 1849) made no comment upon a version of the
song that he printed without a tune, and I suspect he had not
heard it sung, since he did not connect it to Jack Miller in his
later publication cited above. The version he gave is entitled
the "Beggars of Ratcliffe Fair." Almost all the beggars' names
given in this version are Welsh.
H. F. Lippincott (A Shakespeare Jestbook,
Elizabethan Studies #20, Salzburg, 1973) summarized earlier
comments on the three lines of Jack Miller's song, but none of
these seem to have lead to even a tentative identification with
any known song. I have now made one which I hope will stand. This
is as far as I can carry the subject at present.
I would like to thank Peter Kennedy for the tape recording of
Francis McPeake's song and McPeake's grandaughter, Kathleen
McPeake, for her aid. I also extend thanks to Jennifer Cutting of
the American Folklife Center, Library of Congress, Washington,
D.C. for transcription of the tune.
[Sorry, I don't have persission to put the tune here. In
structure it's somewhat like "Bragandary", B541, and "Derry's
Fair" was contempoary with the 1st mention if it, but we don't
really have enough of "Derry's Fair" to more than suggest a
possible relationship.]
Ridg was shee first, then Filders she grew to be
Full mickell was my greefe, & much more was my paine [John of
What foull ill should I doe wt on so auld as he
[foull-fool,on-1
Ays gange to Shuckeshill my dapper Nicke & I
Believe me bonnye Nick yt ile not thee forsake
Ays give thee clothes most trim, to make thee fine & gay
When I have done this much, ays hie to thee in bedd
Thie face doth me alure thie tonge doth me intice
Nowe let us gange from kirke, to feast o chifest frend
A posset then weell eate, eauen in a nut browne boule
Now in despite of those, yt doe this match denye
Scottish Song: From an English manuscript of about 1605, Folger
Shapespeare Library MS V.a. 399, unfortunately without music. The
designation 'Scottish Song' is in the left margin and probably
added by a later hand.
Play: No tune known
Play: S1, BNYJEAN1, Bonny Jean, Village Opera, 1729
Jhesu that arte jentylle, ffor joye off thy dame,
God kepe all women that to thys towne longe,
Listen, good serrys, bothe yong and olde,
She was a good huswyfe, curteys and heynd,
Tylle itt befelle uppon a day, shortt talle to make,
The goodman an hys lade to the plow be gone,
Home com the goodman be tyme off the day,
Than he began to chide and seyd, "Evelle mott thou the!
Than sware the goodwyff, and thus gane she say,
"Wery! yn the devylles nam!" seyd the goodman,
Than sayd the goodwyffe, "feyr mot yow ffaylle!
Whan I lye al nyght wakyng with our cheylde,
"Than make I buter ferther on the day;
"Whan I have so done, yet ther comys more eene,
"I bake, I brew, yt wylle not elles be welle;
"Dame," sed the goodman, "the develle have thy bones!
"Yefe a pece off lenyn and wolen I make onys a yere,
"Whan I have so donne, I loke on the sonne,
"Soo I loke to owr good withowt and withyn,
Then sed the goodman in a sory tymem,
"Therffor, dame, make the redy, I warne the, anone,
"I graunt," quod the goodwyfe, "as I wnderstonde,
Soo it past alle to the morow that het was dayleyght,
The goodman to the feeld hyed hy, fulle yarne;
Home come the goodman and toke good kype,
"Yff yow goo to the kelme malt for to make,
"Her sitt ij. gese abrode, kype them wylle from woo,
Forthe went the goodwyff, curtes and hende,
A fytte.
Here begenethe a noder fytte, the sothe for to sey,
We go to Scotland and find in the Bannatyne MS, c 1567:
James II probably wrote "The Banishment of Poverty" during one
of his exiles to Scotland, and his use in the song of Scots
vernacular leads one to suspect that he might also have used a
Scots tune. There is thus the reasonable possibility that 'the
Last Good-night" is "Johnny Armstrong's Last Good-night" from
Thomas Robbins' ballad, Child #169 B. This was entered in the
Stationers' Register on March 26, 1658, so is of the same date as
Child's A text. Copies in Wood 401 and 402 are early issues by F.
Grove, both bearing Robbins initials as author. Both Child's A
and B texts must have been based upon the unknown earlier ballad
mentioned in Walton's The Compleat Angler, 1653, but
we do not have a text of it, unless Child's A text is it. But for
it we have no tune direction.
In short it is possible, but far from proven, that "the Last
Good-night" is named from Thomas Robbins' ballad, Child #169 B,
or an earlier version of the song. The earliest copy of a tune
that can be associated with the ballad is "Armstrong's Farewell"
in Oswald's CPC, bk 9, c 1758. The tune has been pointed out by
John Glen and others to be but one member of a large family. The
tune is repeated in a different key in The Scots Musical
Museum, #356, where the first strain is repeated and the
second added in order to fit 8 line verses, as our ballad has. It
seems to fit our song here as well as it fits the text of
"Johnnie Armstrong" in SMM.
Play: Essex' Last Good-night. in BM1.HTM, B132
Also by Robbins are three of Child's Robin Hood ballads:
The next version we find is an English broadside ballad, "The
Woman to the Plow and the Man to the Hen-Roost." This is by
Martin Parker, and was entered in the Stationers' Register on
June 22, 1629. Euing Collection, #397, is an early
issue with Parker's initials as author. However, this is not one
of Parker's better efforts, and traditional versions owe nothing
to this version of the tale.
I've seen it stated that traditional versions of "Father Grumble"
all descend from Alan Cunningham's version in Songs of
Scotland, but I have never seen Cunningham's original
text.
To an excellent new tune [Robin Cushie, (quo she) or Kind Robin
loves me]
Shakum Guie has gotten a Wife,
My father left me a good stock,
My mother sent me to the well
Robin he chased me about the stack,
Robin took me by the tale,
My mammy she gave unto me
Ginn I was married to a Laird,
Robin, Robin let me be,
Robin is o'er the water gane,
Printed for Brooksby, Deacon, Blare, and Back.
[Evidence points to a date of 1690-92 for this. This is one of
the 'malignant' songs mentioned in Scotch Presbyterian
Eloquence Displayed, 1692.] There is an 'Answer' to this
ballad in Roxburghe Ballads, III, p. 348.
Next from NLS MS 6299, f. 173v, of the 1740's. This is rather
disjointed (and nearly unreadable). Close variant is in Herd's
Scots Songs, I, 1776, from which a few corrections are taken.
Paty here should be Patie, a male. The song was apparently a
duet.
Whilst you adored no other fair [Jeanny?
Katy now commands my heart [Robin
Katy now delights mine Eyes [Robin
What if I kate for [thee] disdaine [Robin
Tho Paty's kind as kind can be [Robin sings?
The tune is not in Simpson's BBBM, as "Robin Cushe/ Cushie
(quoth she)" it is called for on other broadside ballads. John
Glen, Early Scottish Melodies, p. 208, gives the
tune "Kind Robin" from the Blaikie MS, c 1692. [This old date is
known to be too early by 8 or so years, but is still used to
identify the MS.] The tune, a poor version, was first printed in
McGibbon's Collection of Scots Tunes, 1742, as
"Robin Cushie". It appears in the Scots Musical
Museum as #478, with a polite replacement for our older
song here. I believe that song is from Tea Table
Miscellany, 1723/4. [McGibbon was a composer and a
great admirer of contemporary Italians, but Scots did not much
care for his 'Italianate' settings of Scots tunes.]
Play: B542 (17th century), B543(18th c.) in BM5.HTM
Another of the large number of broadsides ballads on the theme of
the impatient maid is also to this tune:
The tune is, I marry and thank you too.
This ballad is taken from H. E. Rollins', Cavalier and
Puritan, #70. I have seen the original, and catalogued the
collection, but did not copy this ballad. It is the first ballad
in the 'Book of Fortune' collection of ballads in the British
Library. The latest ballad of the 32 in the collection appears to
be one of mid-July, 1655.
The tune is a puzzle. "I marry and thank you too", here, is far
earlier than the "Aye, marry and thank you too" ballad. See
Simpson's BBBM. Simpson obviously realized this, and didn't
mention the above as being sung to the later tune.
Let us go on to a very similar song in Herd's Scots
Songs. II, 15, 1776.
Auld Sir Simon the King [i.e., tune, not song]
The third tune here is from Scots Musical Museum,
but there are older Scots copies of the tune. Oswald printed it
about 1755 in CPC, and Bremner did in A Curious Collection
..., 1759, and in the 4th part of his (expanded) edition
of McGibbon's tunes, 1768.
Play: B347, Musicks Recr., 1652
[Broadside expansion of a song in 'Sportive Wit', 1656. Printed
by Thackeray, Passinger, and Whitwood. An earlier copy, c 1660,
was printed by Charles Tyus.]
To the Tune of, Narcissus come kisse us, &c.
As I was a walking I cannot tell when
They sang a fine song of I cannot tell what,
There came in a Lad from I cannot tell whence,
Some shak'd it, some stroak'd it, some kist it, 'tis said,
But when that these ladies had sported all night,
This Lad being tired then, began to retreat,
When full forty weeks were almost expir'd,
Lucina in pity then lent them her aid,
But as I was minding these pretty fine toys,
I then return'd, I cannot tell how,
But now to conclude, I cannot tell what,
Older Scots knew what kissing meant, too. Bannatyne MS, c 1567
In somer quhen floris will smell |
Scho had ane hatt vpoun hir heid |
Ane pair of beides abowt her thrott |
Als sone As I that schene cowt se |
Quhat is the thing that ye wald haif |
Than kissit I hir ance or twyiss |
My hatt is youris of proper dett |
Then doun we fell bayth in feir |
Quhen I was grathit in hir geir |
Than to ly still scho wald not blin |
Sen ye stummer not for my skippis |
Als sone as we our deid had done |
Play: no tune known
We're a' kist sleeping,
From David Herd's MSS, c 1776, via Hecht's Songs from David
Herd's Manucdripts, #64. Hecht pointed out tune for this
fragment in the McFarlane MSS, and Oswald's CPC.
Play: S1, KISTSLP, Oswald's CPC
Scots standard measure, 17th century, from Bannatyne MS.
Play: no tune known
The Bannatyne MS also introduces the proverbial cowardly taylor,
(and non-standard measure).
"A Taylor was no man" was proverbial, and they were said to be a
match only for a louse. Here are two pieces from the Bannatyne
MS.
The sowtar Inveyand aganis the telteor Sayis
Quhen I come by yone telyeoris stall
Play: tune unknown
[A rare relative of "As I came in by Fisherraw"]
The latter verses and tune are repeated in SMM, #127, but the
tune there is called "Jenny dang the Weaver". The tune under the
latter title had appeared in Walsh's Caledonian Country
Dances, II (1736), Rutherford's 200 Country
Dances, c 1756, and Bremner's Reels, 1759.
There is also a copy of about 1760, "Jenny dang ye weaver" in
Folger Shakespeare Library MS V.b.410.
With the latter tune title as heading, the song is in Herd's
Scots Songs, II, p. 58, 1776. Later in the same
volume, p. 181, Herd gave another song with the same heading, and
that contains the first verse of our "Bogi-don" as the 2nd and
3rd of the song.
Herd's song is as follows [Ewan MacColl sang this on a
recording, Folkways FW 8760]
[Oh ono chrio - Border Widow's Lament]
This earliest (unpublished) text here is from NLS MS 23.3.24.
The manuscript, c 1715, is entitled "A Choice Collection of
Several Scots Miscellanie POEMS and songs," and appears to be a
manuscript for a work never published. The whole manuscript was
carefully printed by hand, but there as are still letters here
and there that are difficult to decipher.
F. J. Child, The English and Scottish Popular
Ballads, #106, prints three later versions of our song
here, including SMM, #89, in his prefactory comments to "The
Famous Flower of Serving Men." The latter is Laurence Price's
ballad entered in the Stationers' Register on July 14, 1656.
(Euing, #111, is original issue with Price's initials.) Price's
ballad was undoubtably based on an even earlier tale, but not, as
has been speculated, on that above. The heading of the text here
confirms the note by Robert Burns (in the interleaved SMM of the
statement by Dr. Blacklock that the song was on the Glencoe
massacre (James Dick, Notes on Scottish Song by Robert
Burns, 1908, reprint, 1962)
The tune in the SMM was given earlier as "Oh Onochie O", in J.
Oswald's A Curious Collection of Scots Tunes, #19,
Edinburgh, 1740. Same, "Oh Onochie O," is in J. Oswald's
Caledonian Pocket Companion, book 9, p. 4 (c 1758).
Apparently the first time a verse of the song was set to music
was in Vol. I, page 22, of D. Corri's A New and Complete
Collection of the most Favourite Scots Songs, Edinburgh,
n.d. (1783). The tune and the single verse given there is here
annexed. Corri's statement is that his tune is Irish. [The tune
"Glencoe" in Complete Petrie Collection, #677 is for
"McDonald's Return to Glencoe".
Cf. also SMM #498, "The Highland widow's lament"
Play: S1, BRDRWDO1, Oswald's CPC
The Flowers of the Forest (Autograph)
I don't have any very precise date for the song. The earliest
printed copy that I am aware of is in a chapbook collected by
James Maidment. The chapbook, 'Four Excellent New Songs', has had
the imprint shorn. Maidment placed this before chapbooks of 1746
and 1747. Even this very early copy has many small differences
from Miss Elliot's autograph copy. The last song in the chapbook
is:
The fattal battle of Flowdenhill, fought anno 1514. Tune, Flowers
of the Forest
I've heard of a lilting at our Ewes milkin,
At boughts in the morning, nae blyth lads are scorning,
At e'en at the gloming, nae swankies are roaming,
At har'st at the shearing, nae youngsters are jearing
O dool for the order sent our lads to the border,
We'll hear nae mair lilting at our Ewes milking,
The tune is a bit puzzling. The old one in the Skene MS seems to
have been unknown at the time of composition of the three songs
called "The Flowers of the Forest". Anne Home's (Mrs. John Hunter
since 1771) in SMM #63, was printed in the London
Magazine, Feb. 1772. I don't know when Mrs. Rutherford's
first appeared. It's strung together with the others in Herd's
Scots Songs, 1776. The newer tune (that in SMM)
seems to have first appeared in bk. 9 of Oswald's
Caledonian Pocket Companion, c 1758.
Play: S1, FLWRER1, SMM #63
Play: S1, BOBINBED- Bob in Bed. Johnson's 200 CD's, III, 1744
Compare also the very similar "Morag Inghean Ghiberlain" in the
Scarce Songs 2 file.
Play: tune unknown
This novel way of restoring a maiden head is missing in a
tale version, #8 in R. H. Robbins' The Hundred Tales
(Les Cent Nouvelles, Nouvellas), where the young woman is already
pregnant. Robbins' notes point out one earlier and several later
versions of the tale, and mostly later yet are those pointed out
in Aarne-Thompson's Types of the Folktale, where
this is #886. Neither of these points to the English version, #73
in Tales and quicke answers c 1535.
To the tune of The London Prentice
The song here is the title song from The Glasgow Lasses
Garland --Two New Songs. This is A Scottish chapbook
bearing the date, 1747, but no printer or place of publication.
The tune cited for the song is "The London prentice." We do not
know for certain what tune was meant by that title in 1747, but
the probability is that it was the one in Pills to Purge
Melancholy, VI, p. 342, 1720, where a song is headed "The
London Prentice," and is now better known as "Blow the Candle
Out," but that title is from 1800 or later. C. M. Simpson in
BBBM, p. 13-16, 1966, shows the tune was known from the beginning
of the seventeenth century, and probably was known in the late
16th century. It appeared in the early 17th century with a
variety of names. The other ballad of "The London Prentice", "The
Hounour of a London Prentice", which appears in the 1714 edition
of Pills is evidently a late 16th century ballad,
but the earliest extant copy seems to be one in a Bodleian
broadside collection, Wood 401, with a Coles, Vere and Gilbertson
imprint, 1658-63.
The song in the 1714, and 1719-20 edition of
Pills, now called "Blow the Candle Out," seems to
have been rarely reprinted in the 18th century, but as late as
1799 appeared in a chapbook as "The London Prentice." "Blow the
Candle Out" is the title of a tune in Petrie's Ancient
Music of Ireland said to have been collected about
1805.
Also in the chapbook is "The Lasses Reply; or a Sudden Return
when they were disbanded" to "Boar the Gemlet."' This second song
is a hodge-podge, attempting to connect verses of other songs
into a reply, but is a disordered jumble, in which one cannot
keep track of who is singing which verses, and it makes little
sense. "Boring the Gimlet" is a tune I have seen only in Michael
Raven's One Thousand English Country Dance Tunes, p.
129, 1984. There is also an unpublished "Boring the Gimblet" in
British Library MS Add'l. 23791. "The Gimblet" in Oswald's
Caledonian Pocket Companion, later called "The Old
Lea Rigg" does not fit the verses. Here are the opening verses of
nineteen.
Its O! my Comrade Kate
What makes you now so mad
To leave fair Glasgow Town,
And follow a Soldier Lad?
For soon will ye rue, rue,
for soon will you rue your running.
If thou won over the Seas,
I think it a wonder
When every Man has a wife
And two to serve the Drummer,
Then soon will ye rue, &c.
No. I love my Soldier Lad
As dear a I love my life,
There's none can call me, Whore,
For now I am his Wife.
And will ye na-go, &c
And will ye na-go to Holland?
O! There's many a famous Girl
That's going along with me,
'Tis better than tarry in Town,
With Loss of your Love to die.
And will ye na-go, &c.
Then I will tarry at home;
Go you the world aroun':
And chose another sweet-heart,
they'll nae come to the Town,
Then soon will ye rue, &c.
The song in Pills to Purge Melancholy, Volume VI, p.
342, 1720.
He went into the chamber,
I would not for a Crown, Love,
My Master and my Mistress,
I prithee speak more softly,
But yet he must be going,
As this young couple sported,
Play: All you that love good fellows (London Prentice) B10,
BM0.HTM
S1, BLWCNDL1, Blow the candle out, Haverty's Irish Airs,
1858. = Stanford-Petrie #634
The tune is St. Gyleses. [Lost, Merry Man's Resolution]
H. E. Rollins gave an expurgated copy of this in Cavalier
and Puritan. Verses 7 and 8 are here given. Combining
Scots souldiers and Southwark lasses is a ballad entered in June
of 1685. The heading from its reprint in Roxburghe
Ballads, VIII, p. 472, follows:
The Scotch Souldiers' Kindness:
The tune is first found in Daniel Dow's A Collection of
Ancient Scots Music, p. 42, c 1775, as "G,iomain na
ngauna__Gae to the kye wi me johnnie". I can't find this tune
listed in A. Gore's Scottish Fiddle Music Index,
1994, although Gore supposedly indexed both SMM (Gore's source
code, J3) and Dow's work (Gore's souce code, D14v2). Gore lists a
single later appearance of the tune, c 1825, slightly altered,
"Gae to the kie wi me Jamie."
Make what you can of this. The first and last verse here look
like a later attempt at patchwork. All the other eighteen verses
seem to be quite popular in style, a few being real gems, but we
are certainly missing some important verses.
Another fragmentary version is a text of about 1825 in D.
Harker's Songs from the Manuscript Collections of John
Bell, #121, 1985. This has a verse found in our old
version, but not found in the Herd/ SMM text. Bell's version
goes:
Gang to the Kie wi me Hinney, Gang to the Kie wi me
Compare verse 15 with the lyric fragment "Came you not from
Newcastle" in Bishop Percy's Folio Manuscript, I, p.
253-4. This is partially reprinted in Wm. Chappell's
PMOT, I, 339-40, with the tune, which does not seem
to be related to that in SMM. Note that our song is set only a
little west of Newcastle. [Both PMOT and Bishop Percy's Folio
Manuscript include notes that seem to take the song in the Percy
Folio MS back to 1592. The Percy Folio MS itself seems to have
been compiled between c 1625 and c 1645.]
Came you not from Newcastle? [Percy Folio MS]
Play: S1, GOTOKIE, from SMM
Sir Walter Scot was enthralled by the first of two verses in
SMM, #259, commencing "My heart's in the highlands." The chorus
and other verse was claimed by Robert Burns. The tune there is
"'Failte na misoq" from Oswald, A Collection of Curious
Scots Tunes, #39 (1740) and Caledonian Pocket
Companion, book 1, p. 22 (c 1743). Included here is the
tune "Bonny Portmore" from Edw. Bunting's The Ancient Music
of Ireland, p. 80, 1840. [O'Neill, The Music of
Ireland, "Margaret Lavin", #140, is a copy of Bunting's
melody with a new title.]
Subsequent discovery! Conformation of "Bonny Portmore" as the
proper tune is found in a three verse song to "Bonny Portmore" in
Sean O Boyle's The Irish Song Tradition, p. 50,
1976. The first verse of his song is the chorus of "My heart's in
the highlands".]
In Additional Illustrations to The Scots Musical
Museum, #259, C. K. Sharpe printed from a stall copy "The
Strong Walls of Derry," a slightly reworked shorter version of
our song here. Sharpe thought his song was the original "My
heart's in the Highlands," but now we see it is not, and we can
see the stall copy is somewhat corrupt.
The Strong Walls of Derry
The first day I landed, it was on Irish ground
Chorus.
When I was in the Highlands it was my due,
O, bonny Portmore, thou shines where thou stands,
O, Donald, O, Donald! where have you been?
My heart's in the Highlands, my heart is not here,
There is many a word spoken, but few of the best,
Let us drink and go hame, drink and go hame,
.....................................................
See "Pleasures of Sunderland" and some subsequent songs above for
some related verses.
Play: S1, HARTHGH1, Failte na misoq (Musket's salute)
[The song here, published sometime between 1672 and 1685,
although supposedly set in the West-Country, uses Scots dialect,
and some of the names mentioned are Scots, and its merry Scotch
tune must have be connected with some earlier Scots song. Two
versions of the tune are known, the first above from A
Choice Collection of 180 Loyal Songs, 3rd ed., p. 117,
1685 (carelessly engraved), and the second from The Dancing
Master, Vol. I, 12th ed., 1703, and subsequent
editions. The latter is also in The Compleat Country
Dancing Master, I, p. 31, 1718. There seems to be no
direct record of the tune in Scotland, but it has been suggested
that the tune may be the progenitor of a family of (originally)
pipe tunes, all found later, which include "Mad Moll," "The
Virgin Queen," "Yellow Stockings," "The Dusty Miller,"
"Drops/Dribbles of Brandy," "Hey my Nancy," "Brose and Butter,"
"Ride a Mile," "The Faraway Wedding," "Cumilium," and a few
others.
The setting of the song here, and a few of the verses, may
have supplied the inspiration of the Scots ditty known as "The
Ball of Kirriemuir," although the tune of the latter is not "Up
with Aley, Aley," but another seemingly as old, "Bonny Jean of
Aberdeen." And for another version of the tune see here "We're
gayly yet," part of which may be from the 17th century.]
See how the Lads and Lasses flock together,
To a Merry Scotch Tune, Or, Up with Aley, Aley, &c.
[Chorus 1st, to first part of tune]
This is from a single sheet song with music, c 1745, in the
Library of Congress. ('Jack') Beard sang the song in (or between
acts of) The Careless Husband, 1745 and also the
next year in The Country Lasses and A Bold
Stroke for a Wife (Arthur H. Scouten, The London
Stage). The song was later printed in several books,
mostly without the tune, but with it in The Musical
Miscellany, p. 288, Perth, 1786, and Calliope, or
The Vocal Enchantress, p. 466-7, London and Edinburgh,
1788. The tune also appeared in a few country dance music
collections. The tune is a version of "Up with Aley, &c," in
A Choice Collection of 180 Loyal Songs, 3rd edit.,
p. 117, 1685. The song is obviously two short songs strung
together, and there is perhaps some early evidence for one of
them. The cuckolding of John Thompson mentioned is the second
part seems to have been known in 1694. A manuscript of about
1715, NLS MS Adv. 23.3.24, contains an epitaph mentioning his
cuckold's horns:
Ane Satyrick Epitaph to Daniel Nicolson who was hang'd for
makeing use of a forged paper And for adultrie with Mistress
Pringle on the 14. febr. 1694. Mistress Pringle being beheaded
the same day in the Grassmarket.
Play: S1, MGYLWDR1, Moggy Lauther, Neals' Country Dances, Dublin,
c 1726
Play: S1, PATRARK, Auld Criple Dow, Rutherford, 1758
[Shy Scots Wooers. From Bannatynes MS]
I saw me thot this hindir nycht
Quhen that the bed was reddy maid
he put his hand at hir spair
To spill the bed It war a pane
And I had yow in sum vther place
Yot I wald draw yow doun he sayis
Thair wes na bowk in till his breik
Play: no tune known
Play: BM3.HTM, B376, Pretty Beggy Benson, from single sheet
[NLS MS 17799, c 1715?]
Damon faintly askt once & I briskly reply'd
However I'll not vex for I'm fully ensured
I'll not cry with the Psalmist but old Castlemain
Play: No tune known
A version of the song, "Roseberry to his lady says", is in the
Merry Muses of Caledonia with the tune direction
"Clout the Cauldron." There are several much earlier versions of
this short song/ poem, which is probably older than the tune,
which is first found in the second volume of Orpheus
Caledonius, 1733. However, there is no early evidence that
it was a song, other than the catch noted below.
'Sir John to his Lady.' This is a late addition to an early
17th century manuscript and of very uncertain date, perhaps c
1660, but here printed from copy of 1744 in The Merry
Medley, Or a Christmas-Box for Gay Gallants and Good
Companions.
Says Sir John to my Lady, as together they sat,
An extended version, set as a catch, is on a single sheet song
with music, c 1735.
Said Sr to his Lady as kissing, as kissing they sate,
The Comic Miscellany, II, p. 145, 1756, contains a
close relative. Note 'kissing' was a common euphemism for sexual
intercourse, but in only a very few cases is it unambiguous.
Come, Meg, be quick and make the bed;
The]re was a lady fair and she so loo'd a gentleman
She] wrote to him a letter & seal'd it with a ring
W]hen this merry gentleman this letter he did read
Wit]h bag and baggage on his back & buget in his apron
His] bonny face was smother black that he shew'd not be known
T[?]he maners and his pi[??]ers so well's they did agree
Till] he came to the ladys gate to knock he did not speare
I am] a tinkler to my trade I work for meat & fee
When she beheld his countenance then she began to w[ink
I']le give him drink as we do drink & meat as we do [use
When he had eat & drunk his fill the truth of it w[as so--
She took him by the hand & led him in the dark
She took the hammer in her hand & she began to stri[ke
Strike on strike on tinkler she says strike on & dinna s[lack
it is [*]y steddy struk madam I must need confess [*oblit.
She went into the room her husband for to t[ell
He's] a gallant tinkler but he is wonder dear
Ha]lf a mark for every nail, & fourty for the ca'ing
In he went into the room his money for to fetch
But] when the tinkler took his leave she bad him not n[?]eed
son[or u?]ding
A polite song of this title has long been familiar from the
copy in Allan Ramsay's Tea Table Miscellany, 1724,
first printed with music in Orpheus Caledonius, II,
58, 1733. The tune is also given in Oswald's Caledonian
Pocket Companion, book 7. In McGibbon's Collection
of Scots Tunes, 1755, #31, it is called "The Tinkar's
Occupation," and it is back to "Clout the Cauldron" in Bremner's
re-edition of McGibbon, 1768.
The song was probably inspired by "The London gentlewoman",
which is apparently in Christ Church College, Oxford, MS CCC 328,
but not reprinted. See Simpson, BBBM the tune, but not song, "The
London Gentlewoman, Or, The Hemp-Dresser," with title order
reversed.
The text here is very similar to that on an English broadside
ballad, "Room for a Jovial Tinker, Old Brass to mend," to the
lost tune of "Behold the man (with a glass/can in his hand) of c
1655. (Facsimile copy, The Pepys Ballads, III, 31,
1987, an issue of 1681-2.) The ballad was belatedly entered in
1675, Rollins' A.I. #2323. Another entry, A. I. #1350, of 1639,
might possibly be for this ballad, but I've not seen tune
direction "Behold the man" that early, and A. I. #1309 is
certainly for an earlier 'Jolly Tinker' song, probably that first
suggested by Rollins. A copy of the broadside is reprinted in
Roxburghe Ballads, VII, 74, and I agree with
Ebsworth's estimate of date there, c 1656, for the broadside
version.
The text here should also be compared to the copy in
Merry Drollery, I, 134, 1661 (in Ebsworth's
Choyce Drollery, p. 233, 1876), and Farmer's Merry
Songs, I, 142, with the broadside version on p. 41 of
latter. Also in Common Muse,#157)) J. McBain,
The Scottish Musical Magazine, V, 216, 1924, notes
similarity of "Clout the Caldron" = "The Tinklar's Occupation"
with "Three sheepskins" from the Skene MS (Dancing
Master from 10th ed, and ballad operas Polly,
Devil to pay, Jealous Clown) without
concluding they are same tune.
McGibbon in his third book of Scots tunes gave a version. "The
Tinker's Occupation" with a different first strain. That version
is also found as, "The Tinkler's ocupation", in the 18th
century Knox MS in the Library of Congress. In 2/4 time, this
version of tune is "Clout the Caldron" in C. V. Stanford's
Complete Petrie Collection of Ancient Irish Music,
I, #430, 1902.
Robert Burns, though sometimes mis-informed, is just possibly
right that this is on one of the Kenmure family in Cavalier
times. The date, at least, checks out right. See Davidson Cook's
article in Burns Chronicle, 1922, reprinted with
Dick's Songs of Robert Burns, p. 18, 1962.
Play: S1, CLTCLDN, from Orpheus Caledonius
A much enfeebled version, lots of bawdy language, but not much
story line, is the modern "The Highland Tinker", one version of
which goes:
The Highland Tinker
The Lady of the Manor was dressing for the ball
The lady wrote a leter, and in it she did say
The tinker got the letter, and when it he did read
The Tinker mounts his charger, and into town he rides
He f--d her in the pantry, he f--d her in the hall
I had a littil flemyng berge [bark
With evin keill befoir the wind
To calfet hir oft can do non ill
A fair vesschell abone ye watter
Na pedderis pak scho will ressaif [pedler's pack..receive]
([She] to Ioh[n] carmichell:)
ffor merchandmen I may haif mony
[Narrator:]
ffor ankerhald nane can be fund
Now is my pretty pynnege reddy
ffinis q Sempill
Play: no tune known
Untitled pinnace: Added to the Bannatyne Manuscript later, c
1600- 30, is the piece as follows:
Now gossop I must neiedis begon
Som rakless roige may hasard her to ryde
Stand to yor takill and main top tie
Beir vp hir beugh albeit she sould ly over
Play: no tune known
There is a song somewhat along the same lines called "The
Pinnace" in Bagford Ballads, I, p. *515, the
commences "A Pinnace rigg'd with silken sales". The editor was
taken in. This is a forgery by John Payne Collier, c 1747.
Collier got the title from a list of songs in Samuel Rowlands'
Crew of Kind Gossips, 1613, as he noted in a
footnote, p. xix, 'A Book of Roxburghe Ballads,
1847. Another piece that Collier mentioned from Rowlands' list is
"Bess for Abuses", which was one of the original pieces in the
manuscript that Collier completed with his forgeries. Collier
failed to recognize it. It is given below.
Tune: My mammys coming.
A young man on a day, as he was walk[ing
A soldiers wife I'll be, I love it dearly
Here stands your right hand me[?]n to [--
Then she pull'd up her smock stood ready l[ike
It']s bravely done she said do not Degrade me
I]f it be broken girle our game is ended
Play: no tune known
Text here is from J. O. Halliwell. J. W. Ebsworth repeated it
in his 1876 reprint of Merry Drollery. The tune is
"The man shall have his mare again." This text is, I assume, a
condensation of a lost original of much earlier date, or perhaps
a parody of it. A broadside ballad entry of 1569/70 is 'taken
nappynge as Mosse toke his meare,' but no earlier copy, broadside
or manuscript, than that above, seems to be known, other than a
revised Scottish copy. Later allusions to the song abound, some
mentions of it are the following:
F. J. Furnival, gave a song from a manuscript of c 1620-30, BM
C. 39.a. The song is also in BL MS Add'l. 24,665, c 1625, and
there are several other copies in MSS. An early one, Bodleian MS
Rawl. 26, c 1620, heads it 'Mr. Lawson of St. Albon's Colledge
his verses to his mistresse'. The song was later printed. Verse
three of the song, beginning "O love, whose power and mighte,"
concludes:
Moss was a little man, and a little mare did buy,
Moss got up next morning to catch her fast asleep,
Rise! stupid, rise! he thus to her did say;
In Cobold's 'New Fashions', BL MS 18937, we find an apparent
parody:
I have a mare they call her brook,
Play: S1, MSSMARE, The man shall have his mare again, Oswald's
CPC
The fiddle McPherson broke across his knee on the scaffold is
preserved. Both of it is in museums in Edinburgh and Newtonmore,
Invernesshire. That in Edinburgh was pictured in National
Geographic, sometime around 1970-75.
Play: S1, MCPHRSN, from Scots Musical Museum
[Songs here related in text, but not necessarily in tune.]
From SMM, #213
[Sung by Ewan MacColl, Songs of Robert Burns. Folkways FW
8758]
Wm. Stenhouse gives what he says are all that remained of the
original verses as well as what he said was the original tune is
in his llustrations to the Scots Musical Museum,
Song #213. Stenhouse didn't say where he found the tune.
Next from Hecht's Songs from David Herd's
Manuscripts, p. 240, 1904. B version of "The Day Begins to
peep", p. 238.
O wat,-- O wat and weary!
Slightly before SMM text with tune appeared, the same tune was
in Wm. Napier's A Selection of the most favouite Scots
Songs, for following song. Here from a songbook of 1828.
[Napier's three volume collection is supposedly in the Library of
Congress, but they have never been able to locate it for me.]
"Jess Macfarlane." BUCEM II, p. 1073, lists a single sheet
edition printed at Edinburgh (J. Watlen, misspelled Walten in
BUCEM), and a 3 and a 4 page issue in London, where it was sung
at a concert, all undated, about 1790. John Glen, in his
commments on SMM #213 in Early Scottish Melodies, p.
130, 1900, says "Jess Macfarlane" was published by Wm. Napier
shortly before Vol. III of SMM appeared, whih he says came out in
July, 1790. He dated an edition of 'Jess Macfarlane' by J.
Watlen as 1793, but doesn't give the source (which may be the
single sheet issue, as it is not in Watlen's Circus
Tunes). The tune was used in 1793 in a short opera,
The Children in the Wood, with music partly composed
and partly selected by Samuel Arnold.
Not seen is "Nancy Newel" commencing "First when I came to town"
in Peter Buchan's MSS, in British Library, c 1828 (with an
answer).
"Salmon Fishers," second version, sixteen lines without tune,
from Fochabers, in Alice B. Gome's The Traditional Games of
England, Scotland, and Ireland, IIp. 180, 1898 (reprint,
Dover, 1964).
Northumberland: "The Hexamshire Lass," seven verses plus chorus
with music, Bruce and Stokoe, Northumbrian Minstrelsy
, Soc. of Antiquaries, Newcastle, p. 102-3, 1882. Verse
six is related to the chorus of "Katy Cruel" (next below) There
is an early 19th century copy of this reprinted in D. I. Harker's
Songs from the Manuscript Collection of John Bell,
#147, 1985. For a different tune with a title quite similar to
the title here, see "The Buff and Blue", Gale Huntington, Wm.
Litten's Fiddle Tunes, 1977.
American: "Katy Cruel," said to date from before the
Revolutionary War, and to be 'native' American in The
American Heritage Songbook, p. 14-15, 1969, with a tune.
Text only and citation of original source. Rosa S. Allen's
Family Songs, (1899) in Flanders and Brown,
Vermont Folk-songs and Ballads, pp. 123-4, 1939
(reprinted 1969). I am grateful to Lani Herrmann for information
about the book and note of its present location at The Jackson
Homestead, Newton, Mass. Is Katy a prostitute? See "Fancy Lad"
following.
For the chorus see the Opie's Oxford Dictionary of Nursery
Rhymes, p. 231. [A poetical piece commencing identically
is in Bodleian MS Malone 19, p. 119, but unfortunately it is not
available on microfilm.]
English: "Fancy Lad," eight verse broadside, c 1800?, text
given below. Copy sent to me about 1969 by Frank Purslow, from
Bodleian 2806 c 17 (123), formerly Douce 10. Nancy here evidently
works as prostitute while her own fancy lad is in Quod (gaol).
I will buy my love a coat,
I for beef and pork,
When first I came to town,
O once I had a bed,
Then in came merry Peggy,
My fancy lad's in Quod,
Swindells, Manchester.
Irish?: "A New Song, Called Harry Newell." Eight verse broadside,
c 1800-30? No music or tune citation. Printed in Holloway and
Black's Later English Broadside Ballads, I, #88,
1975. (This volume has been reprinted in the U.S.) Lament for
absent female lover, who lived by the 'Ropery,' for which see
"Salmon Fishers," above.
When I came to this town,
They put me to bed,
All the night awake,
Her cheeks are ruby-red,
She is a lovely lass,
I'll send my love a letter,
Down by the Ropery,
She was a beauty bright,
"The Leaboy's/ Licht Bob's Lassie." Greig-Duncan Folksong
Collection, IV, #725, 1990. There are two versions of
seven verses without music and six much shorter ones with tunes.
The two longer version overlap with almost all the songs given
here.
English traditional: "Aye For Saturday Night", Roy Palmer,
Songs of the English Midlands, p. 33, 1972. Five
verses sung by Cecilia Costello, Birmingham, 1971, and by her on
a phono-record, and by Palmer on another. The editor points out
relationship to "Hexamshire Lass". Most interesting verses are
1st and last:
[BL MS Ashmole 48. By John Wallis, c 1565.]
Robyens Iok come to wow our Iynny
Iok said forsuth I yern full fane
My berne scho sayis hes of hir awin
Ane blanket and ane wecht also
Ane furme an furlet ane pott ane pek
Now deme I haif your bairne mareit
I haif ane helter and eik ane hek
Ane brechame and twa brochis fyne
Ane trene truncheour ane ramehorne spone
Tak thair for my pairte of the feist
This song was modernized in spelling and extended by
adding a dance as in Wallis' ballad above, as "The country
Wedding" in Herd's Scots Songs, II, p. 88, 1776.
But said to be based on the Bannatyne MS song is "Hey, Jenny
come down to Jock", Herd II, p. 55 and SMM #167, commencing
"Jocky he came here to woo". Why is that on p. 88 of Herd
ignored, it is more directly the old song?
Tune for latter, according to John Glen, Early Scottish
Melodies, is first found in McGibbon's 3rd collection,
1755. What then is "O Jenny come down to Jock" in Oswald's CPC,
bk 2, c 1445? I failed to copy this for comparison. Glen also
suggests "Jocky wod a wooing go" in Blaikie MS, 1692, as the
original tune (also in later Waterson MS, but neither tune
printed), since it fits the verses well.
To a delightful Scoth [sic] Tune, or I am a silly old man.
Play: BM4: B413, The Scotch Wedding, c 1710.
S1: SLYLDMN1, An the Kirk was let me be, 1731. = Wully
Honey, 1735
S1: SLYLDMN2, Blythsome Bridal, Orpheus Caledonius, 1733
S1: SLYLDMN3, Silly Old Man, Walsh's CCD's, c 1734-5
It is obvious that the later "Blythsome Bridal/ Scotch
Wedding" was around in some form in the 17th century, as much of
the song is in our broadside above. The printer, Richard Burton,
printed some other broadsides obviously based upon real Scots
songs, not London Anglo-Scots songs.
Did our broadside descend from John Wallis's song above? There
is certainly a great similarity.
Now some fragments from David Herd
[Last six lines are obviously from a different song. Rob. Burns
quoted them slightly differently.]
Text from NLS MS 23.3.24, c 1715. A shorter fragment of this
song is in H. Hecht's Songs from David Herd's
Manuscripts #62.
"Three sheepskins" is an old tune. Skene MS, Dancing
Master from 10th ed (1698), Compleat Country Dancing
Master, I, 1718, and for verses in the ballad operas;
Polly, The Devil to Pay, and The
Jealous Clown. Also in Oswald's Caledonian Pocket
Companion, book 7, p. 10.
Play: S1, THRSPSK1, Thrie sheip skinns, Skene MS
There came a fiddler out of France,
From H. Hecht's Songs from David Herd's
Manuscripts, #63. Hecht notes the tune in the MacFarlane
MSS, c 1740, and in Oswald's CPC.
The fiddler, here, is possibly Jacky Latten/ Latin. I have not
yet gotten a hold of a single sheet song with music, "Jacky
Latten's Courtship", c 1730. This commences "There was a lad just
come from France". Jacky Latin was said to have been an
incomparable fiddler, and is known to have played in Ireland with
the gentlman piper Larry Grogan around 1730, but I have been able
to find out nothing else about him. [On Grogan, see Larry Grogan
and Ally Croker] The popular tune "Jack Latin" is undoubtable
named for him, and is probably from the single sheet song.
Play: S1, GELDHIM, Oswald's CPC bk. 6
[From: The Battle of Falkirk Garland 'printed in the year
1746']
You Jacobites by Name, now give Ear, now give Ear,
With the Pope you covenant, as they say, as they say,
Your Prince and Duke o'Perth, where they go, where they go,
He is the King of Reef, I'll declare, I'll declare,
They marched thro' our Land cruelly, cruelly,
To Preston then they came, in a Rout, in a Rout,
To England then they went, as bold, as bold,
To London as they went, on the Way, on the Way,
They turned from that Place, and they ran, and they ran,
To Scotland then they came, when they fly, when they fly,
When Duke William does command, you must go, you must go;
Tho' Carlisle ye took by the Way, by the Way;
The Pope and Prelacy, where they came, where they came,
Robert Burns familiar song only borrow the first verse.
The tune is discussed in Simpson's BBBM. To sum this up, there
is no concrete evidence to equate any two of: (1) "Sound a
Charge"; (2) "Put in All"; and (3) "Comming Down/ Captian
Kidd."
"Sound a Charge" was used earlier than Simpson notes for "A
Spiritual Song" in A small Mite, 1654. It was
probably that for G. Winstanley's? "The Digger's Carol". "Put in
all" is slightly earlier than he notes; it is in Walsh, Hare, and
Randle's 24 Country Dances for 1708. We have no
direct connection, either, of any of the above three tunes to
that for "Admiral Benbow", commencing "Come all you sailors bold,
lend and ear, lend an ear". This is printed with music in
The Vocal Enchantress, 1783. For what its worth, I
give the tune there.
Play: S1, YEJACOB, Ye jacobites by name, SMM #371
Play: S1.ABC, BOBTAIL, Tune from Achilles, 1733.
A mery Ballat of the Hathorne tre,
It was a maide of my countre
At last she asked of this tre:
The tre maid answere by and by:
"Yea ," quothe the maid, "but where thou growe,
"Though many one take flowers from me,
"But how, and they chaunce to cut the downe
"Thoughe that you do, yt ys no boote,
"And you, fair maide, canne not do so;
The maide with that begane to blushe,
What with she harde this marvelous dowbte,
With many a sighe she went her waye,
Besides all that yt put her in feare
But after this never I could here
The date of this is about the same as L. Lloyd's song
mentioned below. Text from BL MS Cotton Vesp. A.25, via K.
Boeddeker's article 'Englische Lieder und Balladen aus dem 16.
Jahrhundert', Jahrbuch fur romanische und englische
Sprache, N. F. II, 1875. Expurgated and incomplete in
Chappell's PMOT. The date of this ballad is probably several
months earlier than L. Lloyd's song above. A traditional version
collected without tune, about 1825, is "The Hawthorn Green", p. 4
in E. B. Lyle's Andrew Crafurd's Collection of Ballads and
Songs 1975. A poor traditional veresion that I suspect was
learned from Chappell's PMOT, is "The Hawthorn Bush", p. 15 in
Fred Hammer's Garners Gay, EFDSS, 1968.
Also to the tune "Dargeson" or "Sedany" is Lodowick Lloyd's
song entered in the Stationers' Register on Aug. 13, 1579. I
cannot decide which of two versions represents the broadside
entry. The shorter version is that printed from a MS in The
British Bibliographer, I, p. 338, 1810 (this MS is now
Folger Shakespeare Lib. MS V.a. 189). A longer version was copied
about 1604 into Folger Lib. MS V.a. 399. This is headed simply
"Made by Lodovicke LLoyd", with no title or tune direction.
A Dittie to the tune of Welshe Syddanen, made to the Queenes maj.
Eliz. by Lodov. Lloyd
Flee stately Juno Samos fro, from Delos straight Diana go;
[By Thomas Nash, sometimes playwright for Lord Stranges's Men.
This copy made apparently in 1604 in Folger Shakespeare Lbrary MS
V.a. 399. J. S. Farmer printed a collation two incomplete ms
versions, Rawlinson 216, and Petyt 538, and wrongly identified
Lord S. as Soughampton, in Merrie Songs and Ballads,
I, p. 13, 1897. None of the manuscript contains a perfect text,
but readings from the following are most often, but not always,
preferable to Farmer's. One may wonder whether the 'stately
rhymes' of 'loves plaints and panges' mentioned by Nash might be
an allusion to Shakespeare's "Venus and Adonis," 1593, as well as
to others. They appear to be in different acting companies at
that time, with Christopher Marlowe the best known in Lord
Strange's Men.]
To ye right Holl: ye Lorde
Strainge
Pardon sweet flowre of matchlesse poetrie
The matter beginnes heare: Nashes Dilldo:
It was in ye merry monthe of Februarie
Thus hath my pen presumed to please my friends
Play: B340, O man in desperation? Also B544, B545
Four verses of this song were copied into a book in the
Folger Shakespeare Library, with notes saying this was writtin by
a I[J]. Leighe, in 1587, and that he was born in 1567, and died
in 1629. This puts the song in the middle of the period when the
tune was popular, and this seems to be the best evidence yet
as to the author.
Why has no one pointed out the obvious; that this is a
transformation of the monks abbey in "The Land of Cockagyne"
to Jerusalem/ Heaven? However, the monks don't fornicate with the
nuns of the grey abbey in this one
Cockagyne extract
The yung monkes that hi seeth
"Sing dance danderlie, distaffe (or bischop), & danderlie, Ye
virgins all come learn of me" - song of "Patient Griselda"'
Later dance- "The shaking of the sheets".
[Chambers and Sidgwick, #36]
[Bannatyne MS, c 1567. Dancing the Dirrydan. Also in Braye MS =
Yale/ Beinecke/ Osborn, Music MS 13, without the tune.]
In secreit place this hinder nycht
His bony berd was kemd and croppit
Qod he my hairt sweit as the hunny
To hie q scho And gaif ane gawf [quoth she
Qot he my claver my curledoddy
Qot scho my clip my vnspaynd jyane
Qot he my kid my capircalyeane
Qot scho Tak me by the hand
He gaif till hir an appill ruby
Jolly Jankin demonstrated the kyrieleyson in piece #27 in
Robbins' Secular Lyrics, and the girl closes the
song with "alas, I go with schylde". (See also #28, following it,
"The Midsummer Day Dance".) Robbins, later, discovered the
following piece about the monks music lesson.
Play: B149, The Friar and the Nun
In the following, UTOPIA2, a man is allowed to borrow his
neighbour's wife. [After lots of research and typing, I was later
told about this in Hal Rammel's Nowhere in American; The
Big Rock Candy Mountain and Other Comic Utopias, 1990,
with many examples and commentary.]
Play: B102, Daniel Cooper
Here we have direct imitation from the middle-English "The
Land of Cokaygne".
Fur in see bi west Spaynge [Spain
This is obviously the original from which "The Big Rock Cady
Mountain" draws. Similar is "Oleana".
Go to Index
"Open the door and let me come in,
"Tell your father and mother too,
"O my lad, I'm up to your tricks,
"The trees are high, the leaves are green,
O young man, I value you not,
Song from Logan's Pedlar's Pack, reprinted in Greig's FSNE.
Greig and Duncan recovered some tunes, but not much in the line
of text, Greig-Duncan Collection, #780.
Here is a much earlier version.
This was entered in the Stationers' Register on July 17, 1640
to Mrs. Griffin, widow of Ed. A few years later she sold her
business to Richard Burton, who never entered any ballads in the
Stationers' Register, but he had rights to this from his purchase
of the Griffin business and stock, and transfered the rights of
our ballad above to the printers of the above on July 26, 1658.
Lost is a ballad entered on Aug. 1, 1586, "Open the dore &c
begynninge you maidens &c"
A Sweet Sonnet wherein the Lover doth exclaim against
Fortune,
The Tune is, Fortune my Foe
Fortune my Foe, why dost thou frown on me?
Fortune hath wrought my grief and great annoy,
Had Fortune took my treasure and my store,
Far worse than death, my life I lead in woe,
In vain I sigh, in vain I wail and weep,
My love doth not my piteous plaint espy.
Where should I seek or search my love to find,
Then will I leave my love in Fortunes hands,
And only joy, that sometimes conquers Kings,
No man alive can Fortunes spight withstand,
If wisdoms eyes blind Fortune had been but seen,
The Ladies comfortable and pleasant Answer.
Ah, silly Soul art thou so sore afraid?
Blame not thy chance, nor envy at thy choice,
Receive therefore thy life again to thee,
Live thou in bliss, and banish death to Hell,
In vain therefore do neither wail nor weep,
Full well thy love thy privy pangs doth see,
Nor will thy love on Fortunes back abide,
Pluck up thy heart, supprest with brinish tears;
Though mighty Kings by Fortune get the foil,
For Fortunes spight thou needst not care a pin,
Die not in fear, nor live in discontent,
[From L. G. Black's "A Lost Poem by Queen Elizabeth?",
Times Literary Supplement, p. 535, May 23, 1968. Sir
Walter Ralegh's original poem from Marsh Library, Dublin.]
Fortune hath taken thee away my love
Fortune hath taken all awaie frome me
In vaine you eyes you eyes do wast your teares
Thus now I leave my love in fortunes handes
I ioy in this that fortune conquers kinges
With wisdomes eyes had but blind Cupid seene
[Queen Elizabeth's Reply]
Ah silly pugge wert thou so sore afraid,
No fortune base thou saist shall alter thee,
fortune I know sometimes doth conquere kinges
ne chose I thee by fickle fortunes rede,
Dead to all ioyes & livinge vnto woe,
Raleigh's piece was entered in Stationers' Register, June
13, 1590, as "ffortune hath taken thee awaye my love, beinge the
true dittie thereof". My quotation of this entry in TLS, Sept.,
1968, put an end to the many letters in favor of the speculation
that Raleigh and Elizabeth had imitated the ballad.
Play: B144
The conventional early name for a milkmaid was Mawken or
Malkin, and for the shepherd, Robin. Robert Henryson's "Robene
and Makyne" (also called 'Malkyne' in one verse) gives the
Scottish equivalents. Here's a fragment of the 14th or 15th
century, from R. H. Robbins' Secular Lyrics [In
brackets are my conjectural additions for missing words.]
Joly cheperte of Aschell downe
A song estimated to be about 1540, contains more famila
verses. This is from Chambers and Sidgwick, Early English
Lyrics, #28, where it is restored from disordered copy in
BL MS Addl. 31922. [Original printed by Flugel,
Anglia, xii, with 52 lines, but many repeated ones.]
Hey, troly loly lo, maid, whither go you?
Now in this meadow fair and Green
Why will ye not give me no comfort,
Ye be so nice and so meet of age
Ye have my heart, say what ye will,
Then for this once I shall you spare,
We are obviously missing an early 17th century version of
"Dabbling in the Dew". Our missing song may have been a version
of the lost broadside entered in 1656, "The Merry milkmaid and
the bonny shephard" (Rollins' Analytical Index,
#1738) What may be a mock of our missing song is to the tune of
"Strawberry leaves makes maidens fair" (music in Simpson's
BBBM, 1966). This is a dialogue song "A merry new Iigge, or the
pleasant wooing between Kit and Pegge" printed for H. Gosson
(1605-40) in Baskervill's The Elizabethan Jig and Related
Song Drama (reprinting copy now published in The
Pepys Ballads, I. 258, 1987) and in Roxburghe
Ballads, II, p. 100. His lines, the odd numbered
ones, are much as in other versions past and yet to be met, but
she is not a naive milk-maid in this, and scorns him.
Well met faire maid, my chiefest joy.
Thy beauty sweet Peg, hath won my heart
For Peggies loue poore Kit will dye.
My life I will spend to doe thee good
Yet faine would I be thy wedded mate.
O pitty me, sweet Peg I pray
[A further 2nd part, no better, omitted here]
We do have some echoes of our missing 17th century song in an
otherwise dreary broadside ballad of c 1664-70, in the Wood
collection, E25 #36. Our shepherd has attained knighthood, but no
longer pipes. [I seem to remember that this was reprinted in
recent years somewhere in the British Isles.]
The Opies in The Oxford Book of Nursery Rhymes,
#317, 1951, give a version said to have been sung in 1698 at
Cardew. This seems to connect the tune titles "Strawberry leaves
made maidens fair," and "Where are you going my pretty fair
maid."
Whither are you going my pretty fair maid, said he,
I am going to the well, sweet sir, she said,
Shall I go with thee pretty fair maid, he said, &c
What if I lay you down on the ground, &c.
The Opies mention several subsequent versions, giving a few in
their condensed notes.
A four verse version was sung at the Tuesday Club in Annapolis,
Maryland in 1747. Tune was not recorded but text was, and is
given in Talley, Secular Music in Colonial
Annapolis, p. 80, 1988.
We have later traditional versions such as "Rolling in the
Dew," Frank Purslow, The Constant Lovers, p. 80,
EFDSS, London, 1972, and N. Cazden, The Abelard Folk Song
Book, II, page 3, "Rolling in the Dew (makes milk-maid
fair)," and page 35, "My pretty little maid," both from
unspecified sources. "Where are you going?" (from Ireland), JFSS
25, p. 332, 1921. Many more versions, traditional and broadside,
are cited in Steve Roud's folksong index-Roud #298. I've also run
across a version, "The milkmaid" of a mere two verses on an
American broadside of the mid 19th century in a collection called
'Ballads of the Civil War', Vol. II, p. 198, State Historical
Society of Wisconsin. Earlier and fuller versions are "The milk
maid" on the Bodley Ballads website
Here is a version collected by Robert Burns, given in Davidson
Cook's article, Burns Chronicle, 1922, and
Stenhouse's Illustrations to Scots Musical Museum,
#373. The tune for it is "The Posie", SMM #373.
There was a pretty May, and a-milkin' she went,
O whare are ye goin', may ain pretty May,
What if I gang alang wi' thee, my ain pretty May,
Play: POSIE
Some possible sequels lead us into another category, Nay pish,
any fie.
[Bodleian MS Eng. poet. f. 25, fol. 67v. Cf. Pepys
Ballads, I, 326]
Tee hee, nay fye love, Lord wt do you meane
Heigh, heigh, my harte, a kisse for feare of ye worst
So so for shame leave, thy's lost yowr owen guise
[From Percy Folio MS: Loose and Humorous Songs]
O Iolly Robin, hold thy hande!
O Iolly Robin, doe thy worst!
[From a manuscript of about 1605]
o quickely, o quickly, o quickly sweete boye a done
A song in Pills, V. 304-5, 1719, has words
attributed to Mr. Clossold, with a tune by John Wilford. It is
very similar to one later found as 'An Answer' for various songs
of seduction. [Version twice as long in Bodleian MS Eng. poet.
e.25]
Nay pish, nay pish, nay pish Sir, what ails you;
Another in Vol VI, p. 108, is entitled 'The Lascivious Lover and
the coy Lass.' This goes:
Pish fye, you're so rude Sir,
This Answer goes:
Nay pish, nay fy, nay out afont!
[Nay out upon't in faith I dare not do't
Your buttons scratch me, you crumple my band,
When you and I shall meet in place,
But now I see my wordes are but in vaine,
For another Nay Pish see card games file
[Late addition, c 1630-40, to Bannatyne MS, and maybe English]
"Go, sweet lynes, loue will not take them
"Tuch, tuch, wanton, I cannot byd your talking
"No, loue, yes lou're, what doethe that avayle yow [lover?
"O, sweet sir, I thinck yow meane to hearme me
he ane in hould close, "good sir yow prik me
"hout, hout, it is in, or els trust me never,
[Similar to that above and slightly
earlier.]
Enough, on let us proceed.
Druimionn Donn Deelis: The Dear Brown Cow. There is an old Irish
allegorical song "Druimionn Dhown" [Brown-backed Cow] in which
"Druimionn Down (Donn)" like "Granuaile' (Gr inne O'M ille =
Grace O'Malley), is Mother Ireland herself. The song as well as
the air are given in the first two references below.
"The faithful Druimionn Donn.", G. Petrie. The Ancient
Music of Ireland, I p. 115, 1855. With Gaelic and
translated verses. Petrie incorrectly gives "Druiminn dubh
deelish" as an alternative title.
"Drimin Dhown." Donal O'Sullivan. Songs of the
Irish, p. 143, 1960. With Gaelic and metrically translated
verses, and literal translation.
"Drium-fion donn dileas." Francis O'Neill's Music of
Ireland, Chicago, 1903, #605, #606. Settings closely
related to the two above.
"Druimfhionn Donn Dilis," The Roche Collection of
Traditional Irish Music, III, p. 21, [1927], reprint,
1982. Tune only.
"Drimin Donn Dilis." P. W. Joyce, Old Irish Folk Music and
Songs, 1909, p. 169-70, #370, tune only, but with
reference to another version of the tune that he had given
previously with the verses. This is the tune used by
Georges-Dennis Zimmerman, Irish Political Ballads and Rebel
Songs, 1760-1900, for "The Barrymore Tithe Victory."
Young Brown Cow: "Drimen Down Oge." [Young Brown Cow] [P.]
O'Farrell's Pocket Companion for the Irish or Union
Pipes. Vol. I, p. 127, c 1806. O'Neill changes the color
in Music of Ireland, #220, where this tune appears
as "The Young Black Cow."
Ho ro'n driman dubh ho ro ei la,
Ho ro'n driman dubh ho ro ei la,
Ho ro'n driman dubh ho ro ei la,
Andrimman dubh laothach's i roghe na spraidhe.
Same (Scots?) tune as that preceeding: Scots Musical
Museum, #179, p. 187. Setting for Robert Burns' "Musing on
the roaring ocean." Tune there from Patrick McDonald's A
Collection of Highland Vocal Airs, #89, n.d. [1784],
according to James Dick. Tune from latter reprinted by James
Dick, The Songs of Robert Burns, 1903, p. 31, with
notes on the tune at p. 362.
Text without music, Gordon MSS, Vol. 5, p. 1035, Library of
Congress Folklore Archive/ Helen Creighton, Maritime Folk
Songs, 1961/ Helen Creighton and Calum MacLeod,
Gaelic Songs in Nova Scotia, 1979/ Sing
Out, 1, 9 (Summer, 1959) [Not in recent collected reprints
from Sing Out]/ Leadbelly, Elektra EKL-301-2/ David Sear,
Folkways FA 2428/ Library of Congress field recording, AFS 8038A.
Recorded by Wayland Hand from Eamon O'Sullivan, Butte, Montana,
1945.The country-mans lamentation for the death of his cow.
A Country Swain of little wit one day,
Did kill his Cow because she went astray:
Whats that to I or you, she was his own,
But now the Ass for his Cow doth Moan:
Most piteously methinks he cries in Vain,
For now his Cow's from hunger free, and pain;
What ails the fool to make so great a stir,
She cannot come to him, he may to her.
To a pleasant Country Tune, called, Colly my Cow.
Little Tom Dogget, what dost thou mean,
To kill thy poor Colly, now she's so lean:
Sing , Oh poor Colly, Colly my Cow;
For Colly will give me now more milk now.
Pruh high, pruh hoe, Pruh high, pruh hoe,
Sing pruh, pruh, pruh, pruh, pruh, pruh,
Tal dal daw.
I had better have kept her, till fatter she had been,
For now I confess she was a little too lean:
Sing, Oh poor Colly, &c.
First in comes the Tanner, with his sword by his side;
And he bids me five Shillings, for my Cows hide:
Sing, Oh poor Colly, &c.
Then in comes the Tallow-chandler, whose brains were but shallow,
And he bids me two and Six-pence, for my Cows Tallow:
Sing, Oh poor Colly, Colly my Cow,
For Colly will give me no more milk now:
Pruh high, pruh hoe, pruh high, pru hoe,
Sing pruh, pruh, pruh, pruh, pruh, pruh,
Tal dal daw.
Then in comes the Huntsman, so early in the morn,
He bids me a Penny, for my Cows horn:
Sing, On poor Colly, Colly my Cow:
For Colly will give me no more milk now:
Pruh high, pruh hoe, pruh high, pruh hoe,
Sing pruh, pruh, pruh, pruh, pruh, pruh,
Tal dal daw.
Then in comes the Tripe woman, so fine and so neat,
She bid me three half-pence for my Cows feet:
Sing, Oh poor Colly, &c.
Then in comes the Butcher, a nimble-tong'd youth:
Who said she was Carrion, but he spoke not the truth:
Sing, Oh poor Colly, &c.
This Cow had a skin, as soft as the silk,
And three times a day, my Cow would give milk:
Sing, Oh poor Colly, &c.
She every year, a fine Calf did me bring,
Which fetcht me a pound, for it came in the Spring:
Sing, Oh poor Colly, &c.
But now I have kill'd her, I can't recall:
I will sell my poor Colly, Hide, Horns, and all:
Sing, Oh poor Colly, &c.
The Butcher shall have her, though he gives but a pound:
And he knows in his heart, that my Colly was sound:
Sing, Oh poor Colly, &c.
And when he has bought her, let him sell all together,
The flesh for to eat, and the hide for Leather.
Sing, Oh poor Colly, &c.
Some say i'm a Cuckold, but i'le swear I am none,
For how can it be, now my horns are gone.
Sing, Oh poor Colly, &c
FINIS
Printed for J. Hose, over-a-gainst Staples-Inn in Holbourn. [c
1675] The Girl I left behind me.
I'm lonesome since I cross'd the hills,
And o'er the moor that's sedgy;
With heavy thoughts my mind is fill'd,
Since I parted with my Naggy [early pencilled correction
When e'er I return to view the place, [ gives 'Peggy']
The tears doth fall and blind me,
When I think on the charming grace
Of the girl I left behind me.
The hours I remember well,
When next to see doth move me, ['see' can't be correct]
The burning flames my heart doth tell,
Since first she own'd she lov'd me:
In search of some one fair and gay, [rhyme lost
Several doth remind me;
I know my darling loves me well,
Tho' I left her behind me.
The beas shall lavish, mare no store [bees, languish, bear ?
And the dove become a ranger;
The falling water cease to roar,
Before I'll ever change her:
Each mortal promise faithful made, [rhyme lost
By her whose tears doth blind me;
And bless the hours I pass away,
With the girl I left behind me.
My mind her image still retains,
Whether asleep or waking;
I hope to see my dear again,
For her my heart is breaking:
But if e'er I chance to go that way,
And that she has not resign'd me;
I'll reconcile my mind and stay,
With the girl I left behind me.
Text from The Charms of Melody, n.d., Dublin,
issue #72. The one hundred four page issues of this work came out
approximately every 1.8 months, c 1795-1810. The text is from
#72, being approximately of 1805-6, and this appears to be the
oldest text yet found. However, in a songbook, The New Whim
of the Night, or the Town and Country Songster for 1799,
is a song "The Girls we love so dearly" 'Written by R. Rusted
Tune - The Girl I left behind me.' Rusted's song commences "Come,
messmates, fill the flowing can". This is the only reference to
the song or tune in the 18th century that I've found. The first
and third verses here are in Vance Randolph's Ozark
Folksongs, III, 'C' text, p. 354, from a manuscript and
without tune. Commodore Gale
Tune - Granny wale. [Granuaile]
Come boys, and before the old vessel unmoors,
Let's toss off a can to the doxies on shore;
'Tis pity to let the good liquor grow stale,
We'll knock round The Wash then, says Commodore Gale.
So mix it, and stir it, says Commodore Gale;
So mix it, and stir it, says Commodore Gale
'Tis pity to let the good liquor grow stale,
We'll knock round The Wash then, says Commodore Gale.
Confusion to watching and trudging the deck,
We can but at worst, have a damnable check;
Sit still then, and let all the officers rail;
We'll ride out the breeze, says Commodore Gale.
So drink and replentish, &c.
The liquor's not theirs, it is very well known,
We bought it, - and so - d--n, 'tis our own;
I'll bowze it about, till I spue like a whale;
Here's to peace, and their downfal, says Commodore Gale.
Drink, and replentish, &c.
If they were ashore, and to tip me their jaw,
My truncheon could soon make them stand in more awe,
I'd thresh 'em as farmers, do corn with a flail,
Till they cried out peccavi*, O Commodore Gale.
I'd thrash 'em and smack 'em, &c.
But thus while he swaggers, and blusters, and roars,
And brags of his bruising, and toasts all his wh--rs,
His noddle and stomach, begin both to fail,--
Here's go and turn in -- says old Commodore Gale.
Let's knock off and sleep, &c.
Then he staggered to bed, and top heavy with bub,
He piss'd in his hammock instead of the tub;
Then dreamt he was swampt, in a boat under sail,
And bale her, hoa! bale her, cries Commodore Gale.
Hoa! scoop her and bale her, &c.
Learn hence when you're drinking, ye bucks of the main,
To ne'er overballast your stomach or brain:
So with this good moral we'll stopper the tale,
And drink reformation to Commodore Gale.
Sing drink remember, &c.
* peccavi, - Latin: I have sinned, or, confession of guilt.
The song "Commodore Gale," which obviously isn't Irish, is
from a rare songbook without music, The Charms of
Chearfulness, London, 1781. "Granuaile" is symbolic name
for Ireland derived from the Gaelic spelling of the name of a
female Irish pirate of the last half of the 16th century, Grace
O'Malley. D. K. Wilgus in an article "The Aisling and the
Cowboy", Western Folklore, 44, pp. 275-6 (1985)
quotes a few other spellings of the title and gives a list of
several "Granuaile" songs, but the tune given here seems to be
the only one traceable to the 18th century.
And shake ther frail state of our human Form;
If Virtue the Base of our Pile sustain,
Affliction shall rage, and assault in vain.
GRNWALE2, from Henry Beck flute MS, 1786.Old Granny Wales
She put on her petticoat, apron and gown;
I've very bad new last night came to me,
They're wronging my children over the sea.
And strait up to Dublin it was her first stage;
As she was a riding up through Dublin street,
'Twas there my lord Conner she chanced to meet.
What is the best news you have from the west?
I've very bad news which makes me complain,
They're wronging my children that's over the main.
They'll bring us to slavery I am afraid,
There is my lord Granville and infamous Bute,
They've brought on this tea act that's now in
dispute.
She strait up to London it was her next stage,
As she was a riding up through London street,
'Twas there my lord Granville and Bute she did
meet.
Are you the ring leaders of this here tea act?
To enslave my sons that's in a foreign land,
You are the villains I do understand.
To enslave America we never intend;
But this land is our king's we do solemnly say,
And we will make laws for your sons to obey.
For it's very well known from the east to the
west,
They ventur'd their lives all over the flood,
And they purchas'd that land with the price of their
blood.
We'll tame your sons courage, we'll make them repent,
Our great ships of war and our men in the fie[l]d,
They'll tame tame your sons courage & make them to yield.
At Lexington battle they made your men run, [Apr. 19, 1775
They're men of experience in every degree,
And they'll turn your great ships with their helms alee.
To yield to your slavery they highly it scorn,
They're men of experience in every respect,
And they scorn to be held down now by your tea act.
The battle we fought on yon Bunker's hill, [June 17, 1775
Where nine hundred Britons lay dead on he ground,
And five hundred more since have died of their wounds.
Although it was bloody the battle we won;
And then you had Waren, but now he is dead,
And you have no Warren your armies to head.
But we have a Washington our armies to head;
He'll handle your troops as polite as you please,
And pay them trouble for crossing the seas.
But now do you think of the armies we have,
We'll send over Cornwallis, our Bixly and Graves,
And your sons shall submit or we'll make them all slaves.
My sons they will never submit to your laws,
They ventur'd their lives all over the flood,
And they purchas'd that land with the price of their blood.
To hold to your slavery they highly it scorn,
They're men of experience in every degree,
And they'll turn your great ships with their helms alee.
You'll repent of your crimes when it is too late,
An when we have whip'd you and sent your troops home,
My sons shall be free and make laws of their own.
The fox in the trap is caught by the tail;
We've men of experience that never will fail,
Here's success to the sons of old granny Wales.
.................................... Langolee
Ye Ladies attend to your juvenile poet,
Whose labours are always devoted to ye,
Whose ambition it is, and most of you know it,
To charm all your hearts, with his Langolee.
Langolee! what sweet vowels compose it,
It is the delight of each fair maid that knows it
And she that does not, may with rapture suppose it,
That Irish shillalee, call'd Langolee.
The loss of our eminent Handel's lamented,
Yet in this opinion all ladies agree,
That his solos, concertos, and all he invented,
Could ne'er charm their senses like Langolee.
Langolee, oh! Handel resign it,
The contest is vain, you had better decline it;
For musical ladies thus chose to define it,
The gamut of music is Langolee.
Ye languishing beauties, with asthma disorder'd,
If from the consumption you'd wish to be free,
My sweet pretty patients, take this that is order'd,
The pectoral essence, call'd Langolee.
Langolee makes a noble decoction,
'Tis a nice three-square root of true Irish extraction;
Dear Ladies pray always take for your protection
That Irish physician, call'd Langolee.
This elixir, this wonderful physic,
Cure female disorders of every degree;
The young of green-sickness, the old of the phthisic,
And makes them alert, and as brisk as a bee.
Langolee! to prevent imposition,
You'll get it of none but an Irish physician,
Made up un triangular pills for emission
That Hibernian coltsfoot, call'd Langolee.
The song here is from The Festival of Anacreon,
London: L. Halland, Seventh Edition, 1789. A second 'Seventh
Edition,' without date was published by George Peacock, c 1791,
with a few additional songs. The publisher's names here and the
edition numbers are undoubtably fake. The 'Halland' edition is
probably the second. The actual publisher was undoubtably Wm.
Holland, whose name appears on the frontispieces of both parts of
the 'Peacock' edition. A book by Holland, containing several of
the same songs as in The Festival of Anacreon, and
in the same type and style, will be noted below. Langolee, II
[Dublin, Merry Muses]
Adapted to females of every degree;
How soverign its virtues, balsamic its fruit;
I hope you'll believe when you hear it from me.
Langolee is the Irish name of it;
Great in the nation already the fame of it;
Make but one trial and quickly you'll see,
There's nothing comparing with Langolee.
The lads and lassies of every town,
Dance 'round the Maypole, for Maypole's the thing,
Expressive of Lango's high fame and renown.
Langolee, wonderful medicine,
Sensitive plant and beggar's best benison;
How happy the island productive of thee
Thou root of all roots, thou Langolee.
Hysterics, or what you call it, from me,
Restorative Lango, a medicine you will find,
'Twill enliven your spirits most wondrously.
Lanmgolee, sweet is the juice of it;
Grently compress it, and gently make use of it.
In city or country, wherever it be,
The sweets are the same of the Langolee.
If from declensions you'd wish to be free,
Ye dear little gentles pray take what I order,
The Hibernian colt's foot call'd Langolee.
Langolee to prevent imposition,
You'll get it from none but the Irish physician;
Made up in triangular pills for admission;The Amors of the Gods
[by Capt. Morris, Cf. "The Kettlebender."]
For love of that nymph ventur'd over the sea,
When he turn'd on his back, she caught hold, in a fright,
On his horn (as she thought) but 'twas Langolee.
The closer she stuck to it - much bolder her spirits grew,
She wish'd that the voyage might continue a month or two;
So safe it appear'd, and indeed 'twas so pleasant to,
Riding astride of Langolee.
And with wings of delight veil'd his favourite she!
On stroking his neck, which she scarcely span,
It quickly became a sweet Langolee:
Langolee, with a root that was feather'd well,
Bold and erect, forc'd into her mossy cell-
First billing - then cooing, at last dropping down it fell,
She sighing, cried - encore - sweet Langolee.
And abundantly shower'd his gold as a fee;
But her melting mind on the bags was more bent,
That hung at the root of his Langolee -
Oh then she sigh'd with looks that spoke soft content
And vow'd from her soul, that such joys she ne'er
underwent;
Take the gold - free I give it - since pleasure like this is
sent,
Too much I can't spend upon Langolee.
And for running so fast was turn'd into a tree;
If instead of his lyre, he had shewn her a rod,
That's known by the name of a Langolee;
From such a temptation Miss Daphne had never fled,
He'd have melted the bosom of that frozen-hearted maid,
Had his honours been plac'd round his tail, and not round his
head,
She'd have branch'd from the root of his Langolee.
When attacking the nymph who sprang from the sea -
He laid by his buckler, his shield, and well-temper'd blade,
And thought himself arm'd with his Langolee:
He open'd his trenches, platoon'd as a soldier should,
Flew to her breast-works, and there made his lodgement
good,
First standing - then stooping - at length on his knees he
woo'd,
And enter'd the fortress with Langolee.
Sweetly sung of celestials, on land and by sea,
Told what fondness all felt for the lust-melting friction,
And virtue inherent of Langolee.
O! that stately machine, I swear by the might of Jove,
When richly replete with the lewd lucious juicce of love,
Each goddess below feels sensations like those above,
From the full stroke electric of Langolee. The Kettlebender.
[This song appears with music in The Muses Delight,
Liverpool, 1754. The tune was later given without the song in J.
Oswald's Caledonian Pocket Companion. NTI lsits an
earlier copy of the tune. One might wonder if
Oswald himself didn't compose the tune. Another song containing
the allusions to Europa, Leda, and Danae, and substituting
"Langolee" for the "Kettlebender" is Captain Morris's "The Amours
of the Gods," appended here to "Langolee."]
All you who are fair or witty,
Come and listen to my ditty;
My muse shall sing if you'll attend her,
That same thing call'd the Kettlebender
O rare Kettlebender O rare Kettle-Kettle-bender.
The Ladies take it all their hands in
That it's the universal medicine
For old or young or weak or tender,
All find ease by the Kettlebender
O rare Kettlebender, &c.
Nay some, who matters fain would gloss over,
Say 'tis the stone of great philosopher;
For hardest hearts it soft will render,
Transmitted by the Kettlebender.
O rare Kettlebender, &c.
Pray what d'ye think made Portsmouth's dutchess, [Louise
Who, or fame lies, a nonsuch was, [ Keroualle, mistress
Stick so close to the Faith's Defender? [of Charles II
What, but the love for his Kettlebender.
O rare Kettlebender, &c.
I'm sure if you have learn'd but any ways,
You must have read of Madam Danae,
That bolts nor bars cou'd e'er defend her,
Or keep her safe from Kettlebender.
O rare Kettlebender, &c.
Europa's ease you've heard, I'm satisfy'd,
How, fearless, on the bull she sat astride;
Nor waves, nor rocks, her flight could hinder,
She stuck so close to the Kettlebender.
O rare Kettlebender, &c.
It went so hard too with poor Leda,
Who was afraid to die a maid-a,
That to a swan she did surrender,
Rather than want a Kettlebender,
O rare Kettlebender, &c.
I must name Proserpine to you too,
Who ravish'd was, they say, by Pluto;
Was she so?-- the devil mend her,
She went to hell for the Kettlebender
O rare Kettlebender, &c.
Play: S1, KTLBNDR, from Muses DelightPortsmouth's Return to a new Scotch Tune
[Bodleian MS
Rawl. 159. 1682. See Roxburghe Ballads, IV, p. 278]
without tune indication in BL MS Harl. 6914, and Victoria and
Albert Museum MS D.25.F.37.
Our Morarch's whore from France is come
Since Vandom's Bugg'ring Tarse
Has fallen foul on Crequy's Bum,
Instead of Portsmouth's Arse
So great affront would make one run
From such a wicked place
Where Arse has had such honour done
And C--- in such disgrace
Now she's return'd bright as the Sun
So sparkish & so fair
And brought great Charles a butter'd Bun
A present from Navarr:
She had not gone, but to contrive
New fashions for the Court;
Both how to Dress, and how to Swive,
And to improve that Sport
Buckley obligingly has brought
Both for herself, and Friends,
New swinging Dildoes, richly wrought
With Satin & Velvet ends:
With Furling water, to draw't up streight,
And Rowels to heighten delights
New-fashion'd Springs, to Scour her Twat
From slimy sperm, & whites.
Now Nelly you must be content [Nelly- Nell Gwin]
Her grace begins her Reign
For all your Brat, you may be sent
To Dorset back again
Your Hagged Carcase yeilds no delight,
As Grafton of late has said [Duke of Grafton]
Nor Jennings, nor betraying Knight
Can bring you to Charles's Bed
Portsmouth has play'd so damn'd a trick
Mazarine is sore distrest [French Dutchess of Mazarine]
She's taken to herself his P----
Bought Dildoes for the rest
But Stallion Pilty swears by C--
He'l F--- with all his might
For to avenge the great affront
And set his Dutchess right
Tune unknown Patrick O'Neal.
Ye sons of Hibernia, who sung on dry land,
Round your smoaking turf fires, and whiskey in hand,
Drink kaid-milk, full rough, and ne'er think of the boys,
Who are fighting your battles thru' tempest and noise,
Attend to my ditty -- 'tis true, I declare,
Such swimming and sinking would make you all stare;
For stortns, squibs, and crackers, have sing'd my tail,
Since the press-gang laid hold on poor Patrick O'Neal.
From Kilkenny to Dublin, to see Lawrence Tool,
My mother's third cousin, who oft' had wrote down,
And begg'd I'd come to see how he flourish'd in town;
But I scarce had set foot in this terrible place,
'Ere I met with a sharper who swore to my face;
He beckon'd a press-gang that came without fail,
And neck and heels dragg'd off poor Patrick O'Neal.
(For they thought me a sailor run off in disguise)
But a terrible blunder they made with their strife,
For I'd ne'er seen a ship, or the sea in my life;
And away to a tender they bade me to steer,
But of tenderness devil a morsel was there;
O! [I] roar'd and I curs'd, tho' it did not avail'
Then down in the cellar cram'd Patrick O'Neal.
'Twas half-starv'd and sea-sick the rest of the way;
Not a mile-stone I saw, nor a house, nor a bed,
'Twas all water and sky 'till we came to Spithead;
Then they call'd up all hands --- hands and feet soon obey'd,
O [I] wish'd myself home cutting turf with a spade;
For the first thing I saw made my courage to fail,
Was a great floating castle for Patrick O'Neal.
With a large row of teeth stuck fast to her side,
They put out the boat, and they told me to keep
Fast hold with my trotters for fear I should slip--
I let go with my hands to stick fast by my toes,
The ship gave a roll and away my head goes,
I plung'd in the water and dash'd like a whale,
'Till with boat-hooks they fish up poor Patrick O'Neal.
To this huge wooden world full of riot and din;
Such ropes, and such pullies, such sighs [sights] met my eye,
And so large were the sheets that they hung up to dry:
And I thought it was Noah's ark, stuff'd full of queer
guests,
Hogs, pedlars, geese, sailor, and all other beasts--
Some drinking bladders of gin, some drank pitchers of ale,
And they sung, curs'd, and laughed at poor Patrick O'Neal.
When the boatswain's shrill pipe made all hands appear,
Up the ropes like monkies they singing did swear,
Then like gibbets and rope-dancers swung in the air;
They clapt sticks in a capstan, (as I afterwards found)
The chap sat and fif'd as they turned him around;
The ship run her anchor, spread her wings, and set sail,
With a freight of live lumber, and Patrick O'Neal.
Where they live under water like so many fish;
I was put in a mess with some more of the crew,
And, it being banyan-day, they gave me burgue:
For a bed they'd a sack, hung high as my chin,
They call'd it a hammock, and bade me get in,
I lay hold, took a leap, but my footing being frail,
It swang me clean over!___ poor Patrick O'Neal.
The day broke my rest in a terrible fright;
'Up hammocks, down chests,' was cry'd from all parts,
'There's a French ship in sight!' -- up and down went my
heart!
To a gun I was station'd, they cry'd with an oath,
To pull off his breeches, unmuzzle his mouth!
They took off the apron that cover'd his tail,
And the leading-strings gave to Patrick O'Neal.
And we run out our bull dogs of true English breed:
The Captain cry'd England and Ireland, my boys,'
When he mention'd old Ireland my heart made a noise!
Our sweet little guns did the Frenchman defy,
We clapt fire on his back and bade him let fly;
His voice made me leay [?], tho' I'd hold by his tail,
The beast then flew bock [sic] and threw Patrick O'Neal.
'Till the Frenchmen gave up what they thought a bad job;
Then to tie him behind a long cord they did bring,
And we led him along, like a pig in [sic] a string!
So home to Old England we led the French boy,
O the sight of the land made me sea-sick with joy;
They made a new peace when the war was too stale,
And set all hands adrift, and poor Patrick O'Neal.
Nor cat-head, nor cat-block, nor boatswain's cat fear;
While there's shot in the locker I'll sing and be bound,
That Saturday night shall last all the year round:
But should peace grow too sleep [?], and war come again,
By the piper of Leinster I'd venture again---
Returning I'll bring you, good folks a fresh tale,
'Till you'll cry, 'till you laugh at poor Patrick O'Neal.
Of an old worshipful gentleman, had a wealthy estate,
That kept an old house at a bountiful rate,
And an old Porter to relieve poor people at his gate,
Like and old courtier of the Queen's,
And the Queen's old courtier.
Who every quarter paid his old servants their wages,
Who never knew what belonged to coachman, footman, nor pages,
But kept two and fifty men in blew caps and badges.
Like an old courtier, &c.
And an old parson, you may know him by his looks;
And an old butt'ry-hatch worn quite off the old hooks,
And an old kitchin that maintain'd half a doxen old cooks.
Like an old courtier, &c.
And old blades and bucklers, had borne many shrowd blows,
With an old freezadoe coat to cover his trunck hose,
With an old cup of sherry to comfort his old nose.
Like an old courtier, &c.
To call in all his old neighbours with a bagpipe or a drum,
And good cheer enough to furnish out every old room,
And beer and ale would make a cat to speak, and a wise man
dumb.
Like an old courtier, &c.
That never hauked nor hunted but in his grand-father's old
grounds,
Who like a wise man kept himself in his own old bounds,
And when he died gave each child a thousand old pounds.
Like an old courtier, &c.
With an old will to charge him to keep the same bountiful
minde,
To be good to his old tenants, and to his old neighbours
kinde,
But in the next ditty you shall hear how he was inclin'de.
Like a new courtier of the King's,
And the King's new courtier.
Who keeps a brace of painted creatures at his own command,
And can take up readily a thousand pounds on his bond,
And drink in a new tavern, till he can neither go nor stand,
Like a new courtier, &c.
Who never knew what belong'd to house-keeping nor care,
But purchas'd seven colour'd fans to play the wanton ayr,
And seventeen new dressings of other women's hair,
Like a new, &c.
With a new Chaplin, that drinks oftener than he prays,
With a new butt'ry-hatch opens once in five or six days,
With a new French cook to devise cickshaws and toys,
For the new, &c.
Hung round with new pictures, does the poore little good,
With a new shouel-board whereon never stood food,
With 22 fair chimnies never burnt coals nor wood.
For the new, &c.
Upon a new journey they must all to London be gon,
And leave none to keep house in the country, but their new man
John,
Who relieves all his neighbours with a great thump on the back
with a cold stone,
For the new, &c.
With a new coachman, and two footmen to carry the meat,
With a new waiting geltlewoman whose dressing is very neat,
Who when he lady hath dined gives her fellow very little
meat,
Like a new, &c.
For which most of his father's mannors were all sold,
And that's one cause housekeeping is grown so cold,
Yet this is the new course most of our new gallants hold.
Like new courtiers of the King's, and the King's new
courtiers.
And for the last I could wish never a word were true,
With these rude lines which I dedicate to you,
And these rude verses I present to your view.
By the poor courtier of the King's, and the King's poor
courtier.
[nominally Hudson's, 1821,
but I neglected to copy his text. In the interim here's that
given by Ebsworth, 1876. (It's also in Henderson's
Victorian Street Ballads, p. 114, 1938, with an
additional verse.) But did Hudson make only alterations? I found
in my notes reference to a song, "Moderation and Alteration" in
'New Songs. The Fashionable Songster', 1801. This commences
"Here's an old song made by a good ancient pate/ Of a worthy old
gentleman who had a good estate".]
Of a fine old English gentleman, who had an old estate,
And who kept up his old mansion, at a bountiful old rate;
With a good old porter to relieve the poor at his gate.
Like a fine old English gentleman, all of the olden time.
And swords, and good old bucklers, that had stood against old
foes;
'Twas there "his worship" held his state in doublet and trunk
hose,
And quaff'd his cup of good old sack, to warm his good old
nose:
Like a fine old English gentleman, &c.
And though three-score and ten his years, he featly led the
ball;
Nor was the houseless wanderer e'er driven from his hall,
For, while he feasted all the great, he ne'er forgot the
small:
Like a fine old English gentleman, &c.
And autumn's falling leaves proclaim'd, the old man - he must
die!
He laid him down right tranquilly, gave up life's latest
sigh;
While a heavy stillness reign'd around, and tears dimm'd every
eye.
For this good old English gentlman &c.
Or theatres and fancy balls, "At home," and masquerade;
And much more economical, when all the bills are paid:
Then leave your new vagaries off, and take up the old trade
Of a fine old English gentleman, &c.
Of a real old Irish gentleman who had a fine estate,
Whose mansion it was made of mud, with thatch and all complete,
With a hole at the top thro' which the smoke graceful did
retrate;
Hurrah for the Irish gentleman, the boy of the oulden time.
Except an ould shillelah, which had knocked down many a foe,
And there ould Barney sits at ease without a shoe or hose,
And quaffs his noggin of poteen to warm his big red nose,
Like a fine ould Irishman, the boy of the oulden time.
And tho' he'd seen a few score years, he still was young when
there,
And while the rich they feasted him, he still among the poor
Would sing, and dance, and hurl, and fight, and make the spaleens
roar,
Like a real ould Irish gentleman, the boy of the oulden time.
And one thaat kilt him, 'cause he could'nt -- overget the
shock;
They laid him out so beautiful, and then set up a groan,
Och! Barney darlint, jewel, dear-- why did ye die? och hone!
Then they waked the Irish gentleman, the boy of the oulden
time.
Yet Irish hearts, of oulden time, were just as at this day.
Each Irish boy he took a pride to prove himself a man--
To serve a friend, and bate a foe, it always was the plan
Of a raal ould Irish gentleman, the boy of the oulden time.
S1, IRGNTMN, Fine Ould Irish Gentleman OUTWARD BOUND
To old St. Catherine's now adieu,
Likewise to Peggy, Kate, and Sue,
And Polly of Wapping Sound;
Our anchor's weigh'd, the sails unfurl'd,
And now to plough the watr'y world,
Yeo Yea, we're outward bound.
Our anchor's weigh'd, &c.
The gale blows fresh, the wind North-East,
Six knots an hour we scud at least
Huzza! the shores resound;
Our thund'ring guns again reply,
And salutations rend the sky,
Yeo Yea, we're outward bound.
Mayhap, e're far we chance to go,
Some rich galleon we'll take in tow,
And such are to be found;
Why, then each man will touch his chink,
And, damme [damn me] lads, like fishes drink,
Yeo Yea, we're outward bound.
And should we touch at Malabar,
Or veer to foreign parts [ports?] afar,
We ne'er shall lack a pound;
Our purser will our wants supply,
And while we've grog, we ne'er shall die,
Yeo Yea, we're outward bound.
Old England we shall see again,
Ne'er fear, my hearts, and sailors, then
The girls will flock around;
And we, like tars, their charms will clench,
And freely board each smiling wench,
Yeo yea, we're homeward bound.
Song in The London Songster; Or Musical Boquet.
London: Printed for W. Lane, Leaden-hall. n.d. [c 1795], p. 28,
no author, music, or tune direction.Pretty Peggy of Derby, O.
There was a regiment of Irish Dragoons,
And they were (all quartered in) Derby, O. [all marching to]
The Captain fell in love
with a pretty chamber-maid,
And her name it was called pretty Peggy, O.
Oh! come down the stairs pretty (Peggy, my dear,) [Peggy, O]
Oh, come down the stairs pretty Peggy O,
O come down the stairs
and comb back my hair
And take the last farewell of your darling O.
I tell you now as I told you before
And for what should you teaze me any more
What will your Mammy think
when she hears (the Guineas clink), [you are sick]
And the hautboys are playing before you go.
A soldier's Wife I never will be,
And a soldier shall never lay in bed with me,
For I will make him stand
with his hat in his hand
When he stands in the presence of my company.
Then spoke his brother, a stout young man,
A valiant soldier as [any O] [incomplete, from version below
Saying, if she'll not go,
we shall have sweethearts anew
When we come to the Town of killarny O. [no cap.]
When we come to the water that runs so clear
That joins the town of Killarney O,
The Captain did sigh and (say), [said]
We are many miles away,
Here's a health to the pretty Girl of Derby O.
When they did come to the last town,
The town they call Killarny O,
His name was Captain Wade,
& he died for a maid
And he died for the pretty girl of Derby O.
Here is a later broadside copy where Kilkenny replaces Killarney
Pretty Peggy of
Derby, O The Dandy-O
Tho' late, as a waiter, I ran up and down,
With bottles, glasses, Claret, Rum and Brandy-O;
Now an officer I'm made, I'll have servants of my own
And be among the ladies quite the dandy-o.
My cravat sticks out like a pigeon's breast,
My hat so smart, my sword so long so handy-o;
Like a sheep's tail at each ear my hair's completely drest,
And crops I'm sure you'll own are quite the dandy-o.
At concerts and dances the ladies I'll court,
With words and looks as sweet as sugar-candy-o;
And then with fighting duels by the lord I'll have rare sport
And then who but I shall be the dandy-o.
And when from abroad I return, as I design,
With Jacob here to take a nip of brandy-o,
And who knows but in time he'll hang me up for his sign,
Then Caleb, boy, I think you'll be the dandy-o.
I presume that Jacob and Caleb mentioned in the song are
characters in a play in which the song appeared. Brandy O
A Landlady of France, she lov'd an officer 'tis said
And this officer he dearly loved her Brandy, oh!
Sighed she,"I love this officer, although his nose is red,
And his legs are what his regiment call bandy, oh!"
How she tore her lovely locks that look'd so sandy, oh!
"Adieu, my soul;," says she, "if you write pray pay the post;
But, before we part, let's take a drop of brandy, oh!"
And another for herself, so neat and handy, oh!
So they kept their spirits up, by their pouring spirits down,
For love is like a cholic, cured with brandy, oh!
In your tent you know, my love, 'twill be the dandy, oh!"
"You're right," says he, "my life! for a tent is very damp;
And 'tis better, with my tent, to take some brandy, oh!"
The earliest appearance of the tune is in Skillern's Country
Dances for 1782, but I don't have a copy of that one.
S1, PEGDRBY2, from Aird, 1788
S1, PEGDRBY3, from Brysson, 1791
S1, PEGDRBY4, "Eveleen's Bower," from Stevenson/ Moore,
1807/8
S1, PEGDRBY5, "Dandy, O", from O'Farrell's Pocket
Companion
S1, PEGDRBY6, 'Kelly's' tune, from Songs in Foundling of
Forest
S1, PEGDRBY7, Riley's Flute Melodies
O there was a regiment of Irish dragoons,
And they were marching through Derby, O.
The Captain fell in love
With a young chamber-maid,
And her name it was called pretty Peggy, O.
This verse is quite similar to the first verse of the songster
text. Lyle's rewritten six verse text is roughly parallel to the
songster text after deletion of the fourth verse of the latter.
Lyle's rewritten version, however, has the regiment going to
Kilkenny, rather than Killarney. Lyle also wrote a new song for
the tune, given in the work cited, and printed earlier with
music. Lyle's song was "The Bonnie Blue Forget-Me-Not,"
which had been given in R. A. Smith's The Irish
Minstrel, n.d. [1825, the original, supposedly suppressed,
edition]. The title of the tune is there given as "The Maid of
Derby." While Lyle's text "Pretty Peg of Derby" is worthless as a
traditional song, we can be certain that "Pretty Peggy of Derby"
was sung in Scotland in the first quarter of the 19th century
with a text very similar to that in the songster. [Incongrously,
Lyle's text rather than a chapbook or broadside copy appears Roy
Palmer's recent Everyman's Book of Ballads.]
And they were all quartered at Derby, O!
And they fell in love__'
Pretty Peggy.
It was down by the banks of the Ivy O--
It was down by the banks of the Ivy O--
Our Captain fell in love with a lady like a dove,
And they called her name Pretty Peggy 'O.
"Now will you marry me Pretty Peggy 'O;
In a carriage you shall ride, like a lady in her pride,
With the hautboys playing before you 'O."
"My mother won't consent noble Captain 'O;
She never would consent, and I always should repent,
If I should ever disobey my mammy 'O."
"What would your mother say, Pretty Peggy 'O--
What would your mother think, if she heard the guineas chink,
And the hautboys playing before you 'O?"
Out spake his brother John so angry 'O,
Saying "this will never do, there are ladies enou',
And many pretty girls on the Ivy 'O"
Came tripping down the stair Pretty Peggy 'O--
Came tripping down the stair, combing out her yellow hair,
For to take a last farewell of her deary 'O.
The troops were marching from Ivy 'O.
Our Captain he fell sick, and his pulse it beat so quick,
And 'twas all the love of Pretty Peggy 'O.
The very next town they marched through,
The drums they beat so gloomy 'O;
Our noble Captain died, nr left his like alive,
And 'twas all for the love of Pretty Peggy 'O.
The news soon reached the Ivy 'O;
The mother did relent and the brother did repent,
For it soon put and end to Pretty Peggy 'O.
Play S1, PRTYPEG The Pearl of the Irish Nation
Hard was my lot for to be shot
All] by Cupid's cunning arrow
Thus] both Night and Day I fall away
It's] thro' perfect grief and sorrow
Thro'] the Hills and Dales I often reveal [?]
I sigh] and breaths forth my Lamentations:
The] which I endure for that virgin pure
She's] the pearl of the Irish Nation
Now] alace my poor heart is wounded
There's] no way I find to ease my mind
For] by Cupid I am surrounded
[obviously a line is missing here]
Great] and sad is my grief & vexation
--]and all for the sake of that Beautiful maid
She's] the pearl of the Irish Nation
of beautiful charming creatures
with red rosie cheeks & Rubie lips
and likewise comely features
Yet there is none abroad or at home
in Country town or plantation
that can compare with that maiden fai[r
the pearl of the Irish Nation
but spend my time in weeping
I sigh, I groan I sit and moan
while others lies by me weeping
To some longsom place I'll go for a space
there I'll make my habitation
since I cannot gain that beautiful [dame
the pearl of the Irish Nation
and makes all my moan for the Lilly
perhaps it is so but the cause of my w[oe
I]s for the rose that Grows in the valley
It's] rare to be seen like Venus the Queen
Fo]r modest virtue and patience
M]y hearts is link'd to that Beautiful pink
Th]e pearl of the Irish Nation
Bu]t only that charming creature
With] cheeks like the Rose that sweetly grows
The]r by the banks of the Cedar[?]
Her] name to Declare this time I forbear
Th]o' my heart is fill'd with vexation
T]hough you may suppose she's called ye rose
Th]e pearl of the Irish Nation
A]nd send to my dearest Jewel
Thus] let her know a part of my woe
An]d if she chance to prove cruel
Then] a pilgrim I'll go thro frost & thro snow
I']ll forsake my former station
Sin]ce I cannot gain that Beautiful Dame
Th]e pearl of the Irish Nation
I'll often times cross the wide ocean
Since sorrow and pain thro' her Disdain
happened to be my fortune
If hunger and cold should on me take ho[ld
and cause me to die in this station
the woods shall not ring nor hear me to [sing
of the pearl of the Irish Nation
some part of the wits of ovid
with a willing heart to what I inten[-- 'impart'?
it should freely be Disclosed
My Name I'll rehearse and there piti[--
and to make a Declaration
for I vow and I swear my heart is c[aught here?
by the pearl of the Irish Nation
and T is the teacher of strang[ers] [PATRICK KELLY
[R, I] and C is Numbers three
And] K is the is the Keeper of Chambers
K shall be King when E cannot reign
Double] L must ly by in its station
Y shall be young when it is New sung
sh]e's the pearl of the Irish Nation
I']d have the same perused
If] I have said ought out of the way
Pr]ay let my fault be excused
An] answer pray send to what I have pe[nned
since I have made a Declaration
Fo]r I vow and I swear my heart is insnar'd
By] the pearl of the Irish NationThe Modest Maid Reply
Th]en Reply'd this this [sic] Beautiful Bride
He]r answer was with Discretion
M]y parents they say they'll turn me away
If] I join with your profession
Out of this land as I understand
they'll send me where I'll se [sic] no man [there
if that I attemp [sic] without their conse[nt
to marry a man that is a Roman.
this Day with me for to marry,
there is gold and land at your Command
therfor no longer tarry
for let your friends say what they wi[ll
I am not obliged to no man
I will prove faithful to you still
altho I be a Roman
is it for my religion
You are ungratfull if you do so
hold me in such Derision
if all the grecian gold were mine
on you I would bestow it
then for your heart to me resign
befor your parents know it
with you I'll freely marry
I will no longer be afraid
Therfor let us not tarry
I know my parents wish me slight
A]nd say I will be ruled by no man
turn me quite out of there [sic] sight
For] marrying a man thats a Roman The Rakes of Mallow.
Beauing, belling, dancing, singing,
Breaking windows, damning, sinking,
Ever raking, never thinking,
Live the Rakes of Mallow.
Spending faster than it comes,
Beating Bawds and Whores and Duns,
Bacchus' true begotten sons,
Live the Rakes of Mallow.
One time nought but claret drinking,
Then like politicians thinking,
To raise the sinking-fund when sinking,
Live the Rakes of Mallow.
One time flush of money store,
Then as any poet poor,
Kissing Queens, and then a W--re,
Live the Rakes of Mallow.
When at home with dada dying,
Still for Mallow waters crying,
But when there, good claret plying,
Live the Rakes of Mallow.
Living short, but merry lives,
Going where the D---l drives,
Keeping Misses, but no Wives,
Live the Rakes of Mallow.
Racking tenants, stewards teizing,
Swiftly spending, slowly raising,
Wishing to spend all our days, in
Raking thus at Mallow.
Thus to end a raking life,
We grow sober, take a Wife,
Ever after live in strife,
Wish again for Mallow.
Although widely known, the widely known version of this song
is usually somewhat expurgated. The song with tune was printed
about 1740 as a single sheet issue, copies of which are in the
British Library and the Bodleian Library, Oxford. Other copies of
the song are in The Charmer, 3rd. ed., p. 277,
Edinburgh, 1765, and it is possibly in the two earlier editions,
1749 and 1751, which I have not seen. The song is also in the 4th
ed. I, p. 277, 1782, in The Charms of Melody,
Dublin, 1776, and in the Encyclopedia of Comic
Songs, London, 1819. In the first of the preceding it is
given as four double length stanzas. A copy of the 1740's, given
as eight four-line verses is in NLS MS 6299. An expurgated copy
of the song was given by T. Crofton Crocker in Popular
Songs of Ireland, 1839, with the tune cited for it as
"Sandy lent the man his mull." That tune direction is circular,
since the first verse and chorus of the latter are in David
Herd's MS, c 1776, (reprinted by Hecht, Songs from David
Herd's Manuscripts, 1904) with the tune direction "The
Rakes of Mallow." The Rakes of Stony Batter [Bob and Joan]
Come all you roving blades, that ramble through the City,
Kissing pretty Maids, listen to my ditty,
Out time is coming on, when we will be merry,
Kitty, Poll, and Nan, will give us Sack and Sherry.
Hey for Bobbin Joan, Hey for Stoney Batter,
Keep your Wife at home or else I will be at her.
There's Bridget, Peg, and Nell, with Nancy, Doll, & Susan,
To please their sweethearts well, sometimes will go a boozing,
But when their cash is gone, they'll hunt for a Cully,
And bring their splinters home, to their beloved Bully.
Hey for Bobbin Joan, Hey for Stony Batter, etc.
In Summer Lasses go, to the Fields a Maying,
Thro' the Meadows gay, with their Sweethearts playing,
Their smiling winning ways, shewe for game their willing,
Tho' Jenny cries nay, I won't F--k for a shilling.
Hey for Bobbin Joan, Hey for Stony Batter, etc.
Go you cunning Knave, no more of coax nor wheedle,
By those Buttons in my Sleve, I'll prick you with my needle,
What will you still be bold, Mammy call to this Man,
For shame my hands don't hold, I vow my breath is just gone.
Hey for Bobbin Joan, Hey for Stony Batter, etc.
There's Joan a buxom Lass, met with lusty Johnny,
They went to take a glass, he call'd her dear and honey,
She said you silly Clown, take me round the middle,
Play me Bobbin Joan, or else I'll break your fiddle.
Hey for Bobbin Joan, Hey for Stony Batter, etc.
He gently laid her down, and he pull'd out his scraper,
He play'd her such a tune, which made her fart and caper;
She said my dearest John, your such a Jolly rover,
My cloak and gown I'll pawn, that you should n'er give over.
Hey for Bobbin Joan, Hey for Stony Batter, etc.
Come let us take a roam, up to Stony Batter,
Keep your Wife at home, for humpers will be at her,
Hey for cakes and ale, Hey for pretty misses,
That will never fail, for to crown our wishes.
Hey for Bobbin Joan, Hey for Stony Batter,
Keep your Wife at home or else I'll stop her water,
Is your apples ripe, are they fit for plucking,
Is your maid within, ready for the F--king.
This spirited Irish ditty, set in the Stony Batter quarter of
Dublin, is in the Roxburghe collection in the British Library,
and the Madden collection at Cambridge. The latter copy is
reprinted in Holloway and Black's, Later English Broadside
Ballads, p. 223, 1975. The date is very uncertain, the
Roxburghe collection copy is probably slightly earlier than
1775.The Way to Come over a Maid
If you'd get over a maid,
Tickle and amuse her;
Anything she asks,
Mind you ne'er refuse her.
Walk her out each day,
O'er the fields romantic;
Roll her in the hay,
With many a lustful antic.
Tol de rol, &c.
First her bubbies feel,
To raise her hot desire;
Next just feel her thigh,
Than a little higher!
If whe won't wince at that,
Put Bob in her grasp then;
And depend when it she feels,
She'll take a precious rasping!
Tol de rol, &c.
If she simpers "oh!"
Embrace her, then caress her;
Disrobe her form below,
Entwine round her and press her!
Soon you'll find her yield,
For her lusts gets stronger;
One more close embrace,
And she's a maid no longer!
Tol de rol, &c.
But if a widow you'd kiss,
You must be much bolder;
For as they've sipt the bliss,
They don't feel much the colder!
If you'd seduce a maid,
You must swear, and sigh, and flatter,
But if you'd win a widow,
You must down with your breeches and at her!
Tol de rol, &c.
Play: S1, BOBJOAN1, from Riley's Flute Melodies Skew Ball
[From The Vocal Library, London: John Souter, 1818.
The song is without music or tune direction.]
I will sing you a song in praise of Skew Ball;
And how he came over, you shall understand,
It was by Squire Mervin, the pearl of the land.
And of his late actions as you've heard before,
He was lately challang'd by one Sir Ralph Gore,
For five hundred pounds, on the plains of Kildare,
To run with Miss Sportly, that famous grey mare.
Unto his kind master said -- Don't be afraid;
For if on my side you thousands lay would,
I would rig on your castle a fine mass of gold!
The day being come, and the cattle walk'd forth,
The people came flocking from East, South, and North,
For to view all the sporters, as I do declare,
And venture their money all on the grey mare.
Come, gentlemen, all that have money to lay;
And you that have hundreds I will lay you all,
For I'll venture thousands on famous Skew Ball.
Squire Mervin then smiling, unto them did say,
Come gentleman sportsmen, to morrow's the day,
Spurs, horses, and saddles and bridles prepare,
For you must away to the plains of Kildare.
Squire Mervin order'd his rider to mount,
And all the spectators to clear the way,
The time being come not one moment delay.
The cattle being mounted away they did fly,
Skew Ball like an arrow pass'd Miss Sportly by;
The people went up to see them go round,
They said in their hearts they ne'er touch'd the ground.
Squire Mervin to his rider began his discourse;
O! loving kind rider, come tell unto me,
How far at the moment Miss Sportly's from thee;
O! loving kind master, you bear a great style,
The grey mare's behind you a long English mile,
If the saddle maintains me, I'll warrant you there,
You ne'er shall be beat on the plains of Kildare.
But as they were running by the distant chair,
The gentlemen cry'd out -- Skew Ball never fear,
Altho' in this country thou was't ne'er seen before,
Thou has beaten Miss Sportly, and broke Sir Ralph Gore. Teague's Ramble
Dear Catholick sister thou son of great M[ars
I've been at the fighting where there was no w[ars
no guns or no swords, but a great deal of arm[s
to kill our poor friends that wou'd do us no ha[rms
and Gallop't to Chester in a Damnable has[te
but the seas blow'd a storm, & the winds they did roll
which cast me away on the shore by my shoul
Dear sister pray hear my poor sorrowful tale
My] horse standing still, She threw me in the dirt
I] doubed all my flesh & sore bruised my shirt
And] on my ten toes I tript over the main
The]re taking a nap for six days on the ground
In th]ree I arrived in fair London Town
The] Crowd was so thick they stood staring at me
Not] one word did thee speak but made damnable game
And] my feet were worn out & my Brogues grown so thin
--]e for hide peark & enquire for the shew [Hyde Park
By] my shoul Cry'd the people but nothing did say
The] army is here tho the Camp's march'd away
So] shuting my eyes, I perceiv'd Charing Cross
The]re a man sat on horse back upon a cold stone
Wi]th thousands about him good fait all alone
I ask'd him the way to, I do not know what pl[aces
but he was so Brazen, he wou'd not come do[wn
Nor shew me the way for an Irish half Cro[wn
Quite tired to death, with the Damnable C[?]h[--
at last to hide Park good fait I did Com[--
by the beat of a Trumpet & Sound of a Dru[m
With their left wing in the front & their right in the [rear
and horse men on foot in an open Defence
broke open their files with a brave allie[nce?
when the Conel cry'd march, present they gave [fire
Without powder or Ball such a noise the[y] did mak[e
as made the earth tremble & Clouds for to quake
I went to the Baker to Buy me some Bee[r
and having no trust I payd Chink for my Ch[--
I took Hakney Coach & away I did walk
I] took me a place in the flying stage coach
So] long we did Roll on the watery main
At la]st we arrived at Salisbury plain
I ho]ld for a pint to drive Gladness away
But] ever I cou'd drink it, I heard a great noise
'Twas] nothing at all but Hallo my boys
All] coming behind us just going before
And] all keeping silence the[y] loudly did sing
They] keept on their hats for to honour the King
I'm] still and went out to the midst of the street
The]re the Bishop of Salisbury he did rehearse
A p]iece of good Latine in old English verse
Bu]t it was a fine one altho meanly dres'd
The]n out came the Clergy in a black scarlet Gown
To] kiss the King's hand for the sake of the Crown
There was good rost beef & Backon & best of spic'd bun
There was Baskets of Claret & white wine was spread
on Tables for firemen to eat when they're dead
as did not disturb my poor shoul in the le[ast
but if ever I go to see London again
The Devil may be after taking Teague for his pain
and horses made fast for Greeting of win[--
By my shoul I admired their wisdom & pride
With Sword on their shoulders & Guns by their side
S1, TEGRMBL2, Nell of Connaught, Oswald's CPC, c 1760
S1, TEGRMBL3, Irish lady, from Dancing MasterThe Catholic Brother
Dear Catholic brother are you now come from the Wars,
So lame of your foots and your Face full of Scars;
To see your poor Shela who with great grief was fill'd,
For you my dear Joy when I think you were kill'd.
With a Fa la, la.
O my shoul my dear Shela, I'm glad you see me,
For if I were dead now, I could not see thee;
The Cuts in my Body, and the Scars in my Face,
I got them in Fighting for her Majesty's Grace.
But oh my dear Shela dost thou now love me,
So well as you did, e're I went to the Sea;
By Cri-- and St. Pa-- my dear Joy I do,
And we shall be Married to morrow Just now.
I'll make a Cabin for my dearest to keep off the Cold,
And I have a Guinea of yellow red Gold;
To make Three halves of it I think will be best,
Give Two to my Shela and the Tird to the Priest.
Old Philemy my Father was full Fourscore Years old,
And tho' he be dead he'll be glad to be told;
That we Two are Married, my dear spare no cost,
But send him some Letter, upon the last Post.
The tune is in C. M. Simpson's The British Broadside Ballad
and Its Music, 1966, and in the Stanford-Petrie collection
as "Poor Catholic Brother". The Lock that scatters Oonagh's P---.,
[or Una's Lock, or, Darby's Key to Una's Lock.]
'Twas on a sweet morning,
When violets were a-springing, O
The dew the meadows adorning,
The larks melodious singing, O
The rose-trees, by each breeze,
Weregently wafted up and down,
And the primrose, that there grows,
Bespangled nature's verdant gown.
The purling rill, the murmuring stream,
Stole gently through the lofty grove:
Such were the hours when Darby stole
Out to meet his barefoot love.
Sweet Una was the tightest,
Genteelest of the village dames;
Her eyes they were the brightest
That e'er set youthful heart in flames.
Her lover, to move her,
By every art in vain essayed;
In ditty, for pitty,
This lovely maid he often prayed;
But she, perverse, his suit denied.
Sly Darby being enrag'd at this,
Resolved, when they next met, to seize
The lock that scatters Una's piss.
Beneath a lofty old oak
she sat with cow and milking pail,
Her lily hand at each stroke,
sweetly flowing stream of milk doth steal;
With peeping, and creeping,
Sly Darby now comes on apace,
In raptures the youth sees,
the blooming beauties of her face;
Fir'd with her charms, he now resolves
no longer to delay his bliss,
But instantly to seize upon -
the lock that scatters Oonagh's p---.
With his arms he seiz'd her,
then prest her to his panting breast,
What now could have appeas'd her,
but oaths which Darby meant in jest.
He swore, he'd adore, and
to death would constant to her prove,
He'd wed her, he'd bed her,
and none on earth but her he'd love;
With vows like these he won her o'er
to think for what was not amiss,
To let sly Darby seize upon -
the lock that scatters Oonagh's p---.
Upon her back he laid her,
turn'd up her smock so lilly white,
His joy to meet he prey'd her,
then gaz'd with wonder and delight!
Her T--s were, as snow fair,
and just between a crack:
With lips red, and o'er-spread
with curled moss of jetty black.
Transported Darby now beholds,
just glowing in the feast of bliss,
The Lock he long had wished to seize -
and that which scatters Oonagh's p---.
His p---e stood erected,
his breeches down about his heels,
And what he long expected,
he now with boundless rapture feels:
Now enter'd, concenter'd,
the lovely maid lay in a trance,
His a--- goes, like elbows
of fiddlers in a country-dance:
With broken sighs, the fair one cries,
oh! I'd part with life for joy like this!
With showers of sperm they jointly oil'd -
the lock that scatters Oonagh's p---.
[From Merry Muses, 'Dublin', 1825, via my reprint of
it. 1st verse as 1st above, song continues:]
Beneath a lofty old oak
She sat, with cow and milking pail;
From lily hands, at each stroke
In flowing streams the milk doth steal.
With peeping and creeping,
Sly Darby now comes on a pace,
In raptures, the youth sees,
The blooming beauty of her face
Fir'd with her charms, he now resolves
No longer to delay his bliss,
But instantly to catch the lock
That scatters pretty Una's piss.
Within his arms he seiz'd her,
And press'd her to his panting breast;
What more could have appeas'd her,
But oaths which Darby meant in jest;
He swore he'd adore her,
And to her ever constant prove;
He'd wed her, he'd bed her,
And none on earth but her he'd love.
With vows like these he won her o'er,
And hop'd she'd take it not amiss,
If he'd presume to catch the lock
That scatters pretty Una's piss.
Upon her back he laid her,
Turn'd up her smock, so lily white;
With joy the youth surveyed her,
Then gaz'd with wonder and delight.
Her thighs were as snow fair,
And just between appeared a crack;
The lips were red, and overspread
With curly hairs of jetty black.
Transported, Darby now beholds
The sum of all his promis'd bliss,
And instantly he catch'd the lock
That scatters pretty Una's piss.
His ----- stood erect,
His breeches down about his heels;
And what he long expected,
He now with boundless rapture feels.
The beauteous maid lay in a trance;
His ---- goes like elbows
Now enter'd, now concenter'd,
Of fiddlers in a country dance.
The melting Una, now she cries,
I'd part with life for joys like this;
With show'rs of bliss they jointly oil'd
The lock that scatters Una's piss.
The tune here is that in The Scots Musical
Museum, #447, a setting for Robert Burns' "Sae flaxen were
her ringlets," and there called 'An Irish Air.' Burn's knew the
tune as "Oonagh's waterfall." Thomas Moore used the tune, under
the title "Oonagh," in 1810 for his song commencing "While gazing
on the moon's light," the fourth song in the third issue of
A Selection of Irish Melodies.
1: "The Cumberland Reel or Una's Lock," in Longman and
Broderick's Second Selection of Country Dances, p. 5 (c
1791). This is given as "Miss Gibson's (or the Cumberland) Reel,"
in Gow's Complete Repository, Book 2, p. 31
[1802].
2: "Downey's Lock," or "The Lock Downey Pissed Through," in Gale
Huntington's edition of a manuscript of c 1800-04, William
Litten's Fiddle Tunes, p. 13, 1977.The Young Man's Dream.
[From NLS MS 6299, f. 86v. Anglo-Irish song]
down by a murmering river side
whose lovely banks were clad with [daisies
and the streams did gently glide
spreading branches were display'd
-]lill interwoven in due order
--] soon became a pleasant shade
--]lull'd with slumber sweet ease
I thought I saw my lovely Susan
thro' the green and the blooming [?]hades
H]ow my goddes walked along
a]ttended by each killing Charmer
W]hilst the fair one sweetly sang
U]nto Adonice my sweet Joy
Y]e Gods and Goddesses pray ye guide me
-]not that dear and that Darling boy
--]eare while that I may hear
--]sweet adonice be a loving
--] the groves or the valleys near
which made the valleys to echo round
which wack'd the early lark and linnet
which might engage a monarchs Crown
with a melting and Blushing air
and by her countenance seem'd to fear [me]
and soon repented that she came there
whilest my Charmer swowned away
and in my armes I straight convey'd h[er
to the Arbor where I lay
why will uou kill me I am undone
why will you smother a harmless maid
prey let me go for I must be gone
I carressed the sobbing dame
and in the midst of all this blisses
I woke and found it to be Dream
S1, YNGMNDM2, (Young Man's Dream), SMM #146
S1, YNGMND3, "Young Man's Dream" from Hime's New
Selection...Irish Airs, noted below.
S1, LNDNDRY, [A Londonderry Air- Danny Boy tune] Petrie's
Ancient Music of Ireland, 1855.
S1, LNDNDRY2, A. G. Glichrist's revised 'Londonderry Air",
JEFDSS I, 1934
Go bhfuilim deacrach le fada dho mho/r-ghra/dh i bpe/in.
Tabhair gealladh dhom, a ainmir dheas na geoca/n re/idh,
No/ go bra/th ar a' mbaile seo ni bheicfear me/?"
Go dta/inic chugan-sa an ainmir dheas ba stuama ar bith
me/in.
Ge/ gur leanas chun a' bhealaigh i ar a bonn go ge/ar,
Is ro/-eagal liom gur theastaigh uaim mo chu/ilfhionn fe/in.
No/ an annsacht na n-annsacht thug gra/dh dhuit fe/in?
Ma/ ba annsa, 'si an annsacht gan fa/th dhuit e',
'S go bhfuil an annsacht le b'annsa thu/ cra'idhte i bpe/in.
A mbionn na caol-choin ar le/igint a racha 'do dhiadh,
An me'id-se faoi t'e/acach nach bhfaca mise riamh
Ma/ fhe/adam-sa, beidh 'fhe/achaint go gairid aige Liam!"
Ar no/s ar bith, dar ndomhnach, mara graillidh me' mo chiall.
Punainn eorna san fhoghmar nior cheangal me/ ariamh,
Sa' gabha/il na mo/na ni/ h-eol domh, no/ capaill do thriall."
Re/alt a' tsoluis ba shocraighe is ba che/illidhe, dar liom.
Nunir a ghabha si/ a brollach mar an aoil ar a cuim,
Nach bocht m'obair-se is me/ ag moladh mo che/ad gra/dh uaim?
Da/ gcastaidhe dhom ar bealach thu/ no/ gaghail thri/
shliabh.
Ach o/ chrapuigh siad fada a geo/tai/ 'niar,
Beannacht leat, is gainimh i ngad a/r nglo/rthai 'riamh!"
Here's O'Sullivan's translated version:
"Fair maid, I would vow, if you would believe me,
That I am long oppressed and in pain for great love of you.
Give me your promise, pretty girl of the smooth ringlets,
Or I shall never be seen in this town again!"
I dreamed a little dream in my slumber last night,
That there came toward me the prettiest demurest maid.
Though I followed her to the roadway, close on her footsteps,
I greatly fear that I lost my darling.
"Beloved, which would you rather- the world's love,
Or the love-of-all-loves who is in love with you?
If the world's love, such were a love without reason
And the beloved who loves you most is sick and sorry.
Lovely lady, whom I honour at morn before God,
* * * *
That which is hidden and which I have not yet seen ever,
If I have my will, Liam will soon behold it!"
"I will not marry the young man whose name is Liam
On any condition, I swear it, unless I lose my senses.
I never yet bound a sheaf of barley in harvest,
And I know not how to walk the bog, or drive horses."
Well could I praise her if she would sleep one night with me,
Most constant star of light, and most wise, as I ween.
* * * (?)
Sorry my task, praising my dearest love, and losing her!
I would pledge myself to you, pretty girl of the golden tresses,
If I met you on the roadway or crossing the mountains.
* * * (?)
So fare you well, and as a withy binds sand did our vows bind us
ever!
JFSS II (#6), 1905. Song collected in Apr. 1904.
A Cornish young man he dreamed a dream
Of the beautif'llest girl in the nation;
No counsel will he make, but some journeys he'll take
Through England to seek this fair creation.
"I never didn't saw you, but once in my life
And that was a dream, love, lie by me;
But now I've found you, with tears in my eyes
So I hope, love, you'll never deny me.
"What is your desire, I ask you, kind sir,
That you are afraid of denial?
Although you are poor, no scorn I'll endure,
So put me not under trial."
"No scorns wil I offer, nor any such thing
"I'll give you a kiss, love, as a token;
So take you up this ring and this guinea in gold
And between us never let it be broken.
For love, is, my dear, like a stone in the sling
And it's hard to believe all that's spoken:
So take you up this ring and this guinea in gold
And between us never let it be broken.
For sometimes related tunes see also "Ned of the Hill"
Play S1, CORNMANThe Maiden's Dream.
[From BL MS Egerton 2725]
No creature with me but my maidenhead,
And as I lay alone as maidens cannot choose.
And as I dreamed, I thought it much wrong
So fair a maid should lie alone so long.
Methought one wooed me, and methought he sped.
Methought we married were, and went to bed.
He turned to me, and my lips he parted.
He kissed me sweetly, saying, 'Be kindhearted,'
And so got up,; with that for fear I quaked.
Trembling I lay, cried out, and so waked.
Oh! 'Twould have vext a saint! My blood did burn
To be so near, and miss so sweet a turn.The Damsels Dream: Or, Her Sorrowful Lamentation for her most
unhappy Disappointment.
[Printed by Brooksby, Deacon, Blare
and Back, 1689-95] To the tune of "I often for my Jenny strove."
[Ebsworth, Roxburghe Ballads, VIIII cxl*, gave
version from Constant Nancy's Garland, c 1745, as
well as the earlier poem version from an unspecified MS.]
I once lay sleeping on my Bed
in a most joyfull Criasie,
No Creature but my Maidenhead
all night to bear me company:
There I dream't of Golden Pleasures,
which did most delightfull seam;
My Friends believe me, it did grieve me,
When I found it but a Dream.
She lay all naked in her bed.
Broadside expansion of song in NLS MS Adv. 19.3.4, f. 25v.
Ten verses of four lines. This seems to be of c 1652-4. Four
verses of eight lines in BL MS 22582, apparently of c 1620-25.
The song is substantially the same, but in five verses of eight
lines, in Wit and Drollery, 1656, and Merry
Drollery, 1661 (reprinted in J. S. Farmer's Merry
Songs and Ballads, I, p. 116). Text here is from the
broadside ballad, apparently unique, Wood E 25, #88. This adds
five new verses. Printed by F. Coles, T. Vere, and J. Wright,
1665-74. Not entered until 1675. Loves Fancy, Or, The Young-mans Dream.
Being a Cavest for all Young men and Maids.
To make Hay in Sun-shine and often in shades,
For Maiden-heads ripe, like corn in their prime,
Ungathered, will shed after Harvest-time.
To a pleasant new Tune, or Hay-makers march.
She lay naked in her Bed
and I my self lay by,
No Veil nor Curtain there was spread
no Covering but I;
Her Hair upon both shoulders streak,
to bear on carelesse wise;
And full of blushes were her cheeks
her wishes were her eyes.
The blood still flushing in her face,
as on a Message came,
To shew that in some other place
it meant some other Game.
Her neather lip most plump and fair,
millions of kises crown,
Which ripe and uncropt dangle there,
And weigh the branches down [missing line supplied.]
Her golden hair of Cupids wire, [not in original
had caught my heart in snare;
Like Phaebus in her best attire
adorn'd her body fair;
Had I then seen the Marygold,
seal'd up by drowsy night,
At her bright beams I would unfold,
my stalk would stand upright.
Her pretty dimple in her chin; [not in original
where Cupid sleeping lay,
As if it had Loves valley been,
for to repose the Boy:
Her Lilly Neck to Pearl more white,
rich Carkenets desie, [?]
As if it did my Armes invite,
[line shorn off at bot. of 2nd col.]
The Rivolet between her breasts, [not in original
Heavens Nectar did distil,
Where Venus Doves do build their Nests
and do each other bill.
I took it for the Milky Way
that leads unto all bliss,
But that the Muses well, some say,
below it placed is.
Her Breasts that were full swell'd and high
bred pleasant pain in me,
For all the world I did defie
to that Felicity;
Her thighs and belly soft and plump,
to me was only shown,
T'ave seen such meat and not to eat
would have anger'd any stone.
Her knees lay ope and gently bent
and all lay hollow under,
As if on easie terms they meant,
if toucht to fall asunder,
Just so the Cyprian Queen did stay,
expecting in her Bower,
Which so long time had kept the Boy
beyond his promised hour.
Thus in a trance long time I stood, [not in original
cantin'd to her desi[r]e
Loves Feaver kindled in my blood,
which from her eyes took fire:
Just so the Phaenix when she dies
wrapt in her Spicy bed,
Her self with her own ashes lyes
by which her young ones bred.
Then streight I was resolv'd to try, [not in original
the power of my Love,
A second thought gets victory,
and doth my reason move;
Thus as I stood 'twixt hope and fear,
not knowing what to do,
As if in Cupid's Net I were,
thus she began to wooe.
Dull Clown, quoth she, dost thou delay
this profer'd bliss to taste,
Can't thou finde out some other way,
simulitudes to make;
Mad with delight I thundered in,
and threw my Arms about her.
But when I wake'd it was but a dream,
and so I lay without her.
But when I wake'd it was but a dream,
and so I lay without her.
Play: She lay all naked in her bed, BM4.HTM, B425 Shawnbee.
As Damon stray'd through yonder grove,
In pensive mood a musing,
He there beheld the queen of love,
Her favourite theme perusing;
Her breasts they swell'd with heaving sighs,
And deep oppress'd as can be;
And ever and anon she cries,
I die to taste of Shawnbee.
'Oft Chloe with her darling swain
Retreats to shady bowers,
There quenching love's fierce raging pain,
With bliss beguiles her hours;
And Slvia too does joys possess,
And pleasure great as can be;
For Strephon does her passion bless,
And has her will of Shawnbee.
'O Cupid! god of pleasing love,
And so thou art, befriend me,
O kindly now my prayer approve,
And to my aid now send me
Some sprightly youth that's made to charm
A maiden warm as can be,
With rapture every sense alarm,
And let me taste of Shawnbee.
He personated then the boy,
And faith sincere presented,
But with excess of swelling joy,
Upon the ground she fainted;
Resolved to yield, what would betide,
Her legs were wide as can be;
Then Damon slipp'd between the stride,
And let her taste of Shawnbee.
With eager grasp each other press'd,
Their melting souls dissolving;
Whilst twining th--s the hams embraced,
In circling folds revolving --
With closer squeeze she murmuring cries,
'Push further, if it can be;'
Then sighing deep again she dies --
Such pleasure is in Shawnbee.
The song here is from Encyclopedia of Comic
Songs, London, 1819. The tune is one of the two cited for
singing Captain Morris's bawdy song "The Great Plenipotentiary"
in The Festival of Anacreon, 1789, Songs of
Captain Morris, 1793, and reprinted from a late edition of
The Merry Muses of Caledonia by Ferguson, Barke and
Goodsir Smith in their edition, New York, 1964. "The terrible
Law" cited as the other tune for Morris's song, is very similar
to "Shawnbuye" an was possibly considered by Morris as the same
tune. It is from the first line of a song in the ballad opera
Flora, 1729, where the tune is given and named "She
got Money by the Bargain." With the same title this tune is given
identically in The Lover his own Rival, 1736.
S1, SHAMBUY2, Pot Stick, Kidson
S1, SHAMBUY3, the Jockey, Dancing Master
She got money by the bargain B424
S1, SHAMBUY5, She got money by the bargain, Songs in
Flora's OperaThe Plenipotentiary.
Air - The terrible Law, or Shawnbue.
A Messenger sent to our Court, Sir,
As he knew in our State that women had weight,
He chuse one well hung for good sport, Sir.
He search'd the Divan, till he found out a man,
Whose b---s were heavy and hairy,
And he lately came o'er from the Barbary shore
As the Great Plenipotentiary.
He shew'd it his hostess at landing,
Who spread its renown thro' all parts of the town,
As a pintle past all understanding:
So much there was said of its snout and its head,
That they called it the great Janissary;
Not a lady could sleep till she got a sly peep
At the Great Plenipotentiary.
And star'd as if stretch'd on a tenter;
He drew every eye of the dames that pass'd by,
Like the sun to its wonderful centre:
As he pass'd thro' the town, not a window was down,
And the maids hurry'd out to the area;
The children cried, "Lock, there's the man with the Cock,
That's the Great Plenipotentiary."
Such squinting and squeezing to view him:
What envy and spleen in the women were seen,
All happy and pleas'd to get to him.
They vow'd from their hearts, if men of such parts
Were found on the coast of Barbary,
'Tis a shame not to bring a whole guard for the King,
Like the Great Plenipotentiary.
To take him in turns like good folks, Sir;
The young misses' plan was to catch as catch can,
And all were resolv'd on a stroke, Sir:
The cards to invite flew by thousands each night,
With bribes to the old Secretary,
And the famous Eclipse was not lett for more leaps
Than the Great Plenipotentiary.
And their blood hurry'd up in their faces:
He made them all itch, from the nave to the breech,
And their bubbies burst out of their laces:
There was such damn'd work to be f---d by the Turk,
That nothing their passions could vary:
All the nation fell sick for the Tripoli p---
Of the Great Plenipotentiary.
With fumbling and f--ging all night, Sir;
Being first for the prize, was so pleas'd with its size,
That she begg'd to examine it plight, Sir:
Good God! cries her Grace, its head's like a mace,
'Tis as high as the Corsican Fairy;
I'll make up, please the pigs, for dry bods and f--gs,
With the Great Plenipotentiary.
Came a virgin far gone in the wane, Sir,
She resolv'd for to try, tho' her c--- was so dry,
That she knew it must split like a cane, Sir:
True it was as she spoke, it gave way at each stroke!
But oh! what a woeful quandary!
With one terrible thrust, her whole piss-bladder burst
On the Great Plenipotentiary
With a c--- that would swallow a turtle,
She had horn'd the dull brows of her worshipful spouse,
Till they sprouted like Venus' myrtle.
Thro' thick and thro' thin, bowel deep he dashed in,
Till her cunt frothed like cream in a dairy,
And express by loud farts she was strain'd in all parts
By the Great Plenipotentiary.
Was a delicate maiden of honour:
She scream'd at the sight of his p---, in a fright,
Tho' she'd had the whole palace upon her:
Christ Jesus! she said, what a p--- for a maid!
Do, pray, come look at it Cary!
But I will have one drive, if I'm ripped up alive,
By the Great Plenipotentiary.
(Two ladies of very high breeding);
Resolv'd one should try, while the other stood by,
And assist in the bloody proceeding:
Peg swore by the Gods, that the Mussulman's c--s
Were as big as both buttocks of Mary!
Pol cri'd with a grunt, "He has ruined my c--t,
With his Great Plenipotentiary."
Who had swallow'd huge p--- from each nation,
With over much use she had broke up the sluice
'Twixt her c--t and its lower relation.
He had stuck her so full, that she roar'd like a bull,
Crying out she was bursting and weary,
So tight was she stuck by this wonderful f--k
Of the Great Plenipotentiary.
Even babbies would languish and linger,
And the boarding-school Miss, as she sat down to piss,
Drew a Turk on the floor with her finger.
For fanci'd delight, now they clubb'd for a shite,
To f--g in the school necessary!
And the Teachers from France fucked a la distance
With the Great Plenipotentiary.
Till her premises gap'd like a grave, Sir,
Hop'd luck was so thick, she could feel the Turk's p---,
As' all others were lost in her cave, Sir:
The nymphs of the stage his fine parts did engage;
Made him free of their gay seminary;
And the gentle Signors open'd all their back-doors
To the Great Plenipotentiary.
The Turk was most blest of mankind, Sir;
For his powerful dart went up home to the heart,
Whether stuck in before or behind, Sir:
But no pencil can draw this huge three-tail'd Bashaw,
Then let each c--t loving contemporary,
As cocks of the game, let's drink to the name
Of the Great Plenipotentiary.
Tho' lanky and scraggy in figure,
She was fond of the quid, for she had been well rid
From Washington down to a nigger.
On my! such a size! I guess its's first prize,
It's a wonder, quite next Ni-a-gary;
W-a-ll, now I'm in luck, strange, let's fuck,
Bully for the great Plenipotentiary.The True Englishman.
To the tune of Shawnbree, in The Humours of London,
n.d. (c 1770) [This seems to immitate "Larry Grogan", qv.]
Ye Rakehells so jolly, Who hate melancholy
And love a full flask and a doxy;
Who ne'er from love's feats, Like a coward retreats,
Afraid that the harlot should pox you;
While we live till we die, to the Shakespeare let's fly,
When we shall find both in great plenty;
With the juice of the wine, Our senses refine,
And drink till the hogshead is empty.
Here Tompkins, more liquor; Zounds man! bring it quicker;
Champaigne, by all true topers courted;
Without these damn'd tricks, French brandy to mix,
But genuine neat as transported:
While thus cherry merry, Let Harris and Derry
With faces uncommon supply us;
Poll French, and Bet Weemyms, And such batter'd old brims,
Ye pimps, let them never come nigh us.
Now each joyous fellow, while thus we are mellow,
And the fumes of the grape does inspire,
While that's to be had, Let's be damnably mad,
And sling all our wigs in the fire;
Break bottles and and glasses, Bilk landlord and lasses,
What rascal our humour dare hinder?
If any presume to come into the room,
We'll throw the dog out at the window.
Like Quixote of old, As we have been told,
Let's sally in search of adventures;
Mother Dowglass we'll rout, Kick her bullies about,
And knock down the watch if he enters.
Drink and whore all our lives, Lie with other men's wives,
Debauch ev'ry damsel we hit on;
Swear and curse, and tell lies, Our religion despise,
And this is the life of a Briton.
Go to Index The Night Before Larry Was Stretched
The night before Larry was stretched,
The boys they all paid him a visit;
And bit in their sacks, too, they fetched,
They sweated their dads till they riz it:
For Larry was always the lad,
When a friend was condemned to the squeezer,
But he'd fence all the togs that he had
To help a poor friend to the sneezer.
And moisten his gab 'fore he died.
I'm sorry, now, Larry, says I,
To see you in this situation;
'Pon my conscience, my lad, I don't lie,
I'd rather it had been my own station!
Och hone! it's all over says he.
For the neckcloth I'm forced to put on,
And by the this time tomorrow you'll see
Your Larry will be dead as mutton
Bekays why, my dear, my courage was good.
The boys they came crowding in fast,
They drew all their stools around him;
Six glims round his trap-case were placed,
He couldn't be well waked without them!
I axed if he was fit for to die,
Without having duly repented?
Says Larry, that's all in my eye,
It's only what gownsmen invented
To get a fat bit for themselves.
The cards being called for they played,
Till Larry found one of them cheated;
He made a smart stroke at his head,
(The boy being easily heated,)
Oh, by the holy, you teef,
I'll skuttle your nob with my daddle;
You cheat me because I'm in grief,
But soon I'll demolish your noddle
And leave you your claret to drink.
Then in came the priest with his book,
He spoke him so smooth and so civil;
Larry tipped him a Kilmainham look,
And pitched his wig to the devil;
Then stooping a little his head,
To get a sweat drop of the bottle,
And, pitiful sighing, he said,
Oh, he hemp will be soon round my throttle,
And choke my poor windpipe to death.
So moving these last words he spoke,
We all vented our tears in a shower;
For my part, I thought my heart broke,
To see him cut down like a flower.
On his travels we watched him next day,
Oh, the hangman, I thought I could kill him;
Not one word poor Larry did say,
Nor changed till he came to King William,
Then, my dear, his colour turned white.
When he came to the nubbing chit,
He was tucked up, so neat and so pretty;
The rumbler jogged off from his feet,
And he died with his face to the city!
He kicked, too, but that was all pride,
For soon you might see 'twas all over;
Soon after the noose was untied,
And at darkee we waked him in clover,
And sent him to take a ground sweat.
The song seems to have first appeared with music in Walker's
Hibernian Magazine in 1787. It is also is in The Festival
of Anacreon, 7th ed., (Part 2) p. 177, 1789 (and a later
undated edition of 1790 or 1791), with tune direction "To the
hundreds of Drury I write." [The publishers imprints and edition
numbers of the very few issues of this work are fictitious. This
'7th' edition is probably actually the 2nd. The c 1790-91 edition
is also styled the '7th' edition, but is probably the 3rd, which
contains some new songs not in the earlier '7th' edition. The
true publisher is found to be William Holland, by noting the
frontispiece of the 1789 edition, and comparison with Paddy
Whack's Bottle Companion, 1791, which has the same
typography and many of the same songs.] The song bears no
attribution in Festival but is attributed to a
'Curren' in The Universal Songster, II, 140, 1828.
[probably J. Philpot Curran, or possibly J. W. Curren.]
S1, NTLRYST2, Walker's Hibernain Magazine, 1787
S1, NTLRYST3, The night before Larry.., O'Neill's Music of
Ire.
[Translated from the Irish.]
(Lady Morgan.)
Ah! who is that whose thrilling tones
Still put my tranquil sleep astray;
More plaintive than the wood-dove's moans,
And send my airy dreams away?
'Tis I! 'tis Edmund of the hills,
Who puts thy tranquil sleep astray,
Whose plaintive song of sorrow thrills,
And sends thy airy dreams away.
Here, nightly, through the long, long year,
My heart, with many a love-pang wrung,
Beneath thy casement, ever dear,
My sorrow and thy charms I've sung;
Thine eye is like the moon's soft ray,
Tinted with the evening's faded blue;
Its first glance stole my heart away,
And gave its every wish to you.
Like a soft gloomy cloud thine hair,
Tinged with the setting sun's warm rays,
And lightly o'er thy forehead fair
In many a spiry ringlet plays.
O, come, then, rich in all thy charms,
For Eva I'm as rich in love,
And, panting, in my circling arms,
I'll bear thee to old Thuar's grove.
There are two traditional tunes with short texts of "Eamon a
Chnuic" (Ned of the Hill) in JFSS VI (#25), 1921. In a footnote,
p. 284: 'As several of the variants of "Eamonn na Chnuic" are
distinctly like the latter [The Young Man's Dream"] (notably
Stanford- Petrie #1150)), one supposes that the "Young Man's
Dream" may have told the same story as this Somerset song
(Cornish song "A Cornish young man had a dream"-JFSS ii, p. 53,
above). See Moffat's copious notes on "'Tis the last rose of
Summer" in 'Minstrelsy of Ireland'.'A Sup of Good Whiskey
Patrick Galvin on a phono-record 'A Sup of Good Whiskey', Offbeat
Records, OLP 4022 (Riverside reissue?), sang the title song to
"The Irish Washerwoman", and it fits well (almost). This song is
that rarity, a good bacchanalian. The song and its original tune
are apparently of 1795 (Walker's Hibernian Magazine), but I don't
have that. Song and tune are also in 'The Yorkshire Musical
Miscellany', p. 219, Halifax, 1800 (not copied). Galvin's tune is
apparently not the original one for the song. A late text without
tune is in 'The Universal Songster', II, p. 254, 1826, and that
version is given below.
The tune below, which takes its title from the burden, seems to
me to bear some resemblance to "The Irish Washerwoman" ("The
washwoman", Henry Mountain, Dublin, c 1785-B. Breathnach. The
descriptive tag 'Irish' was quickly taken to be part of the
title).
A sup of good whiskey will make you glad;
Too much of the creature will set you mad; [craythur
If you take it in reason 'twill make you wise
If you drink to excess it will close your eyes;
Yet father and mother,
And sister and brother,
They all take a sup in their turn.
Some preachers will tell you, to drink is bad;
I think so too - if there's none to be had:
The swaddler will bid you drink none at all
But, while I can geet it, a fig for them all;
Both layman and brother,
In spite of this pother,
Will all take a sup in their turn.
Some doctors will tell you 'twill hurt your health,
And Justice will say 'twill reduce your wealth;
Physicians and lawyers both do agree,
When your money's all gone, they can get no fee;
Yet surgeon and doctor,
And lawyer and proctor,
Will all take a sup in their turn.
If a soldier is drunk on his duty found,
He to the three-legged horse is bound,
In the face of his regiment obliged to strip;
But a noggin will soften the nine-tailed whip!
For serjeant and drummer,
And likewise his honour,
Will all take a sup in their turn.
The Turks who arrived from the Porte Sublime.
All told us that drinking was held a great crime;
Yet, after their dinner, away they slunk,
And tippled their wine till they got quite drunk:
The sultan and Crommet,
And even Mahomet,
They all take a sup in their turn.
The Quakers will bid you from drink abstain,
By yea and nay, 'tis a fault in the vain,
Yet some of the broad-brims wil get to the stuff,
And tipple away till they've tippled enough;
For Stiff-rump and Steady,
And Soloman's lady,
Will all take a sup in their turn.
The Germans do say they can drink the most,
The French and Italians also do boast;
Hibernia's the country (for all their noise)
For generous drinking and hearty boys;
There each jovial fellow
Will drink till he's mellow,
And take off his glass in his turn
Play: S1.ABC, SUPGDWSK, IRWSHWMNLarry O'Gaff
Unfortunately I've only the begining of the
song from a broadside in Lucy Broadwood's collection. Other
copies listed in Harvard's Catalogue of English and
American Chapbooks -- . Probably not as good as the great
Canadian epic, "Squaring up time on the squid-jigging ground".
[L. Shepard, 'John Pitts', p. 136, notes a Pitts copy pt'd.
1819-44. Addendum: One verse, with tune, is in Mary Eddy's 'Songs
and Ballads of Ohio', entitled "We Fought Like the Devil".]
I'm told it's there I was born Derry's /Monaghan Fair
[One editor wanted everything changed, and another couldn't
decide if he wanted this. I gave up on editors, and here it
is.]
As I went to Derries faire, there was I ware of a jolly beggar,
Mistress Annis, Master Thomas under a tree mending of shoon,
Mistress Annis, Master Thomas hight brave beggars every one.
Armin continues: 'And so forward. But the jest was to hear him
pronounce "brave Beggars".' Jack Miller was, Armin tells us, a
stutterer, and could pronounce neither 'b' nor 'p.' A remnant of
the stuttering remains in some versions of the song noted below.
Armin's book is a set of anecdotes about six 'fools,' all of whom
were mentally retarded, and seems to be drawn from personal
acquaintance and current anecdotes about them, or from old
accounts he had found for some of his characters long since
deceased. J. O. Halliwell-Phillips, The Fool [Jack Miller]
and the Ice, 1863, largely verified Armin's description of
the local geography, in Evesham, Herefordshire, where one of the
incidents concerning Jack Miller is described, and in this Armin
himself was seemingly involved under the name 'Grumbal'. Armin
appears to have made the acquaintance of Miller on a tour of the
acting company he was with sometime around 1597-1599. Until
evidence to the contrary is produced, I will take Armin's
description of Jack Miller and his song of "Derries Fair" as
completely factual. Note that Derry did not become Londonderry
until 1613. This title implies that the song was Irish, because
'derry' is Gaelic 'daire', oak.
The first time I gaed to Coudingham fair,
I fell in with a jolly beggare;
The beggar's name, O, it was Harry,
And he had a wife, and they ca'd her Mary;
O Mary and Harry, and Harry and Mary,
And Janet and John;
That's the beggars one by one;
But now I will gie you them pair by pair,
All the brave beggars of Coudingham Fair.
The next time that I went to Coudingham fair,
There I met with another beggare;
The beggar's name, O, it was Willie,
And he had a wife, and they ca'ed her Lillie;
And Harry and Mary, and Willie and Lillie,
And Janet and John;
That's the beggars one by one;
And now I will gie you them pair by pair,
All the brave beggars of Coudingham Fair.
The next time I gaed to Coudingham fair,
I fell in with another beggare;
The beggar's, name, O, it was Wilkin,
And he had a wife, and they ca'd her Gilkin;
And Harry and Mary, and Willie and Lillie,
And Wilkin and Gilkin, and Janet and John;
That's the beggars all one by one;
Now I will gie you them pair by pair,
All the brave beggars of Coudingham Fair.
Other traditional versions are known as: Crebilly, Donnybrook,
Maligan, and Monaghan Fair, most of which are Irish, and these
have lines very similar to those quoted by Armin, and I believe
we have in tham traditional versions of the song sung by Jack
Miller.
Monaghan Fair
As I was going to Monaghan fair,
Who did I meet but an old beggar there.
Well this beggar's name it was Nott,
And his old wife's name, it was old Molly Dopperdot.
Well there was Nott, and old Molly Dopperdot,
And there was Lillie and Billy and Fonny and Sally,
And Donny and Monny, and Rottie and Motty
and Rosie and Mosey, and Ginny and Joe,
And aw, but they were a jolly crowd all in a row.
And I went again to Monaghan Fair,
And who did I meet but an old beggar there.
Well this beggar's name it was Neil,
Aye, and his old wife's name, it was old Molly Switchertail.
So there was Neil, and old Molly Switchertail tail,
And there was Nott, and old Molly Dopperdot,
And there was Lillie and Billy, and Fonny and Sally,
And Donny and Monny, and Rosie and Mosey,
And Notty and Motty, and Jinny and Joe,
And aw, but they were a jolly crowd all in a row.
Add in succeding verses after the previous pair
3: Shake and Old Molly Shake-a-leg
4: Stick and Old Molly Fiddle-sticks
5: Wax and Old Molly Ball-o'-wax
6: Cock and Old Molly Suttle-cock
7: Nut and Old Molly Funny-nuts
Add'l. verse for F. McPeake's version, from later phono
record, Prestige/ International 13018, not among the seven
recorded by Kennedy.
So the last time I went to Monaghan Fair,
Who did I meet but another beggar there.
Well this beggar's name it was Cone,
And his old wife's name it was old Sarah Slipper-Swan.
So there was Cone and old Sarah Slipper-Swan,
And there was Nott and old Molly Dopper-Dot,
And there was Neil and old Molly Sweatshirt-tail,
And (3-7)
And there was Lillie and Billy and Franny and Sally,
And Donny and Monny and Rosie and Mosey,
And Notty and Motty and Nancie and Francie,
And Ginny and Joe,
And aw shure they were the jolly boys,
But thats all I know.
In the notes to "Donnybrook Fair," another version of this
song given by Thomas Wood in 1929 (Journal of the Folk-Song
Society), Wood noted the emphasis his singer made on the
punning surnames of the beggar's wife. That and the emphasis on
the 'b' in 'beggar's' in Francis McPeake's version may indicate a
holdover from Jack Miller's song, or rather, an existing song may
well have had the stuttering in it and proved an ideal song for
Jack Miller to sing. A version entitled "Craigbilly Fair" is in
H. R. Hayward's Ulster Songs and Ballads, 1925.
Another, "Malligan Fair," in JEFDSS, 1941, is another English
version of the song, in seven verses and with the tune. Added
comments note that the singer used gestures while singing the
song, but there is no comment on pronunciation of the words.Section 2, mostly Scots
Go to IndexBonny Nick the Currier
Folger Shakespeare Library MS
V.a. 399
Now is she Gindin graft on hornisburis tree
nere had Joyful time, yt same for truth ile saye
[Fields later
untill it was ye first of this same blessed Maye
Hay thou runt & millmar
howe thou runt & millmar
thou't forsake ym all
for bonny Nicke the Couryare
till Death in verie truth, old gronting ffilde had slaine [ffilde
= John of
ays rather have ye ffeilde to grafe upon ye tree [pun
on husband
whoz branches yong & tender beinge full of sappe
he is my onely Joye, ays lull him in my lappe
Hay thou runt, &c
& buss this defte yonge lad, o who shall it deny
ays hugg him in my armes, as my great Joye & life
nay meare then this ille doe, for ayes become his wife
Hay thou runt, &c
because whilst ffieldes did live, thou mickle paines didst
take
to currie my buskins well, & neatly trim my shewe
therefore I must confess, thou art a louer true
Hay thou runt, &c
& we will gange to kirke, ye xxth of this
same May
where we in face of those, yt there will us
behoulde
Wees wed & knit ye knot, of this thou mayst be
boulde
Hay thou runt, &c
for ay live by ye quicke, & care not for ye dead
be blithe therefore my lad, & corage take to thee
for non but one at once shall welcome be to me [one, ane?]
Hay thou runt
of this thou mayst be sure, for thou hast made me nice
ays kisse & clench wt thee, my owne sweet bonny
lad
thous make ye bed cry Jigg, & ays make thee full
glad
Hay thou runt, &c
then merrily daunce a rounde, to bringe ye day to
ende
Wes froliks & be meary, & then at uptails playe
What foule ill shoulde [?] wel doe upon owr Wedding
daye [corret. blotched
Hey thou runt, &c [in ms, just wide vert. bar after
'shoulde'
where we will soundly drinke, unto John of Fildes his soule
fare well I am glad hees gone, come thou defte Nick to me
thou arte ye bonniest lad, ays blinke on wt
my eye
Hay thou runt, &c
lets put ye candle out, for thou wt me
shall lye
Come now my life & Joye, whom ay loue wt my harte
ays loue thee, doe thy worke, & ays play my parte
Hay thou runt, &cJockey's fond conceit of Bonny Jean
My bonny Jean where hast thou been
I've been seeking the from morn to e'en
Thy bonny face's so full of grace
the lik is not in Aberdeen
I was as brisk as any lad
when first thy bonny face I saw
come sit the down my bonny maid
and give to me a kiss or two
A kiss or two if I should give
I ken na how it may be tane
F]or suddenly ye would me beguile
It] is better for to ly alone.
Fir]st you must seek, and I'll say nay
You know a wonderous modesty
C]ome sleide your hand around my neck
When I cry cease let me not bee
Wh]at I would give to tell the truth
for one sweet kiss of my dear
for all the pleasures on the earth
there's nothing with thee can compare
Thy cherry cheek and coal black hair
a brisker lass was never seen
There's none with the that can compare
in edinburgh or Aberdeen
?]ll yen first thy bonny face of sav
Such charming eyes were never seen
Thou can't[?] the true gives geat[?] of grace
Thy likes is not in Aberdeen
?]ll Beauty fair doth me ensnare
Since ever I saw thy bony face
Therefore my dear you need my fear
to grant to me that charming Bliss
Since I have house and land enough
to portion me with any man
if ye should take your word and fav[or sar or?]
wheat would be come of Jean my th[obscured by binding]
If you have lands, at your command
a good house wife I then, will be
I think then for the grvices[?] & we'll se[obs., thank-thee?
and then my dear we'll married b[e]
But my minny set me to the well [see "Whistle o'er the lave"
the night was dark I could not see [in Herd's Scot Songs
my fit did slip and then I fell [for variant of this verse,
and Jockey fel a top of me [also in KNDROBN
Beat if he be cunning I'll be craf[ty
and if he be crafty I'll be Like
tho' he were the bonniest lad in 'a' the [land
he is never get another Bairn wi gm[? then obscured]
BL Roxburge Collection, III, 577 is "An excellant New Song,
entituled Bonny Jean of Aberdeen". This I have not seen. Here is
a copy from NLS MS 6299, (microfilm copy) with left and right
edges at times obscured. Copied into manuscript c 1740-50. Except
for that next to last verse, this seems to me to be a rewritten
'parlor song' version of an earlier song, like those in The
Tea Table Miscellany and Orpheus Caldeonius.
Tune is obviously "Bonny Jean of Aberdeen," used for the "The
Ball of Kirriemuir," Ballantyne's "Castles in the Air" and for
the 'Irish' "The Stuttering Lovers."(BRDSFLW) The tune was
printed at least 13 times in Scots song and tune books from 1725
to 1790, and is probably the "Bonny Jean" in the Scots Guthrie
MS, c 1675, in viola da braccio tablature. The tune is in
Orpheus Caledonius, 1725 and 1733; Music for
Allan Ramsay's Collection of Scots Songs, c 1726, Adam
Craig's A Collection of the Choicest Scots Tunes,
1730; and Aria de Camera, c 1732, and many later
Scots music collections. The tune is also given in three English
ballad operas that print the music, The Village
Opera, 1729, Air #25: The Chambermaid, Air
#12, 1730: The Female Parson, Act III, Air #7, 1730.
I give here the rather elaborate version in The Village
Opera.
S1, BNYJEAN2, " , Scots Musical Museum
S1, BNYJEAN3, tune on Stuttering Lovers sheet, 1906 Father Grumble's Ancestors
Ballad of A Tyrannical Husband. MS of time of Henry VII, Chetham
Lib., Manchester.
As thu wrought thys wyde worlde, in hevyn is thi home,
Save alle thys compeny and sheld them from schame,
That wylle lysten to me and tende to thys game.
Maydens, wedows, and wyvys amonge;
For moche the ar blamyd and sometyme with wronge,
I take wyttenes of alle ffolke the herythe thys song.
By a good howsbande thys tale shalbe tolde;
He weddyd a womane that was ffayre and bolde,
And hade good i-now to wende as they wolde, [enough
And he was an angry man, and sone wold be tenyd,
Chydyng and brawlynge, and farde leyke a feynd,
As they that oftyn wylbe wrothe with ther best frend.
The goodman wold to the plow, his horse gan he take;
He calyd forthe hys oxsyn, the whyt and the blake,
And he seyd, "dame, dyght our denner betyme, for Godes sake."
The goodwyf hade meche to doo, and servant had se none,
Many smale chyldren to kepe besyd hyrselfe alone,
She dyde mor then she myght withyn her owne wone.
To loke that al thing wer acordyng to hes pay,
"Dame, " he sed, "is owr dyner dyght!" "Syr," sche sayd,
"naye;
How wold yow have me doo mor then I cane?"
I wolde thou shuldes alle day go to plowe with me,
To walke in the clottes that be wette and mere, [mire-y]
Than sholdes thou wytt what it were a plowman to bee."
"I have mor to doo then I doo may;
And ye shuld folowe me ffoly on day,
Ye wold be wery off your part, my hede dar I lay."
"What hast thou to doo, but syttes her at home?
Thou goyst to thi neybores howse, be on and be one,
And syttes ther janglynge with Jake an with John."
I have mor ro do, who so wyst alle;
Whyn I lye in my bede, my slepe is butt smale,
Yett eyrly in the morneng ye wylle me up calle.
I ryse up at morow and fynde owr howse wylde;
Then I melk owre kene and torne them on the felde,
Whylle yow slepe ffulle stylle, also Cryst me schelde!
After make I chese, -- thes holde yow a play;
They wylle owre cheldren wepe and upemost they,
Yett wylle yow blame me for owr good, and any be awey.
I geve our chekyns met, or elles the wylbe leyne:
Our hennes, our capons, and owr dokkes be-dene,
Yet tend I to owr goslyngs that gothe on the grene.
I bete and swyngylle flex, as ever have I heylle,
I hekylle the towe, I kave and I keylle,
I toose owlle and card het and spyn het on the wheylle."
Thou nedyst not bake nor brew in fortynght past onys;
I sey no good that thou dost within thes wyd wonys,
But ever thow excusyst the with grontes and gronys."
For to clothe owre self and owr cheldren in fere;
Elles we shold go to the market, and by het ful deer,
I ame as bessy as I may in every yere."
I ordene met for owr bestes agen that yow come home,
And met ffor owr selfe agen het be none,
Yet I have not a ffeyr word whan I have done.
That ther be none awey noder mor nor myn,
Glade to ples yow to pay, lest any bate begyn,
And fort to chid thus with me, i-feyght yow be in synne."
"Alle thys wold a good howsewyf do long ar het wer prime;
And sene the good that we have is halfe dele thyn,
Thow shalt laber for thy part as I doo for myne.
To morow with my lade to the plowe thou shalt gone;
And I wylbe howsewyfe and kype owr howse at home,
And take myn ese as thou hast done, by God and Seint John!"
To morow in the mornyng I wylbe walkande:
Yet wylle I ryse whylle ye be slepande,
And see that alle theng be redy led to your hand."
The goodwyfe thoght on her ded and upe whe rose ryght;
"Dame," seid the goodman, "I swere be Godes myght!
I wylle fette hom owr bestes, and helpe that wer deght."
The goodwyfe made butter, her dedes war full derne,
She toke ayen the butter-melke and put het in the cheyrne,
And seid yet off on pynt owr syer shalbe to lerne.
How the wyfe had layd her flesche for to stepe:
She sayd, "Sir, al thes day ye ned not to slepe,
Kype wylle owr chelderne and let them not wepe.
Put smal feyr ondernethe, sir, for Godes sake;
The kelme is lowe and dry, good tend that ye take,
For and het fastyn on a feyr it wylbe eville to blake.
And thei may com to good, that wylle wesk sorow i-now."
"Dame," seid the goodmane, "hy the to the plow,
Teche me no more howsewyfre, for I can i-nowe."
Sche callyd to her lade, and to the plowe they wend;
They wer bese al day, a fytte here I fynde,
And I had dronke ones, ye shalle heyre the best behynd."
* * * *
[But it's never been found!]
In Auchtermuchty thair dwelt ane man,
An husband, as I hard it tauld,
Quha weil could tippil out a can;
And naithair luvit hunger nor cauld.
Quhill anis it fell upon a day
He yokkit his pleuch upon the plain,
Gif it be trew, as I heard say,
The day was fowll for wind and rain.
He lowsit the pleuch at the landis en,
And draise his oxen hame at ene,
Quhen he came in he lukit ben,
And saw the wife baith dry and clene.
Suittand at any fyre beik and bauld,
With ane fat soup, as I heard say;
The man being very weit and cauld,
Between thay twa it was na play.
Quoth he, "Quhair is my horisis corn?
My ox hes naithir hay nor stray:
Dame ye maun to the pleuch the morn;
I sall be hussy gif I may."
"Husband, " quoth scho, "content am I
To tak the pleuch my day about;
Sa ye will rewll baith kavis and ky,
And all the house baith in and out.
"But sen that ye will hussyskep ken,
First ye sall sift, and syne sall kned;
And sa as ye gang but and ben
Luk that ye bairnis fyle not the bed.
Yeis lay ane soft wisp to the kill;
(We haif ane deir ferme on our heid)
And as ye gang furth and till,
Keip weill the gaislings fra the gled." [hawk
The wyfe was up richt late at ene,
I pray God gife her weil to fair!
Scho kirn'd the kirn, and skum'd it clene,
Left the gudman bot blecoch bair.
Than in the morning up scho gat,
And on her hairt laid her disjune;
And pat als meikle in her lap
As micht haif serd them baith at nunne.
Say, "Jok, be thou maister of wark,
And thou sall had, and I sall ka,
I'se promise thee ane gude new sark,
Outhir of round dlaith or of sma."
Scho lousit the oxin aught or nine,
And hynt ane gad-staff in her hand. --
Up the gudeman faise after syne,
And saw the wyfe had done command.
He caw'd the gaislings furth to feid,
Thair were but sevensume of, them a',
And by thair cumis the gredy gled,
And likkit up five, left him but twa:
Than out he ran, in all hsi mane,
How sune he hard the gaislings cry,
But than or he cam in agane
The calvis brak louse and suckit the ky.
The calvis and ky met in the lone,
The man ran with ane rung to red;
Than thair cumis an illwilly cow,
And brodit his buttock quhill that it bled.
Than hame ran to a rok of tow,
And he satt doun to say the spinning;
I trow he lowtit our neir the low --
Quoth he, "This wark has ill beginning."
Hynd to the kirn than did he stoure,
And jumlit at it quhill he swat;
Quhen he had fumlit a full lang hour,
The sorrow a scrape of butter he gat;
Albeit na butter he could get,
Yit he was cummerit with the kirne.
And syne he het th milk our het,
And sorrow a spark of it wald yirne.
Than ban thair cam ane griedy sow,
I trow he cund her little thank,
Fon in scho shot hir mekle mow,
And ay scho winkit and scho drank:
He eleikit up an cruked club,
And thocht to hit the sow a rout;
The twa gaislings the gled had left
That straik dang baith their harnis out.
Than he bare kindling to the kill,
But scho stert up all in ane low;
Quhatevir he hard, quhatevir he saw,
That day he had na will to wow.
Than he gied to tak up the bairnis,
Thocht to haif fand thame fair and clene;
The first that he gat in his armis
Was a' bedirtin to the ene. [one of the greatest lines ever
The first it smelt sa sappelie,
To touche the lave he did nocht greine:
"The devil cut off thair hands," quoth he,
"That fill'd ye a' sa fow yestrene!"
He trailit the fowll sheits down the gait,
Thocht to haif waschet thame on a stane;
The burne was risen, grit of spait,
Away fra him the sheitis has tane,
Then up he gat on ane know heid,
On hir to cry, on hir to schout;
Scho har him, and scho hard him not,
Bot stoutly steirid th stottis about.
Scho draif all the day unto the nicht;
Scho lousit th pleuch, and syne came hame:
Scho fand all wrang that sould ben richt;
I trow the man thocht richt grit schame.
Quoth he, "My office I forsaik
For all the dayis of my lyfe;
For I wald put ane house to wraik,
Had I bene twenty dayis gudwife."
Quoth scho, "Weil meit ye bruke your place,
For trewlie I will nevir accep it:"
Quothe he, "Feind fall the lyaris face,
Bot yit ye may be blyth to git it."
Then up scho gate ane mekle rung,
And the gudman maid to the doir:
Quoth he, "Deme I sall hald my tung,
For an we fecht I'll get the woir." [worst
Quoth he, "Quhen I forsuik my pleuch,
I trow I but forsuik my self:
And I will to my pleuch agane,
For I and this hous will neir do weil."
This was first printed by Allan Ramsay in The
Evergreen, 1723, and it soon appeared as a broadside
ballad, the tune cited being "Pultring Poverty". The song from
which the tune take its title is "The Banishment of Poverty, by
J. D. of Albany (later, James II)" in part I of Watson's
Choice Collection, 1706, and Part I, 2nd. ed., 1713.
This commences, "Pox fa that poultring Poverty". This is to the
tune "the Last Good-night" and C. M. Simpson, BBBM suggests that
this is "Essex' Last Good-night". Simpson also gives the tune,
#132, from Elizabeth Rogers' Virginal Book (MS). The whole
manuscript has been more recently published in toto. (Dover
original)
S1, JHNAMST, SMM #356
(1) Robin Hood and the Butcher, Child #122 B. There is an
earlier version in the Percy Folio MS.
(2) Robin Hood and the Stranger, Child #133, Child discusses
possible antecedents.
(3) Robin Hoods' Chase, Child #146. The beginning summarizes
Renown Robin Hood, Child's #145 (Child's title, Robin Hood and
Queen Katherine).Scotch Moggy's Misfortune:
Together with her cheerful Hopes, that Shakum Guie will bury his
Wife, and then make Moggy a happy Mother.
And he is weary of his life:
The day will come that she will dye,
And Shakum Guie will marry me:
Ha, ha, Robin quoth she,
Ha, ha, Robin quoth she,
Ha, ha, ha, Robin quoth she,
Kind Robin loves me.
Full forty Weathers in a flock,
With geese, ducks, hens, and a fighting cock
Kind Robin for thee:
Ha, ha, Robin quoth she,
Ha, ha, Robin quoth she,
Ha, ha, ha, Robin quoth she,
Kind Robin loves me.
Better she had gone her sell,
Robin gard my belly swell,
Kind Robin he loves me.
Ha, ha, ha, &c.
Robin laid me on my back,
Robin he made my rump to crack,
Kind Robin loves me.
Ha, ha, ha, &c.
Over the ditch he made me fall;
Robin ruffled my falale,
Kind Robin loves me.
Ha, ha, ha, &c.
Forty marks, as thou shalt see,
And I will give them aw to thee,
Kind Robin quoth she,
Ha, ha, ha, &c.
I should neither spin nor card,
But fill the cup, serve to lard,
The day that I was married;
Ha, ha, ha, &c.
Till I have got my nurses fee,
And I will drink it as with thee,
In geud Scotch Yale and brandy;
Ha, ha, ha, &c.
It will be long ere he come home;
On Saturday we'll give our names,
And Sunday we'll be married,
Ha, ha, Robin quoth she,
Ha, ha, Robin quoth she,
Ha, ha, Robin quoth she,
Kind Robin I am for thee. Kind Robin loo'se me
When I alone your soul possest [Robin
and more loo'd your Bosom prest
Ye go]ds what king like me was blest
Since] kind Jeany loud me
Och] he[y] Jeanny quoth hee
Och] he[y] Jeanny quoth hee
Ki]nd Robin loos me [Jenny sings?
Nor] kate with me your heart did share
Wha]t queen with Jeanny could compare
Whe]n kinde robin loos me
Och &c
s]he who sings with so much art
Wh]ose life to Love with mine I'd part
Fo]r kind Katy loos me
Och hey Jeanny &c
He] with Equal ardour dies
Wh]ose kindness to save I'd perish twice
--]p've kinde kinde Paty loos me
och hey Robin &c [who sings?
And] former love return again
a]nd link us in the firmest Chain
for kind Robin loos me [Jeanny sings
hey Robin
and thou more stormy than the sea
I'd Choise to live and die with the
Since kind Robin loos me [Jeanny?
& fin[is]The Virgin's Complaint For want of a HUSBAND
To the Tune of, Robin Cushee.
I'm a Lass both brisk and Fair,
Sparkling Eye, and Coal-black Hair;
Fine lac'd Shoes and Top knots rare,
Yet no man comes to wooe me.
Come, come, come away;
Marry me without delay;
My Heart will break if long you stay,
My Maiden-head will undoe me.
I have Twenty Pound in Gold,
That as good as e'er was told,
And I'm but Fifteen Years old,
Yet no Man comes to wooe me, come, &c.
I am plump, and I am Fat,
I can talk, and I can chat,
I have something, you know what,
Yet no Man comes to wooe me, come, &c.
I am neither Rich nor Poor,
I was never Miss nor Whore,
I had ne'er my Plackets tore,
Yet no Man comes to wooe me, come, &c.
Tho I be pretty, Brisk and Fair,
Grave as are the clouds of Air,
I am now at my last Pray'r,
For no Man comes to wooe me, come, &c.
Robin came upon the Sham,
Told me many Lye and Flam,
But away he went, and no more came,
And no Man comes to wooe me, come, &c.
Richard took me in the Nick,
Told me that he was Love-sick,
Yet did intend to do the Trick,
But never came to wooe me, come, &c.
I sometimes laugh, and sometimes Sing,
Me in Favour for to bring,
But a Taylor now or any thing,
For no Man comes to wooe me, come &c.
Dolly, Molly, Susan, Bess,
Pretty Maids in civil Dress,
All Night do lye Succourless,
For no Man comes to wooe them, come, &c.
I protest, if you stay long,
You will do us more than wrong,
And thus I do conclude my Song,
In hopes of one to wooe me, come, &c.
Come, come, come away;
Marry me without delay;
My heart will break if long you stay,
My Maiden-head will undoe me.
Play: B542, 543Kissing goes by Favour:
Or, A new composed Ditty, shewing how kissing began when the
world began, and is like to continue till the worlds end: Here is
also contained may pretty conceited passages concerning kissing,
which cannot chuse but make all the people merry that will stay
to heare it.
To complement and kisse,
some hold to be a sin,
But I can tell you first of all,
how kissing did begin:
First Adam he kist Eve,
and so be got a sonne,
Tis above five thousand years agoe
since kissing first begun:
Since kissing first begun, brave boyes, [Chorus
since kissing first begun,
'Tis above five thousand years agoe,
since kissing first begun.
And after in a short pace,
the world began to increase,
Of men and women plentiously,
and then they kist a pace:
And ever since that time,
the trade come on amaine,
And she that hath been kissed once,
must needs be kist againe.
Must needs be kist again brave boys,
must needs be kist again, &c.
And now kissing is us'd,
I think all the world over,
In London, Gloster, Bristow and
in Cicest and Dover:
And in every place beside,
this kissing it is us'd.
I hold it for a practice good,
if it be not abus'd:
If it be not abus'd brave boys, [Chorus
if it be not abus'e.
I hold it for a practice good,
if it be not abus'd:
And now by consequence,
to you I can approve,
That kissing is the readest way,
and nearest step to love:
Suppose a brave young-man
should meet a handsome maid,
To kisse her over and over againe,
he will not be afraid:
He will not be afraid brave boys, [Cho.
he would not be afraid,
To kisse her over and over againe,
he will not be afraid:
At wakes and revills when
young people they doe meet,
They'l send for fidlers for to dance
and shake their nimble feet:
At every dances end,
the brave young blades will kisse,
Their lasses round, whose joys are crownd
what harm can come of this?
What harm can come of this brave boys
no harm can come of this.
Kissing is of such vertue,
'tis never out of date,
Both morning, evening, noon & night
it never comes too late:
Nor can it be refrained,
by any man or woman,
From highest to the lowest degree,
'tis every where so common:
Tis every where so common brave boys,
'tis every where so common.
The rich can doe no more Sir,
the poore will doe no lesse,
but when they with their sweethearts meet,
they'l clip, cole, hugge and kisse:
It hath so sweet a smack,
that none can it refraine,
From the Tamberlaine,
unto the weakest swaine:
Even to the weakest swaine brave boys,
unto the weakest swaine, &c.
If kissing comes in kind,
it sweet content doth bring,
'Tis as lawfull for a begger,
as it is for a king,
For if it were not lawfull,
then lawyers would deny it,
And if it were costly,
their clyants could not buy it:
Their clyants could not buy it brave boys,
their clyants could not buy it:
Let kissing be never so costly
some lawyers clarks will buy it.
And if it were not plenty,
young wenches could not have it,
And if it were not dainty,
old widows would not crave it:
And if it were not wholsome,
brave gallants would not use it,
And if it were not toothsome,
faire ladies would refuse it.
Gay ladies would refuse it brave boys
faire ladies would refuse it.
And many of their waiting maids
would not so often use it.
If kissing were out of fashion,
it would soone be laid aside,
By merchants wivs in the Exchange
and also in Cheap-side:
Kissing's like Hampshire honey,
'tis wondrous rare and sweet,
Else country John would not kiss Jone
so oft when they doe meet.
So oft when they doe meet brave boys,
so oft when they doe meet.
Jack will kisse Gill, & Ned kisse Nell
when they together meet.
And now for to conclude,
and end my kissing song,
In which I meane no honest man
nor woman any wrong:
But faithfull friend-ship may abound
when folks together kisse:
When folks together kisse brave boys,
when youngmen maids do kisse,
And maidens then kisse them again
not harme can come of this.
Printed for Thomas Vere, at the signe of the Angel, without
Newgate.
Some say that kissing's a sin,
But I say that winna stand:
It is a most innocent thing,
And allowed by the laws of the land.
It it were a transgression,
The ministers it would reprove;
But they, their elders and session,
Can do it as weel as the lave.
Its lang since it came into fashion,
I'm sure it will never be done,
As lang as there's in the nation,
A lad, lass, wife or a lown.
What can I say more to commend it,
Tho' I should speak all my life?
Yet this will I say in the end o't,
Let ev'ry man kiss his ain wife.
Let him kiss her, clap her, and dawt her,
And gie her benevolence due,
And that will a thrifty wife mak her,
And sae I'll bid farewell to you.
Depending on how one does note divisions the tune "Old Simon
the King" can fit several verse forms. One needs the note
divisions in Scottish versions of the tune for our song above,
although that given by Simpson, #348, in BBBM from a broadside
is close. Simpson says copy in Dancing Master, 1679,
differs from that in Musicks Recreation, 1652, but
fails to point out that the first half of the Dancing
Master copy differs little from that which he gives from
the broadside. The constant is the ground bass of "Old Simon the
King", which John Ward gave in JAMS, XX, p. 64, (Spring) 1967,
from The Division Violin, 1685.
B348 (almost Dancing Master copy)
S1, OLDSIMN3, Scots Musical Museum, #344.The Ladies Delight:
OR,Narcissus his Love-Flower.
A pleasant and delightful new Ditty.
Made by a Lover, for Ladies so Witty;
When to Venus Sports they please to resort,
To pull sweet Flowers, that yeilds the best Sport.
nor I cannot tell whither,
I met with a crew of I cannot tell who,
nor cannot tell what they were:
But Virgins I think; for they cry'd
Narcissus come kisse us, and love us beside.
nor whether in Verse or in Prose:
Nor knew I their meaning although they all sate,
even as it were under my Nose:
But ever and anon they all cry'd,
Narcissus come kisse us, and love us beside.
with I cannot tell what in his hand;
It was a live thing that had little sense,
but yet it could lustily stand;
When lowder these Ladies they cry'd,
Narcissus come kisse us, and love us beside.
it looked so loving indeed;
All hug'd it as boney, and none were afraid,
because of their bodily need:
And lowder these Ladies they cry'd,
Narcissus come kisse us, and love us beside.The second Part, to the Same Tune
At length he did put this pretty fine toy
in I cannot tell where below,
Into one of these Ladies; but I cannot tell why,
nor wherefore it should be so:
But in the mean time they cry'd,
Narcissus come kisse us, and love us beside.
and rifled Dame Natures store,
And raised themselves in Venus delight,
that they could hardly do more:
Yet lowder these Ladies they cry'd,
Narcissus come kisse us, and love us beside.
and hang down his head like a flower;
The Ladies they more did desire the feat,
but alas 'twas out of his Power:
Then lowder and lowder they cry'd,
Narcissus come kisse us, and love us beside.
a pitiful story to tell,
These Ladies did hate what most they desir'd,
their Bellies began for to swell:
Then with a woful Tune thay all cry'd
Narcissus won't kisse us, nor love us beside.
to ease them of their sorrow;
But when that these Ladies were gently laid,
they had the same mind to morrow:
And dandling their Bantlings they cry'd,
Narcissus shan't kisse us, and lye by our side.
how Venus with Cupid did play:
What pleasure those Ladies did take in their boys,
did lead my fancy astray;
To hear how they lull'd them, and cry'd,
Narcissus come kisse us, and love us beside.
nor what was in my mind;
Nor what else I heard, I know not I vow,
nor saw, for Cupid is blind:
But these Ladies still cry'd
Narcissus come kisse us, and love us beside.
nor when, nor how nor where;
Nor found I the Sense of their Song or their Chat,
for Ladies are fickle as Air:
Therefore I did laugh, still they cry'd,
Narcissus come kisse us, and love us beside.
As I fure our fair feildis and fell | On weddinsday
Allone I wanderit by ane well |
I met a cleir vndir kell
a weilfaird may
Off slaver cleir bayth quhyt & reid | and fynkill grene
Wt catclukis strynklit in that steid |
Wit ye weill to weir that weid
wald weill hir sene
Ane Agnus day wt nobill nott | War hingand down
Iyngland weill wt mony Ioitt |
It wes full ill to fynd ane moit
Vpoun hir goun
I halsit hir wt hairt maist fre | Wald ye me
lane
I luve yow leill an not to le |
Out hay q scho my Ioy latt be
Ye speik in vane
Na thing bot a kiss I craif | Wald ye me trow
As I that luvis yow our the laif |
Gif that yow may of sorrow saif
cum tak it now
and scho to gruntill as a gryiss | That is so meik
alace q scho I am vnwyiss |
Itss lyk that ye had eitin pyiss
Ye are so sweit
And on my heid scho cowth it sett | and scho to thraw
Than in my armes I cowth hir plett |
Allace q scho ye gar me swett
Ye werk so slaw
Alace q scho that I come heir | Thot I be thing
I trow this labour I may yow leir |
Yet I feir I sall by full deir
Your sweit kissing
Scho said scho comptit me not a peir | do
furt at anis
Sen ye haif wonnyn me on weir |
Thairwt I schot be neth hir scheir
deip to the stanis
allace said scho my ain sweit thing | Y werk so weill
Your courtly fukking gars me fling |
I sall yow cuver quhen that ye cling
so haif I seill
bot hald yor taikill by my hippis | Thot be
mirk
I byd a quasill of your quhippis |
Bot and ye will schrew the lippis
that first sall irk
scho reiss sone vp and askit hir schone | To yow I say
Als tyrd as scho had weschin a spone |
This aventur anis to me come
on weddinsday
We're a' kist sleeping!
Na fint a word o' that was true,
For I was wide waking.[Dainty and Dortie]
Dantie & dortie to all manis eyes
I wish I had bord thee, dantie & dortie
And given thee fourtie betwixt the thighs
Dantie and dortie to all men's eyes.
Whyt as the egg, rid as the skarlet
Sweet as the fegg, whyt as the egg
Lay over your legg, tak in a varlet,
Whyt as the egg, rid as the skarlet.
A lost ballad entered in the Stationer' Register in 1638 was
"I kist her forty times." Could this be part of it?
I saw a Lowiss ceripand vp his wall
snop q the telyeor sanp q the sheiris
Cokkis bownis q the lowiss I haif lost myne Eiris [God's bones
[Question]
Betuix twa foxis / a crawing cok
Betuix twa freiris / a maid in hir smok
Betuix twa cattis / A Mowiss
Betuix twa telyeoris / A Lowiss
schaw me gud ser not as a stranger
quhilk of thais four is grittest in denger.
Anser
ffoxis ar fell At crawing cokkis
ffreiris are ferss At maidis in thair smokkis
Cattis ar cawtelus in taking of myss
Telyeoris ar tyrranis in kelling of Lyis
Cf. the ballads in the 17th century, John Taylors' "A dreadful
Battle between a Taylor and a Louse" and "The War-like Taylor",
and a later 18th century reworking as "A Bloody Battle between a
Taylor and a Louse". I have heard a traditional version of the
latter with the louse changed to a mouse. Taylors took it on the
chin in many other ballads also.A Pleasant New Ballad; Being a Merry Discourse between a
Country Lass and a young Taylor;
Shewing
How the Taylor lost his plight and pleasure,
His yard not being of Standard Measure.
To a Pleasant New Tune; or, Kester [Chester] Crab.
In harvest-time I walked
hard by a corn-close side;
I hearing people talk,
I look'd about and spy'd
A young man and a maid,
together they did lye;
When you hear it told,
you'l laugh full heartily.
She was as buxsome a lass
as any in our town;
She will not let you pass
but she'l call you to sit down.
A taylor passing by,
she hit him on the heele:
"You are very welcome, Sir,
to sit you down and feele:
"What money's in my purse
at your command shall be,
If you will go along
to Marson Wake with me."
He hearing her say so,
and seeing her to smile,
Was charned with her, so
he sate him down a while.
And having groped her purse,
and taken all her money,
He grop'd again, and mist
and caught her by the coney.
"Where am I now?" quoth he,
"another I have found;
Its not the same," quoth he,
for this is tufted round."
"If it be tufted round," quoth she,
"there is good reason for't,
There in such treasure lyes
will make a taylor sport."
He hearing her say so,
being a frolicksome lad,
Was willing for to know
more of the fringed bag.
With that he eagerly
to feel put forth his hand.
"Nay, hold, good Sir," said she,
"go not before you stand:
"Except you take your yard,
the depth of it to measure,
You'l find the purse so deep,
you'l hardly come to th' treasure."
He hearing her say so,
it put him to a stand;
She seeing him dismaid,
she took his yard in hand:
"is this your yard ?" quoth she,
"is this your taylor's measure?
It is too short for me,
it is no Standard-Measure."
The taylor being abashed,
she told him that it was
More fitter for a man,
than such a penny ass.
She bids him now be gone,
since he could make no sport,
And said, 'thou are too dull
to enter such a fort."
Then looking fiercely at him,
she said, "Thou sneaking fool,
Go straight away to Vulcan,
and let him mend thy tool.
"And tell him that Dame Venus
at him is almost mad,
For sending to her school,
such an unfit lad."
You taylors that attempt
fringed bags to measure,
Be sure your yard be sealed,
and full Standard Measure.
Printed for P. Brooksby, at the Golden-Ball in West-Smithfield.
(1672-84)Bogi-Don a sang to the tune of Jeny Beguild the
Webster
O had my Apron biden doun
The Kirk had near a kend it
But now the words gane throu the Town
alake hou can we mend it
Now ye maun face the Minister
and I maun Mount the Pillar
And that's the gate a' that poor Fowk gae
for Poor fowk have nae siller
But what needs either Jock or I
Care for the parish Taunting
Since a' we did was but to try
the thing that we were Wanting
Nane Buys a Chease afore they pale
and prive gin they were Twenty
The man that has a wife to wale
why should he be less Tenty
Come Jock lets Joyn afore the Priest
since that's the thing we maun do
That's done fa frankly to the feast
And laugh at a' they can do
its Marriage Make amends for a[']
and smass the Skaith of Anti-
Then lets gae sowder ilka flaw
Syn ca the Cutty Canty
Let silly wooers sigh & souk
that fear to Make a Tryal
I like the Lad with Laughing Look
that will take nae denyal
But Round about the Hay Stack
and in amang the thistle
A Lad shoud gie a Lass a smack
to gar her Tocher Tinkle.
Unpublished text of "Bogi-Don" from NLS MS 9749, which does
not contain the music. The manuscript is a single sheet
containing only this song, and I see no way of guessing a date
for it. A rather different song, commencing, "O mother dear, I
greatly fear", with some overlapping lines, is given to the
tune, labeled "Jenny beguil'd the Webster" in Orpheus
Caledonius, 2nd ed. II, p. 83, 1733. [A copy of this is in
NLS MS 6299, but preceded by a variant of the 4th verse of the
1st song below, and with tune direction "Jenny Beguild the
Weaver".]
As I came in by Fisherraw,
Musselburgh was near me;
I threw aff my muscle pock,
And courted wi' my deary.
O had her apron bidden down
The kirk wad ne'er a kend it;
But since the word's gane thro' the town,
My dear I canna mend it.
But ye maun mount the cutty-stool,
And I maun mount the pillar;
And that's the way that poor folk's do,
Because they hae nae siller.
Up stairs, down stairs,
Timber stairs flears me.
I thought it lang to ly my lane,
When I'm sae near my dearie. [MS-And Johnny's bed sae near me]
Play: S1, JNDNGWV, Jenny dang the weaver, Orpheus Caledonius On the murder of Glencoe Febr 1692
Was not I a weary May ohon ochie ho ohno ochie ho
A widow on my bridle day ohon &c
That on that dark and fatal night ['ohon--' interlaced
throughout]
They brake my bower & slew my Knight
Just in my soft & Longing arms
Where I believ'd him safe from harms
They perced his senser[?] gentle breast
And Left me with sad grief opprest
And was but I a Weary wight
A Maid, wife, widow all in a night
And after that my knight was slain
I could no longer there remain
With a fair suit of his yellow hair
Which bound my heart for ever mare
I cut my hair & chang'd my name
From fair Alice to sweet William
No soft tongued youth nor flattering swain
Shall e're unloose that knot again
But through this wood or world I'le roam
To seek the joyes I lost at home O hon &c.
S1, BRDRWDO2, Corri's 'Irish' tune
I have heard them lilting at the Ewe milking
Lasses a lilting before dawn of Day
But now they are moaning, on the glen louning
The Flowers of the Forist are weded away
At bughts in the Morning na blith lads are scorning
Lasses are lonely and dowie and wa
Na dafling nae gabbing but sighing and sobing
Ilk ane lifts her leglen & hies hir away
In hairst at the shearing, nae youth now are jeering
Bansters are runkled and lyart or gray
At fair or at preaching, na wooing na fleeching
The Flowers of the forest are weded awa
At E'en in the gloaming nae younkers are roaming
Bout stacks with the lasses, at Bogle to play
But ilk maid sits dreary, lamenting her Deary
The flower of the forest that weded away
Dool and wae for the bider sent our lads to the Border
The English for ance by Guile wan the Day
The flowers of the forest that fought aye the foremaist
The Prime of our Land are cau'd in the clay.
We'll hear na mair lilting at the Ewe harding
Women and bairns are heartless and wae
Sighing and moaning in ilka spick Loaning
The flowers of the forest are weded awa.
J[ane]. E[lliot].
From NLS MS 12826. Small volume with no identification, front or
back. It is Jane Elliot's songs and poems, about a dozen, and
evidently in her own handwriting, which is none too good in
places (and her spelling is attrocious). This may account for the
many minor differences in printed copies. Each piece in the MS is
signed in script, J. E. At the back of his autograph, NLS MS
12823, Gilbert Elliot, a noted songwriter himself, gave the song
in three verses of eight lines, with the note that it was by his
Aunt, Miss Elt. Following this he also gave a song she sang,
giving her name there in full.
Lasses are lilting before the break of day,
But now there's a moaning on ilka green loaning
That our bra Forresters are a' wede away.
The lasses are lonely, dowie and wae:
Nae daffin, nae gabbin, but sighing and sabbing
Ilke ane lifts her leglen and hies her away.
'Mong stacks with the lasses at bogle to play,
But ilka ane fits dreary, lamenting her dearie,
The Flowers of the Forest that are wede away.
The Bansters are runkled, lyart and grey.
At a fair or preaching, nae wooing nae fleeching
Since our brave Foresters are a' wede away.
The English for ance by guile gat the day,
The Flowers of the Forest that ay shone the foremost
The prime of our Land lies cauld in the clay.
The women and bairns are dowie and wae,
Sighing and moaning on ilka green loaning,
Since our bra Foresters are a' wede away.
FINIS
S1, FLWRER2, Skene MSThe Edinburgh Ramble.
[NLS MS 6299, c 1740-50. The song here appears to be two versions
strung together, and I've added labels 'A' and 'B' accordingly. A
later version close to 'A' is in a Scots MS at Harvard, 'Secret
Songs of Silence', as "Hay of Ranna's Lament". (Thanks to Abby
Sale and Murray Shoolbraid for copies of the latter.)]
You] lovers of sporting [1B
gal]lanting and courting
and drinking and ranting
attend to my tale
It's of my Rambles
and how I have Gamb'ld
and what sad misfortunes
unto me befell
Fr]om the north I came
to see that brave place
in Edinburgh of fame
I lost all my grace
I m]et with Companions
Moll nelly and Peg
who made me pay dearly
for bobing in bed
Having plenty of Gold [2B
I did Court young and old
&] learn'd soon to swear bold
& Court Ladys of pleasure
Te'll[?] Cheat by their Cullies
and beat by their Bullys
at length I was noddle stript
of all my treasure
Their Pranking and prating
?] all the night long
with drinking & sparking
was all my delight
Te'll[?] beat by the Ladies
though very well bred
who made me pay dearly
for Bobing in Bed
In Gold lace and Scarlet[s] [3B
I met with three Harlots
attended by Varlets
A low bow I made
Be]lieving their faces
The]ir Cloths and there [sic] laces
Al]l high Blood I thought thee [them, but where is rhyme?]
All] Cursed Damn'd Jades
She] smiled in my face
Wi]th her bright eyes
he]r heart in a pause
H]ow sighing she dies
I] fell in a swoon
a]nd tosst up her leg
Qui]ck was invitation
for Bobing in bed
I flew to relieve her [4B
Caress'd her with pleasure
so soon as I squeez'd her
she felt my pulse move
In Sighing Cry'd Stranger
now] you are my Danger
my wounds are incurable
I am in love
So] smart was her tongue
her hair and her gate
with beauty arround
she made my heart ake
She invited me with her
Away she me led
rais'd my inclination
for Bobing in bed
She plac'd me a Chair [5B
all pleasure was there
while close sat my dear
and my finger she press'd
She] Desired me to dine
Call'd Boldly for wine
with all Delicacies
that were of the best
Then dancing and drinking
was all our delight
and Boxing of monkies
through out the long night
With Cannon gate breeches
and bees in my head
which made me pay dearly
for bobing in bed
W]hile sweet sleep did please me [6B
'Twas] then she did Ceause[?] me
and] of Gold they did rob me
and] of watch ring and Box
Wit]hout Cloths or Shirt
they laid me in dirt
with an old nasty Blanket
all lined with Pox
Ag]ainst the whores I swoore
but all was in vain
for every young whore
near knew me by name
In] mean Cloths I walked
and Begging my bread
but Curs'd the Deam'd Britches [bitches?
for Bobing in bed
Y]ou Gallants so pretty [1A
in Countrey and City
attend to my ditty
which to you I tell
It is of my Rambles
and how I have gambeld
and what sad misfortunes
unto me befell
I set out for Edinburgh
with money great score
I never was in that
brave city before
I met with Companions
Moll, Nelly and Peg
who made me pay dearly
for Bobing in bed
While my money lasted [2A
I plenteously wasted
I wanted no pleasure
that e'er could [be had?]
Of dancing and pinking
Carousing and Drinking
with many a turn
at Bobing in bed
Like Molly and nancy
I] did pleasure my fancy'
&] they hurried me round
to Balls and to play
They Confused my Brains
and fired my head
and Constantly led me
for bobing in bed
A]s I walked thro the city [3A
a wench that was pretty
came kindly unto me
I]t being in the night
She ask'd me to treat her
I thought I could eat her
She being so neatly dress'd
?]ys all in white
S]he hurried me into
a Close that was nigh
and unto an Ale house
So Cunning and Sly
The shape of her body
and hair of her head
did give me great fancy
for bobing in bed
A bed and a chamber [4A
Cause I was I Stranger
She made them believe
that whe was my wife
Great Store of good liquor
around we did Bikker [1st letter may not be 'B', but else?]
I never was so blunder'd
before in my life
The Drabs of the house
Our host and his spouse
went spunging about us
our liquor to Swill
When I drunk they did make me [drank, take]
they laid me in bed
I said in the morning
I'd pay the bill
My Punk she came to me [5A
and laid her down by me
I gave her a Guinea
so] our Bargain was made
To] fill my Desire
she gave me the fire
to punish me fairly
for bobing in bed
But while I did sleep
away she did creep
She took away breeches
my money and Cloths
M]y apparrel and treasure
to spend at her pleasure
which made me look Blunt like
among the town Beaus
I was in such slumber [6A
they thought a great wonder
the hostler came to me
by nine in the day
He ask'd for my Britches [Riches?]
or where are my Breeches
my money and Cloths
bing all taken away
Then I scratch'd my eyes
in a sudden surprize
I suddenly found
the Jade she was fled
And thirty brave pounds
she had for a prize
which seemingly pai'd her
for Bobing in bed
I was brought to the Justice [7A
without shoes or Breeches
but wrap't in a Sheet
for to pay for my Sins
There was five pound of lawing [court costs or fine?]
which made me to starve
I wish'd myself down
in the Country again
They demanded my note
which to them I wrote
And Courteously told them
that all should be paid
The] landlord discharg'd me
the Justice enlarg'd me
but bad me keep distance
from Bobing in bed
In] town I'd a friend [8A
who to me did lend
A Suit of Aparrel
and money again
I] being relieved
and my losses return'd
Then home I return'd
with a heart full of pain
I d]eign to take care
my money to Spare
A]nd ramble no more
a]mong the young maids
Th]ough both brisk and jolly
I've paid for my folly
a]t having adversion
for Bobing in bed
finis
A tune "Bob in the bed" is in Walsh's Caledonian Country
Dances, book 4, c 1744, and in Johnson's A Choice
Collection of 200 Favourite Country Dances, III, 1744.
BL MS Add'l 23971 (c 1770) has a "Bob in ye Bed". "Bob in the
bed" is also in Rutherford's 200 Country Dances, c
1756. It proves to be another name for "Planxty Connor". "Planks
of Connaught," in B. Thumoth's Twelve English and Twelve
Irish Airs, n.d. (c 1744). In 6/8 is a copy entitled "The
Belfast Almanach" in Gow's Strathspey Reels, Book 4.
The tune is O'Carolan's "John O'Connor" (O'Sullivan's title), but
is simply called "Jigg" in the incomplete collection of Carolan's
tunes in NLI. O'Sullivan took this collection to be by the Neals,
c 1721, but the recent 'Sources of Irish Traditional Music' puts
it at 1742 or later. After all this, unfortunately, I have not
figured out quite how to set this song to that tune. Perhaps
others can be more imaginative.Fit for any man.
[From NLS MS 6299 f. 48, 1740-50. No tune indication]
Im a pretty maid and I swear by my life
what ever he is that will make me his wife
what ever his calling be, as I am a maid
I'll do my endeavour to work at his trade
With a fal al &c
If] he be a baker I vow and protest
I'll dress his flower, and kneed his paste
so neatly and finely I'l Clip his foll
while he sweeps my oven with his rusaling pole
With my fall al &c
If he be a joyner or any of them
I'll neatly guide his smoothing plane
with my lilly whit hand I'll quide his p[ole
while he with his mell does drive it in [hole
with my fall al &C
If he be a Butcher a jolly young man
I'll stand in his shop while he kills his l[amb
While he whites his knife, I'll hold the stee[l
and guid his pipes while he blows his veal
With my fall al &C
If he be a weaver when in bed
with my soft brush I'll bush his web
while he on my loom so neat and trim
I'll open the shu[?]de where the shuttle goes in
with my fal la &C
If he be a shoemaker poor or rich
his hinde quarters I'll neatly stich
I'll wax his thread so fine with all
while he opens my bore with giggling A[wl
with my fal al &C
If he be a brick layer so they say
that makes his mortar of lime and Clays
I'll mind his business abroad and at hom[e
and I'll clear the places where he lays [?
with my fal, &c
If he be a Brazier when in bed
Into my laddle I'll melt his lead
and close in my arms I will him hold
while he cast his metal in my mo[ld
with &C
I]f he be a Barber spruce and brave
That] deals in hair as well as shave
---]ist learn to leather then never fear [corrupt]
I'll set his razors to a hair
Wit]h my &C
If he] be a soldier
He] shall steer my fort and enter my hold
To] him I have such enticeing Charms
All] to exercise his body while he handles his arms
With] &c
If] he be a Taylor neat and fine
Wi]th his yard I'll gard[?] this cloth of mine
I'll] work on my shop Board without Controul
I'll draw his Buttons to my Button hole
W]ith &c
Ba]ker horner or any of them
A] lawyer, Miller or husband man
Just] say but the word and I'll lay my life
t]hat I am the Girl that will make a Careful wife. &c
[This is more bawdy, but rather similar to "The more Haste, the
worst Speed," Roxburghe Ballads, VII, 141. Text
there is a late issue of a ballad of 1635, somewhat similar to
Martin Parker's "Wooing Maid" of the following year.]THE WIDOW OF WESTMORLAND ['s Daughter]
There was a old widow in Westmoreland,
And she never had a child but ane;
And she prayed, aye, baith nicht and day,
She micht keep her maidenhead lang.
"O haud your tongue, my mither dear,
And say na mair to me
For a jolly young man o' the king's life-guard,
My maidenhead's tane frae me."
"Awa, awa, yr ill woman,
Some ill deathy mat ye dee!
If a jolly young man o' the king's life-guard,
Your maidenhead's tane frae thee."
But she is on to her true-love gane,
As fast as gang cou'd she;
Says, "Gie me back my maidenhead,
For my mammy sair dings me."
He's buskit her, and he deckit her,
And he's laid her on her bed;
He laid her head where her feet was afore,
Gied back her maidenhead.
He buskit her, and he deckit her,
Wi' a rose in ilka han';
And bade her come to Saint Mary's kirk,
To see his rich weddan.
Now she is on to her mither gane,
As fast as gang cou'd she;
Say, "I'm as leal a maiden, mither dear,
As that night ye bore me."
He's buskit me, and he deckit me,
And he laid me on his bed;
He laid my head where my feet war afore,
Gaed me back my maidenhead."
He buskit me, and he deckit me,
Wi' a rose in ilka han';
Syne bade me come to Saint Mary's kirk,
To see his rich wedden."
"O never on fit," her mither said,
"But on hie horse ye sal ride;
And four-and-twenty gay ladies,
Sal a' wak by your side."
"O wha is this," the bride she cried,
That comes sae hie to me?
Is this the widow's dochter o' Westmoreland
Wha gaed hame and told her mammie?
How could she do't, how did she do't,
How could she do't? - for shame!
Eleven lang nichts I lat wi' a man,
But never told that to ane."
"If eleven lang nichts ye've lain wi' a man,
My bed-fellow ye'se never be;
I'll tak the Widow's dochter o' Westmoreland,
Wha gaed hame and told her mammie."
From Kinloch's The Ballad Book. This song was sung
by A. L Loyd, and by Fairport Convention, but I don't know where
the tune came from. Further copies without tunes are in Emily
Lyle's Andrew Crawfurd's Collection of Ballads and
Songs, I, #76, 1975, II, #105, 1996, The
Greig-Duncan Folk Song Collection, VII, #1439, 1997, and a
good recent version with the tune is in Hugh Shields'
Shamrock, Rose and Thistle, #73. The Glasgow Lasses Garland
In Glasgow I hear a great Breaking
The like hath nott been for some Years,
How the Lasses are all gone a packing
Along with the Scots Fuziliers.
Fal, lal, lal, lal, &c.
Soon after they came to Glasgow
Their Colths all to them was made new,
The Lasses did fancy the livery,
The bonny bright Red and the Blue.
Fal, lal, &c.
They went through the Streets of the City
Their Cloths being new they did Shine,
They kissed and clapped so neatly
Made all the young Lasses incline.
Fal, &c.
Mens Daughters of good Reputation
Whose Money was sure every Year,
Have left off their Schools and their Leaving
And follow'd the Scots Fuzaliers.
Fal, &c.
The Stocking-worker and the Twilter,
And her that was learned to sew,
Cries out no Colour are fitting
To her but the Red and the Blue.
Fal, &c.
The Lasses that was at Shop keeping,
They keep'd their Eyes on the Street,
Thinking that they would get the Serjeant,
But the Soldier hath gievn [sic] them the Chear. [?]
Fal, &c.
The Lasses that did Serve the Provost,
The Baillies and Gentles in Town,
With House-keeping they are so weary,
They have chosen to march up and down.
Fal, &c.
The Minister's Lass and her Sister
Cries out that their Ears are put deaf,
With hearing of Reading and Praying
But now sing O! blest Relief.
Fal, &c.
The Lass that serv'd with the Tradesman
Cries out my Heart it will break,
Before I will work at such Slavery,
I'll rather go bear the knap-sack.
Fal, &c.
The Lass that did serve with the Black-smith,
Complain'd that the Study made noise,
And for to be free of that Evil,
The Red Coat they made their Choice.
Fal, &c
The Lass that did Serve with the Taylor
She could not complain of her Toil,
But when she was ask'd this she answered,
Her maidenhead began for to Spoil.
Fal, &c.
The Lass that did Serve with the weaver,
Complain'd that the Looms did her Harm,
But now they are gone with a soldier,
They had better been winding their Yarn.
Fal, &c.
The Lass that did serve with the Souter
Complain'd that the Leather did smell,
But now they are gone with the Red-coats,
They'll soon make their Belly to Swell.
Fal, &c.
The Wrights, the Mason, the Coopers
Their Lasses, as I understand,
Was cri'd for for to Shew they were married,
altho' on another Wife's Man.
Fal, &c.
The Baxters, the Barbers and Fleshers
Their Lasses went out in the Dark,
And there they were clandestinely married,
With out either Parson or Clark.
Fal, &c.
The Lass that abode with her Mother,
I hear for something she did green;
A thing which they had not to give her
I'll warrant you ken what I mean.
Fal, &c.
The Lass that did Serve with the Gardner
And she that the Milk Stoup did bear,
With feeding of Hawkey she's weary,
She's followed the Scots Fuzilier.
Fal, &c.
Now I have made it my Endeavor,
To shew how the Lasses do go
Alongst with the Soldiers from Glasgow
So that every Body may know.
Fal, &c.
Play: All you that love good fellows (London Prentice) BM0.HTM,
B10
All you that love good fellows (London Prentice) BM0.HTM,
B11 The London Prentice
A worthy London Prentice,
Came to his Love by Night;
The Candles were lighted,
The moon did shine so bright:
He knocked at the door,
To ease him of his pain;
She rose and let him in Love,
And went to bed again.
Where his true love did lye;
She quickly gave consent
For to have his company:
She quickly gave consent,
The Neighbours peeping out;
So take away your head, Love
Let's blow the candle out.
My Mistress should it know;
I'll in my Smock step down, Love,
And I'll out the Candle blow;
The streets they are so nigh,
And the people walk about
Some may peep in and spy, Love,
Let's blow the candle out.
Upon the bed do lye;
Injoying one another,
Why should not you and I:
My Master kiss'd my Mistress,
Without any fear or doubt;
And we'll kiss one another,
Let's blow the candle out.
Of what we have to do
Lest that our noise of Talking,
Should make our pleasure rue:
For kissing one another,
Will make no evil rout;
Then let us now be silent
And blow the Candle out.
He could no longer stay;
She strove to blow the candle out,
And push'd his hand away:
The young man was so hasty,
To lay his arms about;
But she cryed I pray Love,
Let's blow the candle out.
The maiden she did blow;
But how the Candle went out,
Alas I do not know:
She said I fear not now, Sir,
My Master or my Dame;
And what this Couple did, Sir,
Alas I dare not name.
All you that love good fellows (London Prentice, Pills) B11,
BM0.HTMDeplorable news from Southwark; Or, the loving Lasses
Lamentations for the loss of their Sweet-hearts.
They sigh, they sob, they sorow and complain,
Fearing their Loves will never come again;
It is the lusty Souldiers as they say,
Have stoln from them their pretty hearts away.
The Lasses now of Southwark
lament and make great moan,
Because from them their sweet-hearts
departed are and gone.
Thare's Peggy, Alce, and Bridget,
and many others more
With howling and with weeping,
have made their eye-sight sore.
The gallant,
Valiant
Souldiers as they say
Have stolen from them their pretty hearts away.
The Souldiers which in Southwark
did quarter here and there,
Each one of them that had sweet-hearts
was constant to his deare;
Both civill in their actions,
and constant in their carriage,
And yet some of the Lasses now
Complain for lack of marrriage.
The gallant,
Valiant
Souldiers as they say
Have stolen from them their pretty hearts away.
To speake of their proceedings,
I hope none will me blame,
The better for to know them,
I will them to you name.
Fair Maudlin she lov'd Martin,
and Joan she loved John,
Winnifred lov'd William,
and Ned was love of Nan.
The gallant,
Valiant
Souldiers as they say
Have stolen from them their pretty hearts away.
Betty she lov'd Robert,
and Dick lov'd Dorothy
Rowland he lov'd Rachael,
and Kate lov'd Anthony;
Sweet Rose she lov'd bold Stephon,
and Hester she lov'd Walter,
And more news of their passages
I mean to speak hereafter.
The gallant,
Valiant
Souldiers as they say
Have stolen the maiden hearts from them away.
Rebeca she lov'd John well,
and George lov'd Margery,
Kester he lov'd Jany:
and Nell lov'd Humphrey
Francis lov'd fair Phyllis,
And Samuel he lov'd Sary,
Debora she lov'd Daniel,
and Thomas he lov'd Mary.
The gallant,
Valiant
Souldiers as they say
Have stolen the damsels hearts from them away.
The bonny brave yound Souldiers are
of late from Southwarke gone,
To quarter in the Countrey,
and left their loves alone:
Who now in dolefull mnanner
doth bitterly complain,
Much fearing that their sweet-hearts
will never come again.
The gallant,
Valiant
Souldiers as they say
Have stole their pretty hearts from them away.
The next news of these Damsels
that I have here to tell ye,
Poore Kate hath got a griping
and rumbling in her belly;
And pretty Nancies Apron
is grown too short before,
And so is Nans and Sarah's,
and many others more.
The valiant
Gallant
Souldiers as they say,
Hath stoln both their loves and hearts away.
Poor Maries nose looks picked,
and so doth bonny Nell;
And Betties under Peticoat,
Strange tales of her doth tell.
Mary is half deceived,
And Debro quite beguiled,
She hath lost her Maiden-head,
and Susan's great with Child
The gallant
Valiant
Souldiers as they say,
Hath stolen from them their Maiden-heads away.
Rose sayes though she hath gotten
no Livings nor no Lands,
Yet if she had her Love again
she would labour with her hands
To keep and to maintain him,
all the dayes of her life,
So he would be contented
to take her to his Wife.
The valiant,
Gallant
Souldier she doth say,
Hath stoln both her heart and love away.
The rest that hath been named,
are all of Roses mind,
And would unto their Sweet-hearts be
both loyal, true, and kind,
So they might have their company,
by day and eke by night,
O that's the thing they wish for,
to have them in their sight.
But the valiant,
Gallant
Souldiers as they say,
Hath stoln their bonny hearts from them away.
To draw to a conclusion,
I wish all Damsels mild,
Both them that have flat bellyes,
and them that are with child:
To beare all things with prudence,
and suffer patiently,
And buy each one a Hand-kercher
to wipe her wet eyes dry.
And when your
Sweet-hearts
Come to you again,
They'l use a means to cure you of your pain.
Be not too heavy-minded,
but thus I'd have you pray,
That those which stole your hearts from you
and carryed them away,
May come again with safety,
and make you all amends,
To marry you and love you,
and so my Ditty ends.
The valiant,
Gallants
Hath stoln your hearts away,
They'l bring them home again another day.
Printed for Tho. Vere, at the Angel, without Newgate.
It being the Sorrowful Ditty of Fifty Young Damsels of Southwark,
who lately lost their Maiden-heads with those Valiant Souldiers
lately Quartered in that place. Go to the kie with me Jonny
Well met my charming creature [Jonny
thy face I have longed to see
I request it of thy favour
to go to the kie with me
Go to the kie my jonny [incomplete chorus, see end of
and I will be merry with thee [last verse
Had I a chest of Gold [Jonny
and another of wheat money
Had I a pocket of Guinneas
my dearest should carry the key
Go to the kie &c
I have a house to build [Jonny. This in Herd/SMM text
and another thats like to fal
I have a lass now with bairn
that grieves me worst of all
Go to &c
And] if she be with bairn [Jonny sings, ending Herd/ SMM
A]s I trow she be [version
I have an old wife at home
w]ill deandle it on her knee
go the the kie &c
I am a messenger peggy [Captain Ogle singing?,
and I'm sent from John Sim [see 2nd verse following
and if you'll not send me ten pound
to morpeth Goal I will send him
go to &c
I]t fills my heart with sorrow [Peggy>
to hear such news from him
She presently fetched ten pounds [Narrative
which got liberty from John Sim
go to &c
--]t when she came to Hexam [Narrative
a]nd walking down the town
She waited on Captain Ogle
to loose jonny from the Dragoon
go to &c
W]ill not you let him go free Captain [Peggy sings
will you not let him go free
will you not let him go free Captain
here are ten pounds for thee
go to &c
If you go [in]to the Dragoon[s] jonny [Peggy, but verse out of
I'll go along with thee [place. Johnny already
and if I be not with bairn [in Dragoons
I'll fight for the manfully
go to &c
Have I not kissed thee jonny [Peggy
have I not been free with thee
have I not kissed thee jonny
th'wert always welcome to me
go to &c
Thou hast a dimple in thy cheek [Peggy
and another upon thy chin
thou hast a black rowling eye
but thy heart is hollow within
go to &c
Was I not kind to thee Jonny [Peggy
and was I not kind to thee
have I not pawned my cloaths
and spent all my money with thee
go to &c
The Cow is but a stranger [Peggy, but what a
the calf it shall go free [curious verse!
we'll drive the cow to a corner
she'll suckle the calf for thee
go to &c
I] have waded the water [Peggy
and I have swim'd the sea
and I have done more for jonny
than Jonny can do for me
go to &c
Why may not I love may love [Peggy
why may not he love me
why may not I love my love
but his friends and I'll never agree
go to &c
--]ld chikens shall be for Jonny [Peggy
and butter and eggs for me
and I will kiss my dear Jonny
Who is always welcome to me
go to &c
Jo]nny has a wife and bairns [Peggy
who're coming over the main
and I would gladely be forsaken
if I had my money again
go to &c
W]ho cares for her now laddie and [Narrative
who can care for her now
The lassie that was forsaken
has gotten sweet hearts anew
go to &c
Now here's the ten pound for peggy [Jonny
now heres the ten pound for thee
I never did promise to marry
nor never intended with thee
go to &c
Young man pray leave of[f] your flattery [Peggy, but non seq.
Your compliments will not agree [It would fit better
yo[u] slight me by praising my beauty [following the 1st v.
I'll not go to the kie with thee
Go to the kie with me jonny
and go to the kie with me
go to the kie with me jonny
and I will be merry with thee.
The above is an unpublished text from NLS MS 6299, compiled
between 1740 and 1750. Three verses with tune are in SMM, #135,
with text very slightly altered from that in Herd's
Scottish Songs, II, 203 (1776 and reprint). The
first verse there is not in this version. SMM expurgates a line,
having an old mither, not an old wife at home, who will dandle
Jonny's and Peggy's baby.
Gang to the Koe wi me Hinney, gang to the Kie wi me
For why may I not love my Love, why may no she Love me [Not
Scots
Why may I not love my Love as weel as another body [version
Why tho I've a house to build, another that's like to faa,
What tho' Ive a Lass wi bairn, that pleases me warst of au
What if she proves wi bairn, as I do trou She be.
I hae an auld Wife I ken, that will dandle it upon her knee
Then gang to the Kie, &c as above.
Came you not from Newcastle?
Came yee not there away?
met yee not my true love
ryding on a bony bay?
why shold not I love my love?
why shold not my love love me?
why shold not I love my love,
gallant hound sedelee?
An I have Land att Newcastle
will buy both hose & shoone,
and I have Land att durham
will feitch my hart to boone;
and why shold not I love my love
why shold not my love love me?
why shold not I love my love
gallant hound sedelee?
[I've no explaination to offer for the meaning of "gallant hound
sedelee," and I've not seen anyone else offer one. I seem to
remember seeing these last four lines elswhere, but with the last
given as "Since love to all is free."]The Highlander's farewell to bonny port more
My heart's in the Highlands
my heart is not here
my heart's in the Highlands
a chasing the deer
and following the doe
my heart's in the Highlands where [ever I go
[Chorus]
Oh bonny portmore
thous shines where thou stands
the more I look on thee
the more my heart warms
but when I look from thee
my heart is full sore
--]think on the lilly I left in port more
There's many word spoken [Older verse, see note below
and few is the best
and he that speaks fewest
lies longest at rest
I speak by experience
my mind serves me so
and the far side out and I know what I know
When I was in Scotland
--]and plaids of the New
--]but now I'm between
--]to the Irish shore
--]Adieu Londonderry and pleasant portmore
[Cho.]
--]bonny port more
--] thou shines where thou stands
--]the more my heart warms
but when I look from thee
my heart is full sore
--]think on the lilly I left in port more
--]Bilb is magarby [?]
--] down by merry glen
--]in ly Temple Patrick
and led by the train
I led by the train
and Down by the shore
So] adieu Londonderry and pleasant port more
[Cho.]
Bonny port more
thou shines where thou stands
the more I look on thee
the more my heart warms
but when I look on thee
My heart is full sore
to think on the lilly on pleasant port more
You Scotsman always
you may be sad
port more was the freest hold
that ever you had
that ever you had
but now it is sold
and alace therefor
and adieu Londonderry and bonny port more
As I came in by
the bonny belfast
the tears in my eyes
they did run down fast
they did run down fast
with sorrow and woe
my heart's in the highlands where ever I go
O Donally Donally
where has thou been?
a hunting, a hawking
gar make my bed soon
gar make my bed soon
and stir up the stro
My heart's in the highlands wher[e ever I go]
As I cam by
the bonny big Bam kan [?]
my hat on my head
and my Kain in my hand
if I had but money
as I had before
--]Thousand pound should not buy bonny port[more
[Cho.]
O] plesant port more
thou shines where thou stands
the more I look on thee
the more my heart warms
but when I look on thee
my heart is full sore
I] think on the lilly I left in port more
H]ere's a health to my truelove
farewell to my dear
Here's a health to my truelove
farewell to my dear
Here's a health to my trulove
farewell to my dear
and a bunch of green Ribbons my deary shou[--
The song here, whether Scots or Irish, is from a Scots
manuscript collection of English, Irish and mostly Scots songs, c
1740-50 (binding obscures some text). The selling of Portmore in
verse five, with some historical research, should serve to date
the song closely. A song to the tune of "My Heart's in the
Highlands" in a Scots chapbook of 1747 serves to establish a
terminal date for our song here.
The tidings came to me from fair Derry town,
That my love was married, and to my sad woe;
And I lost my first love by courting too slow.
Let us drink and go hame, drink and go hame,
If we stay any longer, we'll get a bad name;
We'll get a bad name, and we'll fill ourselves fou,
And the strong walls of Derry it's ill to go through.
To wear a blue bonnet, the plaid, and the trews,
Bur now since I'm come to the fair Irish shore,
Adieu Valendary and bonny Portmore.
Let us, &c.
The more I look on thee, the more my heart warms,
But when I look from thee, my heart is full sore,
When I think on the lily I lost at Portmore.
Let us, &c.
A hawking and hunting; gar make my bed clean,
Go make my bed clean, and stir up the straw,
My heart's in the Highlands wherever I go.
Let us, &c.
My heart's in the Highlands, a chasing the deer,
A chasing the deer, and following the doe;
My heart's in the Highlands wherever I go.
Let us, &c.
And he that speaks fairest lives longest at rest;
I speak by experience - my mind serves me so,
But my heart's in the Highlands wherever I go.
If we stay any longer, we'll get a bad name;
We'll get a bad name, and we'll fill ourselves fou,
And the strong walls of Derry it's ill to go through.
Note 1, (verse two): This verse is from an an old English
broadside ballad, "Few Words are best". Euing Collection, #123,
is a late edition by Wm. Gilbrtson, c 1655. Entered in the
Stationer's Register June 20, 1629, under this short title.
Roxburghe and Manchester Collection copies, both printed by
the assigns of Thomas Symcocke (before July, 1629) are entitled
"Come, buy this new Ballad, before you do goe: If you raile at
the Author, I know what I know." (Rox. copy in Roxburghe
Ballads, I, p. 116.) These all commence "It is an old
saying that few words are best," the burden being "I know what I
know." The tune for this is unknown.
S1, HARTHGH2, Bonny Portmore, from Bunting, edited, but
less than usually necessary. The West-Country Jig,
to the tune of Up with Aley, Aley. The West-Country Jigg:
Or, A Trenchmore Galliard
A Merry makeing, like Birds of a feather;
Here's Sam, and Sawney, gentle James and jonny,
With Moll and Moggy, and those Girls so bonny:
Where they had store of Mirth, and mickle laughter:
Therefore observe it for the best comes after.
Jack's a naughty Boy
for calling his Mother Wh...
I'le tell you the reason why,
because she was one before:
Then up with Aley, Aley,
up with Frank so free,
In came wanton Willy,
and smuggl'd them hansomely.
Four and twenty Lasses
went over Trenchmore Lee,
And all of them were Mow'd,
unless it were two or three
The up with Aley, Aley,
up with jumping Joan,
In came wanton Willy,
and then the game went on.
Jonny he plaid with Jenny,
and Jenny she plaid with Jock;
And he pull'd out a Guinney,
to buy her a Holland Smock:
The up with Aley, Aley,
up with Sue, and Siss,
And in came wanton Willy,
and then they Mump and Kiss.
Willy he teuk up Moggy,
and askt if she would Dance,
But oh! how she did Simper,
with many a wink, and glance:
The up with Aley, Aley,
up with Bess so Brown;
In came wanton Willy,
and tumbl'd them upside down.
The piper he struck up,
and merrily he did play,
The shaking of the sheets and eke the Irish hay:
Then up with Aley, Aley,
up with Priss and Prue;
In came wanton Willy,
amongst the Jovial crew.
The Awd wife she came up,
and she began to Mutter,
I think you're all grown
you make so great a clutter:
The up with Aley, Aley,
up with Doll, and Jane.
In came wanton Willy,
and Kist them over again.
The Coague of Ale went round,
and each one drank a Health,
Their sorrows for to drown'd,
they took no care for wealth:
The up with Aley, Aley,
up with mincing Nan:
In came wanton Willy,
and prov'd himself a man.
The Parson of the Parish,
he left the Kirk in haste,
For at this merry meeting,
he would not be the last:
Then up with Aley, Aley,
up with Kate, and Joyce:
In came wanton Willy,
and there he took his choice.
And thus with nappy Liquor,
their senses they did warm,
It made their wits the quicker,
they thought not any harm;
Then up with Aley, Aley,
with bonny Bridget too;
In came wanton willy,
and he began to Wooe.
Deale faw my lugs, quo Jammy,
My Friends I pray now hark
Let us conclude a Wedding,
to make the Parson wark:
Then up with Aley, Aley,
up with Sarah, and pegg:
In came wanton Willy,
and there he danc't a Jigg.
The bargain was agreed,
that Billy, he should have Bess,
And so they sent out Harry,
for to invite the Guess:
The up with Aley, Aley,
up with Gillian fair:
In came wanton willy,
and them twa made a pair.
Now with this jovial Wedding,
I do conclude my Song,
And wish that Trenchmore Lasses,
they may live merry and long:
The up with Aley, Aley,
up with the merry train:
We will all be merry,
if e're we meet again.
Play: B480, 481 We're gayly yet
Sung by Mr. Beard
We're gayly yet, & we're gayly yet
& we's not very fow but we're gayly yet,
then sit ye a while and tipple a bit
for we's not very fow but we're gayly yet
There was a Lad and they cau'd him Dickey
He ga' me a Kiss and I bit his Lippy
Then under my Apron he shaw'd me a Trick
And we's no very fow but we're gayly yet
And we're gayly yet &c
There were three Lads and they were clad
There were three Lasses and them they had
Three Tree in the Orchard are newly sprung
And we's a git geer enough we're but young
And we're gayly yet &c.
[to 2nd part of tune]
Then up went Ailey Ailey up went Ailey now
Then up with Aily Quo Crumma, we's a get Roaring fow
And one kiss'd in the Barn, another was kiss'd on the Green,
And t'other behind the Pease Stack,
'till the Mow flew up to her Ey'en.
Then up went Ailey, &c.
Now fye John Thompson run
Gin ever ye run in your life
De'el gat ye but hye my dear Jack
There's a Mon got to Bed with your Wife
Then up went Ailey &c.
Then away John Thompson run
And Agad he ran with Speed
But before he had run his length
The false Loon had done the deed
Then up went Ailey &c.
End with the first Verse [to 1st part of tune]
Play: GAYLYYT1, 1st part from single sheet copy
GAYLYYT2, 2nd part from single sheet copy
The Lords of Justice by a Trick
Have Lately hang'd the ablest prick
Was ever born
Had he been Left alive they fear'd
That on there heads he might have rear'd
John Thomsons horn
Now Pluto tye thy garters fast
Else thou mast wear the horns at last
If Daniel mingle
With Proserpine And Let her know
But half the vigour he did show
To Mistress Pringle
Go to Index[Moggy Lawder]
There liv'd a Lass in our Town,
Her name was Moggy Lawder,
And She would fain have plaid the Loon,
But durst not tell her father;
Now She's forgot her Father's fear,
And on the same did venture,
And afterwards as you shall hear
A Lad did oft frequent her.
Now Moggy Lawder on a Day,
A Barber Lad did meet her,
Both Joy and Heart to her did say,
And kindly he did greet her:
My dear let me get thee with Bearn,
And Ise shall be it's Father,
And you'll be Mother of the same,
My bonny Moggy Lawder.
Sweet-heart to him she says indeed,
And so did fall a weeping,
I'm wearied with my Maidenhead
While I have it in keeping:
But if thou'lt true and trusty be,
As I am Moggie Lawder,
Ise then will give it unto thee,
But do not tell my Father.
For if my Father hear he same,
Right fore he will abuse me,
But I think long to try the Game,
Therefore I'll not refuse thee:
But first protest to marry me,
To be my Baby's Father,
And be a Husband unto me,
Bonny Moggy Lawder.
My Dear says he indeed I am,
Unto my Trade a Shaver,
And there is not a living Man,
Can call me a Deceiver;
Yea surely I will marry thee,
And be thy Baby's Father,
And thou shalt be a Wife to me,
My bonny Moggie Lawder.
And then to her he gave a Kiss,
Saying, Dear, how shall I please thee,
Be sure I will do more than this,
And of thy troubles ease thee:
And all along upon her Back,
He laid poor Moggy Lawder,
Gave her a Scope upon her dope,
She durst not tell her Father.
With Kisses and Embraces then,
In Peace and Love they parted,
And did appoint another time,
To meet there loving hearted:
And with a merry Heart's content,
With what the Lad had gave her,
Rejoycing homeward as she went
She sung the jolly Shaver.
But now the Seed that late was sown,
Is become a springing,
And she is melancholly grown,
And has left off her singing:
And often in her Heart could wish,
That she had been a Callder,
For Edinburgh is filled with
The talk of Moggie Lawder.
"Maggie Lauder" is a familiar Scots song. Less familiar is the
earlier "The Scotch Lass's Lamentation for the Loss of her
Maiden Head" in A Collection of Old Ballads, II, p.
258-60, 1723, the source of the text here. The tune is given as
"Moggy Lawther" in The Quaker's Opera, 1729, (where
all but the leading and last two notes are dotted eighth and
sixteenth pairs) and "Moggy Lawther on a day" in The
Begger's Wedding, 1729. This last title is from the second
verse of the song, and shows what song was known to Londoners by
that title. In 1730 the tune appeared in the ballad opera
Patie and Peggie, and in A. Craig's A
Collection of Scots Tunes. The tune also appeared in four
later ballad operas, The Highland Fair, 1731;
Achilles, 1733; The Decoy, 1733; and
The Whim, 1734. It is subsequently found in several
Scottish tune collections.
S1, MGYLWDR2, Moggy Lowther, Quaker's Opera, 1728
S1, MGYLWDR3, Moggy Lawther on a day, Beggar's Wedding,
1729
Note, compare the last here with ALYCRKR2, above The Patriarch.
Tune - The auld cripple Dow.
As honest Jacob on a night,
Wi' his beloved beauty,
Was duly laid on wedlock's bed,
And noddin' at his duty.
Tal de dal, &c.
How lang, she says, ye fumblin' wretch
Will ye be f-----g at it?
My eldest wean might die of age,
Before that ye could get it.
Ye pegh, and garne, and groazle there
And mak an unco splutter,
And I maun ly and thole you here,
And fient a hair the better.
The he, in wrath, put up his graith,
The deevil's in the hizzie!
I m-w you as I m-w the lave,
And night and day I'm bisy.
I've bairn'd the servant gypsies baith,
Forgive your titty Leah;
Ye barren jad, ye put me mad,
What mair can I do wi' you.
There's ne'er a m-w I've gi'en the lave,
But you h'ae got a dizzen;
And d--n'd a ane ye'se get again,
Altho' your c--t should gizzen.
The Rachel calm, as ony lamb,
She claps him on the waulies,
Quo' she, ne'er fasha woman's clash,
In trowth, ye m-w me braulies.
My dear 'tis true, for mony a m-w,
I'm your ungratefu' debtor;
But ance again, I dinna ken,
We'll aiblens happen better.
Then honest man! wi' little wark,
He soon forgat his ire;
The patriarch, he coost the sark,
And up an till't like fire!!!
The song is by Robert Burns from The Merry Muses of
Caledonia. The chorus is not given in full in the
Merry Muses. The tune does not seem to have been
previously identified. The tune here, "The Auld Criple Dow,"
given complete, is from D[avid] Rutherfoord's Twenty Four
Country Dances for the Year 1758, p. 11 [1757-58]. Such
collections were usually published a few months before the start
of the year named in the title. With the possible exception of a
tune "Fair and Lucky," Rutherfoord's collection, although
published in London, consists entirly of Scots tunes. Many Scots
tunes that were never published in Scotland may be found in
collections of English country dance tunes. The Thompson and
Rutherford families and Wm. Campbell, (and some of the Gows), all
country dance music publishers, were of Scots extraction.
A squyar and ane madin bricht
Vn till a chalmer fast thame sped
But ony vthir erdly wicht
allone to mak the lairdis bed
he braist hir in his armes & said
Wald ye your schankis lat me sched
Ye suld by myne & thairin laid
and we durst [not] spill the lairdis bed [spoil
and graipit dounwart ye wait quhair [ye know where
Qot he this mowth wald fane be fed
he sicht and his hart was sair [sighed
& durst not spill the lairdis bed
Qot he the laird will not be fane [quoth
To fynd it towit and ourtred
q scho I sall mak it agane [quothe she]
and ye wald spill ye lairdis bed
That I micht speik & no thing spair
q scho ye ma haif me vlned
Suppoiss it war ane myill and mair
Wt yow to spill the lairdis bed.
Wer not for fyling of your clayis [defiling clothes
quhat rek q scho I am weill cled
Ye ar our red for windil strayis
That dar not spill the lairdis bed
his doinges wes not wirth a leik
ffy on him fowmart now is he fled
and left the madin swownying seik
and durst not spill the lairdis bed Pretty Peggy Benson
There lived not far from our town
Slow Willie Stenson
And he would fain a plaid the loon
with pretty Peggy Benson.
It happen'd on a summers' day
That slow Willie Stenson
As he was abroad a cocking of hay
With pretty Peggy Benson.
'My dear, I fain would lay thee down,'
Says Slow Willie Stenson
'But I fear I shall spoil your holyday gown,
My pretty Peggy Benson.'
'Then lay me down, and spare me not,
Thou slow Willie Stenson.
My holyday gown cost thee not a groat'
Says pretty Peggy Benson.
I'll straight step home and fetch my cloak'
Says slow Willie Senson.
Meantime came another and plaid the joke
With pretty Peggy Benson.
'I wish my cloak had been in the fire'
Says slow Willie Stenson
'E'er I had lost my heart's desire,
In pretty Peggy Benson.'
"Then come again some another day,
Thou slow Willie Stenson
I'll skim off the curd and give thee the whey,'
Says pretty Peggy Benson.
Text above from The Encyclopedia of Comic Songs,
London, 1819. There are many other copies dating from
"Oppertunity Lost" of the 17th century. [Reprinted in Leslie
Shepard's The History of Street Literature, p. 160,
1973. Two single sheet editions with music appeared in the 18th
century.
The next time you ask me in Conscience I'll try't
Upon which he ran off & come near me no more
What the Devil is the puppy afraid of a whore
He's been poxed to the teeth & is not fully cur'd
Tho' he's hand some & young I'll venture to say
he's a bad woman's man yt will take the first nay
he yt wins me must do it again & again
Then Adieu let him go for I never will vex
O'm sure to be askt for there's more of the sex The Holland Smock
As I went forth to take the air
and in the month of May
beside the pleasant chrystal stream
the woods being green and gay
Beneath a pleasant myrtle tree
a comely Damsel I did see-- with ah[-
and her coat above her knee
her stockins was of the finest silk
and of a lovely green
and tho' the same her shin did l[?--
most pleasant to be seen
I] stood amazed at the sight
to see my charming maid so bright wtal
it did my soul Delight
H]er Garters was of Ribbend Red
and lie'd above her knee
and as she lay on her mossie bed
--] most pleasant for to see
the] blustering winds blew up her cloths
and all her secrets did disclose, it ahape[?]
and there I spy'd a rose
I] was full loath to wake this maid
out of her tender sleep
I stood amaz'd at the sight
but still my flesh did creep
I [at] length said I fair maid comply
and let me down by you to ly, it aha[?]
it will increase my joy
--]h'd the Dial of her clock
and well I did it like
but it wanted a hammer and a cock
before that it could strike
then underneith her Holland Smoke [sic]
I] in her Dial fixt my cock, its aha[?
and the hammer went nick nack
In setting of her clock in tune
I wakened this fair maid
and blushing like the rose in June
these words to me she said
O! treacherous man what brought you he[re
your instrument have she[?]d my hair, w[--
you have ruin'd me I fear
Fair maid said I be not affraid
for I know thy clock goes right
I am a clock maker to my trade
and I've set your Dail right
O then said she if you'll go with me
five hundred pound shall be you[r fee, ---
and so they both agree'd
Go to IndexSupper is na Ready
Roseberry to his lady says,
"My hinnie and my succour.
"O shall we do the thing you ken,
"Or shall we take our supper.
Fal lal, &c.
Wi' modest face, sae fu' o' grace,
Replied the bonny lady;
"My noble lord do as ye please,
"But supper is na ready.
Fal lal, &c.
Play: S1, CLTCLDN
My dear shall we sup first, or do you know what?
With an innocent smile, reply'd the good Lady,
Sr John as you please, - but Supper's not ready.
shall we now go to Dinner or to you know, to you know what,
with a Languishing look reply'd, reply'd the good Lady
Sr John what you please, for your Dinner, your Dinners not
ready.
but Sweet good Sr John, Sr John bent thus given to wallow
if you Stir but up Stairs, I protest, I protest I must follow
Now tuck the Feet, now place the Head;
I'll Kiss you, if you don't bestir ye:
Quoth Meg, I can't abide to hurry.CLOUT THE CA'DRON.
[Clout the Caldron, from NLS MS 6299 f. 144.]
--]f she could not get him when she would but took him now and
then
WI]th a fa dadree &c
--]s bad him become a tinkler before any other thing
with a fa &c
He] got his budget on his back his apron on with speed
with a fa &c
Lon]g pyk staff into his hand like to his occupation
Wit'h a faa____&C
A] leatheron wallet on his back his breeches rent & torn
W]ith a fa &c
So] he like a lusty tinkler came louping over the lea
wit]h a fa &c
The] porter he cam to the gate who knocks so rudly [there
With] a fa &c
If] you['ve] any broken pots of pans pray bring ym down to me
Wit]h a fa &C
rise up my lusty butler and give my tinkler drin[k
with a fa &c
I never saw a tinkler good offers to refuse
with a fa &C
She took the tinkler by the hand his work to him to [show
with a fa &C
but he would not ca' a nail to her down of a hundred [mark
with a fa &C
to let her weded lord to know the tinkler was at work
with a fa &c
for there is not a tinkler in all the land has such a stiddy
[cock
with a fa
I never did get such a heat upon a ca'drons arse
With a fa &c
but did not tell him any thing yt in ye dark befell
With a fa ---
He] takes ha'f a mark for every nail the truth if you will
hear
Wit]h a fa &C
B]y faith then says the lord I'd better buy a new ane
Wit]h a fa &C
befor]e that he came back again she got the other touch
Wi]th a fa &c
For] there's not a month in all the year but our ca'dron will
need mending
Wi]th a fa &c
When she saw a highland tinker p--g up against the wall
With his dirty great kidney-wiper and b--s the size of three
And half a yard of parkin hanging down below his knee.
She rather would be f--d by a tinker than her husband any
day,
With his &c.
His p--k began to fester and his b--s began to bleed,
With his &c.
With his p--k flung over his shoulder and his B--ks by his
side,
With his &c.
God save us, said the butler, he has come to f--k us all.
With his &c.ffolowis the ballet maid vpoun Margaret fleming callit the
flemyng bark in Endinburt.
[by Robt. Sempill. Bannatyne MS,
1567]
Off clenkett work but scho is wicht
Quhat pylett takis my schip in chairge
Mon hald hir Clynlie trym & tickt [Must hold her clean, trim,
&
Se that hir hatches be handlit richt
Wt steirburd baburd luf & lee
scho will sale all the wintir nicht
And nevir tak a telyevie.
Scho is richt fairdy wt a sail
Bot at ane lufe shoe lyis behind
Gar heiss hir quhill hir howbandis skaill [heis?]
Draw weill the takill to hir taill
Scho will not miss to lay yor mast [mast -
penis]
To pomp als oft as ye may Haill
Yeill nevir hald hir watterfast
And talloun quhair the flud mark flowis
Bot gif sho lekkis gett men of skill
To stop hir hoilis laich in ye howiss [hole laich ? in
house]
ffor falt of hemp Tak hary towis
Wt stane ballest wtowttin vder
In moneless nichtis It is na mowis
Except and stowte man hir ruder
And is bot laitly reiket to
Quhairto till deif yow wt tome clatter
Ar nane sic in the floit as scho [in the flight as she]
Plvm weill the grund quhat evir ye doo [Plumb well the
ground..]
Haillon the suksheit and the blind
Scho will take in at cap and keo
Wtowt scho ballast be behind
Althocht his travell scho sowld tyne
Na coukeald karle nor carllingis pet [No cuckold
carle(man)..]
that dois thair corne and caitell cryne [or farmer..]
Bot quhair scho findis a fallow fyne.
He wilbe frawcht fre for a souss [bought for a sou]
Scho kareis nocht bot [for] men & wyne
And bulyoun to ye counye houss [Coney, rabbit; slang, vagina]
Bot nane sic as I wald desyre
And I am layth to mell wt ony
To leif my mater in the myre [leave my mother in the mud,
mire]
That man that wirkis best for his hyre
Syne he salbe my mariner [Then he shall be...]
Bot nycht & day mon he nocht tyre [...must he not tire]
That sailis my bony ballinger
I pray you cast the leidlyne owt [leadline]
And gif ye can nocht get the grund [touch the bottom]
Steir be the compas and keip hir rowt
Syne treveiss still and lay a bowt
And gar hir top twiche wind and wave [twixt wind and
wave/water]
Quhair aker dryvis thair is na dowt [ anker, anchor; -penis]
Abydand on sum merchand blok
Bot be scho Emptie be our leddy [by our Lady/ Virgin Mary]
scho will be kittill of hir dok [careful of her - dok -
dock?]
scho will ressaif na landwart Iok [receive no ladlubber
Jock]
Thocht he wald frawcht hir for a pound [would pay her a
pound]
Thus fair ye weill, sayis god Iohine cok [tailor of
Edinburgh
Ane nobil telyour in this town [Johnny Cock, or Coke]
And leive my pretty pinnage to yor guyde [pinnace]
Look wele about yow lippen hir to none
But to your selfe and be ay streight besyd
And namlie at ane anker in the night
Bot quhen ye wey rekin wele yor tyd [reckon well
your tide]
And qn ye shoot alongis the shoar keip
syt
Heis[t] vp your foirsaill to the hivins on hie
In with your bot and boldlie bound for sie
Hald vp hir helme hardlie to the wind
And stand not for a glass, steir three or four
Rather then ony vther enter in
Bot fra ye feill yor bowling once begin
To mak forfalded flapping on the mast
Cast lous the fuksheit, the bonnet, and the blind
Let hir ly by, ye must abyd the blast
And qn ye feill yt all the perill is
past
And yt the wind is rowine let her stryk to
Beir vp of new wt courage yet avast
Surmount no farder yn your courss can do
If she be laik it may be soon espyed
The pompstaff and the maner holls will tryit.Andro's Cutty Gun.
The spirited tune of the following Scots ditty was published c
1754. The song was printed in the 1740 editon of Ramsay's
Tea Table Miscellany, and was copied into NLS MS 6299
before 1750 as "Andro's Cutty Gun". (tune well known)
Blythe, blythe, and merry was she,
Blythe was she but and ben, [in and out]
An' weel she lo'ed it in her nieve,
But better when it slippit in.
When a' the lave gaed to their bed,
And I sat up to clean the shoon,
O wha think ye cam jumpin ben,
But Andrew and his cuttie gun?
Or e'er I wist he laid me back,
And up my gamon to my chin;
And ne'er a word to me he spak,
But liltit out his cuttie gun.
The bawsent bitch she left the whalps
And hunted round us at the fun,
And Andrew fodgel'd with his arse,
And fir'd at me the cuttie gun.
Blyth, blyth, &c.
O some delights in cuttie stoup,
And some delights in cuttie-mun,
But my delights an a--elins coup,
Wi' Andrew an' his cuttie gun.
Blyth, blythe, blyth was she,
Blythe was she but and ben;
An' weel she loed it in her nieve,
But better when it slippit in.
Go to IndexYoung Roger's Conquest.
[From NLS MS 6299, f. 165v. c 1745.]
Down Roger laid me & raised my duds & all
fumbled in hast & bedevill'd my city wall
all my best play was to brace fast or scratche
But my hands did fail me & shame would not let me [last
O the deep tragical comical pretty game
O the sweet engine that gallantly acts the same
O the soft prolific tub[e] that I will not name
& the Catholicon that Cures each sickly Dame
The engine fell playing & razzing my Rampa[rt
hand grander yearing & coasting my little F[ort
But all in vain I made him with losses sur[--
and in front sneak away from my garrison
O the deep
He rally'd I play'd, we both panted strove & fou[ght
to force, and I to defend the fort
I] grown impatient unable to stand his shot
o]pend wide my gates an pray who would have t[hought
O the deep
I fr]om the bold Hero received my passage free
He] enter'd the breach with an air of barbarity
-]nunag'd and rag'd & most eagerly plunder'd me
Wh]ile I lay quacking thrust up as frog should be
O the deep
O] the Dear traytor repeated each lusty hit
He] cannonaded the pleace would have hindered it
H]it is so fairly the Bakers round Dozzen trip
Wh]ile I falter'd lay seiz'd with a sobbing [--?
O the deep
He-]inch'd it so fairly so squarely so cleverly
--]nk'd the foundation so fairly so shockingly
--]t could say was I swear you will murder me
--]tch wund Bowl easy pose[?] take you, ye'll smother me
O the deep
--]when the seige rais'd & he was quite spent & gone
--]lled of ease thee, my frame did then thrill oun
I regaleed it & feasted on lovely man
in the end of the fray I have the battle won
O] sweet tragical comical pretty
The tune "Kiss me quick my mother's coming," Merry
Medley, 1744, doesn't seem to fit this. A variant version
is in Kane O'Hara's Midas, 1764. A different tune,
"Kiss me fast my Minnie's coming", in book 2 of the Gow's
Complete Repository doesn't seem to fit either. The Young Maid's Resolution.
[From NLS MS 6299, f. 49v. c 1745.]
down by a river side, he spie'd a servant
a young maid he did meet none would persw[ade her
but she would go along with him forever
I'll wait upon my dear both late & [early
and this was all her song, none would persw[ade her
but she would go along with him forever
here stands your left hand man front as you [?
pull out your scouring stick tho' it be lar[ge?
and use your motions quick come dainty [--
at her he match'd his cock & then he di[d strike
and she did slow her pace at his desire
He] like a valiant man strok and gave fire
Hav]e at me once again I do intreat ye
He] took her by the hand & thus he spoken
M]y cock it will not stand the spring is broken
Th]en we can play no more till it be mended
Tha]t by this unhappy shot I greatly fear sir
I'l]e have a young son got a volunteer SirMoss and his Mare
The last line of Act III of Shakespeare's A Midsummer Night's
Dream reads, "The man shall have his mare again and all shall go
well." The tune "The man shall have his mare again" is in J.
Oswald's Caledonian Pocket Companion, Book 12, c
1760.
Your tresses finely wrought,
Like to a golden snare,
My lovinge harte has caught--
As Mosse did catch his mare.
A broadside ballad, "The Praise of a Pretty Lass," c 1620-30,
gives us Moss's trade and the mare's name:
I am caught as the miller did catch his mare Brock.
In "The old Ballet of shepheard Tom," we find:
Say on a tree she may see her Tom rid from all care,
Where she may take him napping, as Mosse took his mare.
A poem in RUMP, 1662, commencing, "Britain's a
lovely Orchard," ends:
Be wise then in your Ale, bold youths, for fear
The Gardner catch us as Mosse caught his mare.
In a broadside ballad, "The Young-Man's Ramble," c 1682, part of
verse 9 goes:
And Cupid catch'd young Sarah napping,
as Moss by chance did catch his Mare:
In another, "A New Merry Medley," printed by P. Brooksby,
1688-1695, is a further allusion. In verse 5 we find the line:
Pritty Sue was catcht Naping, as Moss catcht his Mare.
There are others not quoted here. In addition, several Scottish
versions of the song are known from as far back as 1825.
Moss and his Mare.
For kicking and for sprawling, none could her come nigh;
She could trot, she could amble, and could canter here and
there,
But one night whe strayed away - so Moss lost his mare.
And round about the frosty fields so nimbly he did creep,
Dead in a ditch he found her, and glad to find her there,
So I'll tell you by and by, how Moss caught his mare.
Arise you beast, you drowsy beast, get up without delay,
For I must ride you to the town, so don't lie sleeping there;
He put the halter round her neck -- so Moss caught his mare.
but if th'wilt have me love tell me now,
thou'st have ye skin to make ye a frook,
cloute leather never so deare, I cannot come every day to
wooe. MACKPHERSON'S RANT;
OR,
The last words of James Mackpherson, Murderer.
I spent my time in rioting,
Debauched my health and strength;
I pillag'd plundered, murdered,
But now, alas! at length
I'm brought to punishment condign,
Pale death draws near to me:
The end I never did expect
To hang upon a tree.
To hang upon a tree, a tree,
That curs'd unhappy death!
Like to a wolf to worried be,
And chocked in the breath.
It makes my very heart to break
When this I think upon,
Did not my courage singular
Bid pensive thoughts begone.
No man on earth that draweth breath
More courage had than I,
I dar'd my foes unto the face,
Knew not what 'twas to fly.
A grandeur stout I did keep out
Like Hector manfullie.
Then wonder all that such a spark
Should hang upon a tree.
The Egyptian band I did command [Gypsies]
With greater sway by far
Than ever did a general
His soldiers in the war.
Being fear'd by all, and spar'd by all,
I liv'd most joyfullie,
But ay pox take this fate of mine
Must hang upon a tree.
No grief at all I will take up,
If justice will take place,
And bring my fellow plunderers
Into the same disgrace.
For Peter Brown, that nottour lown,
Escap'd and was made free;
But ay pox take that fate of mine
Must hang upon a tree.
All laws and justice buried are,
Force, fraud, and guile succeed,
The guilty pass unpunished,
If money interceed.
The Laird of Grant, that Highland Saint,
That mighty Majesty,
Did plead the cause for Peter Brown,
And let Macpherson dye.
The Destinies my death contriv'd,
Men whom I did oblige,
Rewarded my much ill for good,
And left me no refuge;
Fro Braco Duff, in rage enuff,
At length laid hands on me,
The which if death do not prevent,
Revenged I shall be.
As for pale death I do not care,
More courage ne'er had none;
But yet Hell's torments I do not fear
When once my life is gone:
Therefore, good people, all take heed,
This warning take by me,
According to the life you lead
Rewarded you shall be.
As for my death I'll not lament,
Such things I do abhorre,
To part with life I'm well content
As any heretofore.
Therefore, my counsel to you all
Is to repent and turn,
Lest afterwards it may befall
You in hell's fire to burn.
For neither death nor devil's power
This rage of mine shall break,
For in the place to which I go
Some office I expect.
I'll muster all the powers of hell,
I'll cross the Stygian lake,
Upon the heads of those my foes
Sad vengence I shall take.
Then be content, and not relent,
My silly soul until
The time may come wherin thou may'st
Perform thy latter will.
In hopes whereof I poured forth
This with a dying breath;
As joyfully as man could do
Who hath in sight his death.
Then wantonly and rantingly
I am resolved to die,
And with undaunted courage I
Shall mount the fatal tree.
Wm. Motherwell printed the above from a broadside in The
Paisley Magazine, p. 618, Nov. 1828. The broadside was
probably that at Harvard, because that in the Crawford collection
(#613) seems to have had its top trimmed off and only has the
subtitle as heading. John Glen, ESM, p. 95, noted the tune in the
Sinkler MS, 1710, as "M'farsance's testament." It is in Walsh's
Caledonian Country Dances, I, (c 1734) as "Mac
Fosset's Farewell", and in a collection of Dan. Wright without
title page, c 1735, as "Mac Foset's Farewell". As "McPherson's
Rant" it is in a MS compiled by D. Young, 1734, Bodleian. It was
widely printed later.Ay waukin, O,
Simmer's a pleasant time,
Flowers of ev'ry colour;
The water rins o'er the haugh.
An I long for my true lover!
[Cho:]
Ay waukin, O,
Waukin still and weary:
Sleep I can get nane,
For thinking on my Dearie.
When I sleep I dream,
When I wauk I'm irie;
Sleep I can get nane
For thinking on my Dearie.
Ay waukin &c.
Lanely night comes on,
A' the lave are sleepin:
I think on my bony lad
And I bleer my een wi' greetin.
Ay waukin &c.
Play: S1, AYWAKIN1, SMM #213
S1, AYWAKIN2, Stenhouse tune in Illustrations
Sleep I can get nane
For thinking on my deary.
A' the night I wak,
A' the day I weary,
Sleep I can get nane
For thinking on my dearieJess Macpharlane
When first she came to town,
They called her Jess Macpharlane;
But now she's come and gone,
They call her the wandering darling.
Oh ! this love, this love!
Of this love I'm weary, O!
Sleep I can geet none
For thinking of my deary, O!
Her father loves her well,
Her mither loves her better,
And I like the girl mysel,
But, alas! I canna get her.
Oh! this love, this love &c.
I took it in my head
To write my love a letter;
But, alas! she canna read,
And I like her aw'the better.
Oh! this love, this love &c.
Then, since I canna rest,
For thinking of my darling;
I'll wander, too, in quest
Of lovely Jess Macpharlane.
Oh! this love, this love &c.
Play: S1, AYWAKIN1
Hey for the buff and blue,
Hey for the cap and feather,
Hey for the bony lass true,
That lives in Hexamshire.
Through by the Saiby Syke,
And over the moss and the mire,
I'll go see my lass,
Who lives in Hexamshire.
Her father loved her well,
Her mother loved her better,
I love the lass mysel'
But, alas! I cannot get her.
Through by, &c.
O, this love, this love,
Of this love I'm weary,
Sleep I can get none,
For thinking of my deary,
Through by, &c.
My heart is like to break,
My bosom is on fire,
So well I love the lass,
That lives in Hexamshire.
Through by, &c.
Her peticoat is silk,
And plated round with siller,
Her shoes are tied with tape,
She'll wait till I go till her.
Through by, &c.
Were I where I would be,
I would be beside her;
But here a while I must be,
Whatever may betide her.
Through by, &c.
Hey for the thick and thin,
Hey for the mud and mire,
And hey for the bonny lass,
The lives in Hexamshire.
Through by, &c.
Play: S1, HEXMLSS, from Northumbrian Minstrelsy Katy Cruel
When I first came to town
They called me the "Roving Jewel,"
Now they've changed their tune,
And call me "Katy Cruel"
Oh, diddle lully day,
Oh, de little li-o-day,
Oh, that I was where I would be,
Then should I be where I am not;
Here I am where I must be,
Where I would be I cannot.
Oh, diddle lully day,
Oh, de little li-o-day,
When I first came to town,
They brought me bottles plenty,
Now they've changed their tune,
And bring the bottles empty.
I know whom I love,
I know who does love me;
I know where I'll go,
And I know who'll go with me.
Through the woods I'll go,
Through the boggy mire,
Straightway on the road,
Till I come to my heart's desire.
Oh, that I was where I would be,
Then should I be where I am not:
Here I am where I must be,
Where I would be, I cannot.
Eyes as bright as coal,
Lips as red as cherry;
And 'tis her delight
To make the young folks merry.
Play: S1, KATYCRL FANCY LAD.
When first I came to town,
They call'd me lovely Nancy,
But now they've chang'd my name,
And call me the soldier's fancy.
Go along, Go along, Bob,
Go along, Bob's a-dying,
Go along, Go along, Bob,
Your fancy girl's a-crying.
Silver buttons on it,
I will let them see
I am the girl can do it.
Now when my love comes home,
I will roll in riches,
And I will buy my love
A pair of buckskin breeches.
You for peas and pudding,
Put a clean pair of sheets on the bed,
For the fancy lads are coming.
I had not a gown to wear O,
But now I have nine or ten,
For the fancy lads to tear O.
But now I am forc'd to plank it,
Hang and take the jade,
She stole my bed and blanket.
Hang her ragged fortune,
She pawn'd her best blue brat, (sic)
To raise her lad a quartern.
I am free and willing,
To work by night or day,
And get an honest shilling.
They called me Harry Newell,
Now they've chang'd my name,
And they call me the raking Jewel,
Fal lal, etc. [no more of chorus given]
Thinking I was weary:
Sleep I could get none,
For thinking of my deary.
All the day am weary:
Sleep I can get none,
When I think of my deary.
Her lips are like a cherry;
Her eyes as black as a sloe,
And her hair as brown as a berry.
She has my heart in keeping:
When I go to bed,
She hinders me from sleeping.
And I will entreat her:
In Belfast-town with speed,
I will be sure to meet her.
All thro' mud and mire;
Down by Hampster-Place,
There liv'd my heart's desire.
There's no one can excell her;
She was my heart's delight,
I know not what befel her.
Aye for Saturday night, Sunday is a-coming
I'll go up the town and meet my love a coming
Oh for some rum rum rum, O for some gin and brandy.
O for some rum rum rum, For my young man's a dandy.
As I lay in my bed and you know who lay with me
I know what I said but you don't know what he give me.
Oh, etc.
'I know where I'm goin',' Herbert Hughes, Irish Country
Songs, I, p. 22, 1909, and often reprinted. This
well-known Irish lyric piece is a another relative to its own
tune.
Our Jockye sale have our Jenny, hope I;
Our Jocky sale have our Jenny;
I am well able for to cry,
Our Jocky sal have our Jenny;
This indars day, as I cane pas,
I spyede besyde a spynny
Jockye laykynge with a las,
I hope it was our Jenny.
Ons or twys a wycke or mar
I have farly the wyll note lynnye,
I taykte on my sale, I hope full year
Our Jocky sale have our Jennye.
Ther leakys of love the cannote lean,
Nor yete neythinge denye,
But Jenny of Jockye toakene hath tayn
Mar then ens or twyne.
Mare then ens or tway, no dowbte,
Yf it be as I wynnye,
I thinge it sal be brought abowte, [think
That our Jocky sall have our Jennye.
A goodly belte abowte here Jocky dyd wrythe,
Walde sarve a lady full fytlye;
I have sene then alone full often sythe
Smyland together full swettlye.
I merkyde yea thing, say Criste me save,
Set fortye at on meale [one
And I hawde xx, Jocky sal have [20 pounds?
The greatste mes a keyle.
The greatiste disshe Jocky can gete
Among all the meanye [many
To quarttes of porrage Jocky wyll eat, [two
The which sale have our Jennye.
Jennye hathe a smyland cowtinance,
Ever twynklande with here I [her eye
He God it wald bryde great disspleasance, [?
Yf her dame or syar shuld spye.
For Jennye commythe of the Tomsons in dede,
Ho so wyll understande,
I thinkte be an of the beste lede [one of the best lady
Even in all the northe londe.
And Jockye commythe of the Hoodsons,
Whilke never man dyd defyle;
The hardiste and bawddiste blude that wonnes
Within x. hondrithe myll.
But if Jockye have Jeny till his wyffe,
As the voice gangges every where;
Leve Lord, ther be ney bat nor striffe,
For then wyl be mickle skare.
Then wyl be muckle skare, perdye,
Yf the tak parte in kynnye;
Our Jocky sal have our Jenny, hope I,
Our Jocky sal have our Jennye.
A tale I hard not lange agane,
Whilke tale may noutht be hydden;
Jocky and Jenny, the say full plean,
At the kirk ther baynnis war bydden. [bans
The ale was brewed uppon Monday,
Whaye so wyll gange, sal se;
And uppone Sonday cum Sonday [Sunday after next
This great weddyn sal be.
Nowe goys Jocky every whear,
God knowes he takys no reste,
To byd his gestis both fare and near
To cum to the weddene feaste.
Nowe Jockys gestes ar geddryde togethare,
And blyth as byrde on brear; [bird on briar
And Jocky and Jenny, as lyght as fethar,
To the kyrk ar commyn in fear.
Ther wear the weddyd on Cristis name,
And ich to other made spowse; [each
When the hade done, agayn the cam hame,
To ther owen weddyn howse.
Then Jenny was at the table sete,
And all the gestes on a rowe;
Jocky cryede, bryng forthe meat,
And sarve bothe he and lowe. [high
What sal we set them beforne,
To Jocky thus dyde the crye; [she
Gyve them some sardar and sodden corne,
Tyll thear ballys stand awrye [bellies
Of swynes flesshe ther was great plenttie,
Whilk ys a pleasant meate;
And garlyk, a sawce that ys full deyntye
For any that sall it eate.
Then Jocky, when dynner was done,
Begane hyme selffe to advance,
And sayd, "let pypar pype up sone, [soon
For, be our Lord, I wyll go dance.
Jocky took Jenny faste be the hand;
Then pypar lafte the trace;
He playd so myryly the cold not stand [they could
But the dansyd all apace.
The pyper pypte tyll his bally grypte,
And the rowte began to revell;
With that lowde myrth he browth many forth,
Then upstart carll and kevel.
Dance [earliest description of hornpipe?]
"Now play us a horn pype," Jacky can say;
Then todle lowdle the pyper dyd playe.
Harry Sprig, Harry Spryg, Mawde my doughtare,
Thomas my sone, and Jone cum after.
Wylkyn and Malkyn and Marryon be nam,
Lettes all kepe the strock in the peane of shame.
Torn about, Robyn; let Besse stand asyde;
"Now smyt up, mynstrell," the women cryde.
The pyper playd with his fynggars and thommes;
Play thick and short, mynstrell; my mothar commis.
"I wyl dance,' said one "and I for the wars;
Dance we, dance we, dance we!"
"Heighe!" quoth Hogkyne, "gyrd byth ars,
Letts dance all for compayne."
"Halfe torne, Jone, haffe nowe, Jock!
Well dansyde, be sent Dennye! [St. Dennis
And he that breakys the firste strocke,
Sall gyve the pypar a pennye.
In with fut, Robsone! owt with fut, Byllynge!
Here wyll be good daunsyng belyve;
Daunsyng hath cost me forty good shyllynge,
Ye forti shillynge and fyve.
Torn rownde, Robyne! kepe trace, Wylkyne!
Mak churchye pege behynde,"
"Set fut to fut a pas," quod Pylkyne;
"Abowt with howghe let us wynde."
"No, Tybe, war, Tom well," sayd Cate;
"Kepe in Sandar, hold owte, Syme.
Nowe, Gaff, hear gome abowt me mat;
Nyccoll, well dansyde and tryme."
"A gambole," quod Jocky, "stand asyde;
Let ylke man play his parte.
Mak rom, my mastars; stande mor wyde;
I pray youe with all my harte."
Hear ys for me wightly whipte,
And it wear even for the nons;
Now for the lyghtly skypte,
Well staggeryde on the stonnys.
"Be sweat sent Tandrowe, I am weary." quoth Jennye,
"Good pypar, holde thy peace;
And thaw salt have thy bryddes penny."
Then the pyper began to seas.
I swar by God, twyst this and France,
Ye sal all undarstande,
Ther was not seen syck anothar dance,
I trowe, in all the northe lande.
In all the northe land, my Jocky,
As it pleanly doth apear,
Was not syk anothar weddyne
This fyve and forty year.
Finys, quothe Wallys.
Play: no tune known
On our feist day quhen we wer fow
Scho brankit fast and maid hir bony
And said Iok come ye for to wow
Scho birneist her baith breist & brow
and maid hir cleir as ony clok
Than spak hir deme and said I trow
Ye come to wow our Iynny Iok
To luk my heid and sit doun by yow
Than spak hir modir and said agane
My bairne hes tocher gud annwch to ge yow
Te he q Iynny keik keik I se yow
Muder yone man makis yow a mok
I schro the lyar full leis me yow
I come to wow your Iynny q Iok
Ane guss ane gryce ane cock ane hen
Ane calf ane hog ane futebraid sawin
Ane kirn ane pin that ye weill ken
Ane pig ane pot ane raip thair ben
Ane fork ane flaik ane reill ane rok
Dischis and dublaris nyne or ten
Come ye to wow our Iynny Iok
Ane schule ane scheit and ane lang flail
Ane ark ane almry and laidillis two
Ane milk syth wt ane swyne tail
Ane rowsty quhittill to scheir the kail
Ane quheill anne mell the beir to knok
Ane coig and caird wantand ane naill
Come ye etc
Ane tub ane barrow wt ane quheilband
Ane turf an troch wnd ane meil sek
Ane spurtill braid and ane elwand
Iok tuk Iynny be the hand
and cryd anr feist and slew a cok
And maid a brydell vp alland
Now haif I gottin your Iynny q Iok
Suppoiss ye mak it nevir sa twche
I latt yow wit schoss no miskariet
It is weill kend I haif annwch
Ane crukit gloyd fell our ane huch
Ane spaid ane speit ane spur ane sok
Wtoutten oxin I haif a pluche
To gang to gidder Iynny & Iok
Ane cord ane creill and als ane cradill
fyve fidder of raggis to stuff ane Iak
Ane auld pannell of ane laid sadill
Ane pepper polk maid of a padill
Ane spounge ane spindill wantand ane nok
Twa lusty lippis to lik ane laidill
To gang to gidder Iynny & Iok
Weill buklit wt a brydill renye
Ane sark maid of the linksome twyne
Ane gay grene cloke that will not steyne
and yit for mister I will not fenye
ffyive hendret fleis now in a flok
Call ye not that ane joly menye
To go to &
Twa buttis of barkit blasnit ledder
All graith that ganis to hobill schone
Ane thrawcruk to twyne ane tedder
Ane brydill ane girth and ane fetterit lok
Ane scheip weill keipit fra ill weder
To &
It is well knawin I am weill bodin
Ye may not say my pairte is leist
The wyfe said speid the kaill ar soddin
And als the laverok is fust & loddin
Quhen ye haif done tak home the brok
The rost wes Twche sa wer thay bodin
Syne said to giddir bayth Iynny & IokThe Scottish Contract, or, A Marriage agreement betwixt
wanton Willy and mincing Meggy.
All pleasant humours this will fit,
For a merrier song was never writ.
Now welcome Meggy, my dear,
Thy beauty my senses Charm;
Come sit down bonnily here,
For Willy means thee no harm:
And freely be for we part
A happu conclusion make,
That Willy's poore tender heart
No longer for Meggy doe ake.
Then let us provide for bedding [Chorus starts
And all that is bonny and gay,
For weele have a jovial wedding
The piper shall sweetly play.
O wanton Willy tis long
Since I lay in thy arms,
Thou dost thy Meggy wrong
To say that her beauty charms,
But if it be thy desire
And honestly thou art bent,
What ever thou shalt require,
Poore Meggy will give consent.
Then let us provide for the bedding, &c.
Now Meggy our hearts are knit,
And summer is in the prime:
My dear lets dally a bit
A little before the time:
O Willy we never were wedded
Before either priest of clark,
To part with my maiden head,
I will not for twenty mark:
Then let, &c.
My honey thou needs not feare,
So faithful I will remain,
Then doe not refuse my dear
A little to ease the pain:
O Willy untill we are wed,
I never will yeeld that's flat,
I rather will lose my head,
Then tell me no more of that.
Then let us provide for the bedding, &c.
Dear Meggy my fault forgive,
To try thee was my intent,
What needs thou at all to grieve,
My folly I doe repent;
O Willy my onely dear,
Had you such a minde to trap,
Thy Meggy which is so clear,
As baby that sucks the pap.
Then let us provide, &c.
Now Meggy we are together,
I think it not labour waste,
If we do in time consider
Our business how to cast;
Dear Willy thou speakest right,
And since we are both agreed,
Our friends we will invite,
The better that we may speed.
Then let us provide for bedding [New Chorus
And all that is bonny and gay,
For weele have a jovial wedding,
The piper shall merrily play.
Then Meggy I hold it fit,
The vicar be our chief guest,
That he with his learned wit,
The better to grace our feast:
Faith Willy thou art no lyer,
A dinner it is his due,
And saxteen pence his hyre
For wedding both me and you.
Then let us provide for bedding
And all that is bonny and gay,
For weele have a jovial wedding,
The piper shall merrily play.
Weele not spare for bidding
Although we be somewhat poore
Weele keep such a wedding
As never was kept before:
Weele have Jocky my cozen
And Jenny his lass with him,
Bonny lads by the dozen,
And lasses that are so trim.
Then let us provide, &c.
Now Meggy I think it best
The piper be prepar'd,
For he must be our guest,
Or else our mirth is marr'd;
O hony what ere do chance
Weele have that lad so brisk,
Then Willy shall se me dance,
With many a wanton frisk,
Then let us provide for bedding, &c
Then since we are gone so far,
That Meggy must be my bride,
I think we had best take care
What victuals we provide;
Faith Willy my lad so free,
Thy Meggy can please her guesse, [guests
And thou shalt plainly see,
How I my dinner will dresse.
Then let us provide, &c
First, weel have lang-cale pottage,
And puddings of barley meale,
Salt-beef and cabbadge
To relish a coage of ale;
Oate cakes steep't for brewis,
And bannacks that are so brown;
Curds and whay, and sowings,
And liquor the best in town.
Then let us provide, &c
Troth Meggy it were but fit,
That we had a shank of roast,
My Willy we want a spit,
And weele we may spare the cost:
But if thy money recruit
Against our wedding day,
Go buy a good griexe suit
Home spun of country gray.
Then let us provide for bedding, &c
My honny thou wilt be glad
To see thy Willy so brave,
But when I am neatly clad
What shall my bonny lass have,
Faith Willy I'le buy twa coats
That shall be spanking nes,
For sax and twenty groats,
Weele blended boath with blew.
Then let us provide, &c
A bridgroome stalk to bring,
My hony doe not forget,
And i'le provide a ring
For Meggy to wear of jeat:
And now adieu to my dear,
Next holidy weele be wed,
My Willy thou needs not feare,
Thou shalt have my maiden-head.
Then let us provide for bedding,
And all that is bonny and gay,
For weele have a jovial wedding
The piper shall sweetly play. Finis.
London, Printed for Richard Burton at the Horshoe in Smithfield.
[Burton, always at this address, but usually called West-
Smithfield, published c 1645 to c 1676.]
C. M. Simpson in BBBM, under the English title "The Scotch
Wedding" discusses the tune, but never discovered that "I am a
silly old man" was another old Scots name for the tune, and
missed the above broadside. In Herd's Scots Songs,
II, p. 224, we have the fragment:
I am a poor silly auld man.
And hirpling o'er a tree;
Yet fain, fain kiss wad I,
Gin the kirk wad let me be.
Gin a' my duds were aff,
And a' hail claes on,
O I could kiss a young lass
As weel as ony man.
This shows that the tune title "An the kirk wad let me be" was
derived from the same song. The tune is found as "Silly Old Man"
in Walsh's Caledonian Country Dances, I, c 1734.
From that it was copied into some English dance tune MSS. In the
ballad opera citations, Simpson overlooked the tune as "An the
kirk wad lat me be" in Mitchell's Highland Fair,
1731, and it also appears under the curious title "Wully Honey"
in the ballad opera An Old Man Taught Wisdom, 1735.
A copy of the tune under the "Silly Old Man" title is printed
from the Vickers' MS, c 1772, in Mat. Seattle's The Great
Northern Tune Book, II, #394, 1987.On the Lord Melvill his wife and three sons
Three sheeps skins the wrong side outmost
Three sheeps skins the wrong side outmost
He is a thiefe & she's a whore that call my wife a drunkard
She's not a Drunkerd but she's a pretty dancer
She's not a Drunkerd but she's a pretty dancer
She lyes all Day & eats all night & gives nobody answer
Three long skins as all men may see sir &c [repeat?
Ther's huffie[?] thin & music thin & chin of Gravity sir
[ff/ss?
It that your chin be not in mode
Then borrow one from me sir
There's three brave sons & all of them statsmen &c [repeat?
My wicked son, my crook'd son, my 3d son a peatsman[?]
If that you bring a heavy purse that ends all debates then
Ther's three brave Laws if they be well keed[?] gd &c[?heed
good
The assurances Law, perjurance Law & all your sweeped
chimnies
Ther was a duke so high in pride [Different song starts here
That non might him come near a
Ther came a monky out of fife
And dang him Tapsetiria
And if we had another drink
We's all be blyth & mirria]
S1, THRSPSK2, Three sheep skins, Dancing Master.
I wat nae giff ye kend him,
And he did you wi' our good wife:
Geld him lasses, geld him!
S1, JACKLTN, Oswald's CPC bk. 12 An Excellent new Song on the Jacobites, and the
Opression of the Rebels.
To the Tune of, Captain Kid.
You Jacobites by Name, now give Ear;
You Jacobites by Name, your Praise I will proclaim,
Some says you are to blame for this Wear.
With the Pope you covenant, as they say,
With the Pope you covenant, and Letters there you sent,
Which made your Prince present to array.
Your Prince and Duke o'Perth, where they go,
Your Prince and Duke o'Perth, they're Cumb'rers o' the Earth,
Causing great Hunger and Dearth where they go.
He is the King of Reef, I'll declare,
He is the King of Reef, of a Robber and o' Thief,
To rest void of Relief when he's near.
They marched thro' our Land cruelly,
They marched thro' our Land with a bloody thievish Band
To Edinburgh then they wan Treachery.
To Preston then they came, in a Rout;
To Preston then they came, brave Gard'ner murd'red then.
A Traitor did command, as we doubt.
To England then they went, as bold;
To England then they went, and Carlisle they ta'en't,
The Crown they fain would ha'en't, but behold.
To London as they went, on the way,
To London as they went, in a Trap did there present,
No battle they will stent, for to die.
They turned from that Place, and they ran;
They turned from that Place as the Fox, when Hounds do chace.
They tremble at the Name, CUMBERLAN'.
To Scotland then they came, when they fly,
To Scotland then they came, and they robb'd on every Hand,
By Jacobites Command, where they ly.
When Duke William does command, you must go;
When Duke William does command, then you must leave the Land,
Your Conscience in your Hand like a Crow.
Tho' Carlisle ye took by the Way;
Tho' Carlisle ye took, short Space ye did it Brook,
These Rebels got a Rope on a Day.
The Pope and Prelacy, where they came;
The Pope and Prelacy, they rul'd with Cruelty,
They ought to hing on high for the same.
S1, BENBOW, from Vocal Enchantress
B438-9, Put In AllThe Bob-Tail'd Lass
On Wednesday in the afternoon
I took a walk in the field,
It was to bring my curage dwon,
But still I was forced to yield:
For there I met with a bobtail'd lass,
But I should have passed her by,
And I kindly took her by the hand,
An I lead her into the kye.
The pettycoat that she had on
Was made of the blanket blue,
The smock was as black as charcole,
Believe me this was true;
But tempting words, will tempt young birds,
That from their nest do fly,
And I'll never believ't was the first time
That she had been caught in the kye.
Good council, good man, I give,
To you, young man, I give,
Never take with a bob-tail'd lass
As long as you've an hour to live.
You had beter take one that is proper and tall,
Although she be never so poor,
For I never was so disgraced in my life
As I was by this bob-tail'd whoore.
From Farmer's 'Merry Songs', and there from James Maidment's 'Ane
Pleasant Garland of Sweet Scented Flowers', 1835, from what is
now NLS MS Adv. 19.1.13 f. 42.Section 3, English Songs
[BL MS Cotton Vesp. A.25.]
to be songe after Donkin Dargeson
As she came by a hathorne-tre
As full of flowers, as might be seen,
She merveld to se the tre so grene
"Howe came this freshnes unto the?
And every braunche so faire & cleane?
I mervaile that thou growe so grene.
"I have good causse to growe triumphantly;
The swetest dew that ever be sene
Doth fall on me and kepe my grene.
Thou stande at hande for every blowe,
Of every man for to be seen;
I mervaile that thou growe so grene."
& manye a branche out of my tre,
I have such store, they wyll not be sene,
For more & my tredges growe grene."
And carry thie braunches in to the towne?
Then will they never no more be sene
To grow againe so freshe & grene."
Withoute they cut me to the roote;
Next yere againe I will be sene
To bude my branches freshe and grene."
For yf you let youre maidhode goe,
Then will yt never no more be sene
As I with my braunches can growe grene."
And turned her from the hathorne bushe.
She thought herdelffe so faire & clene,
Her bewtie styll would ever growe grene."
She wandered styll then all aboute;
Suspecting still what she would wene,
Her maidheade lost would never be seen.
To se howe she maide her self so gay,
To walke, to se, and to be sene,
An so out-faced the hathorne grene.
To talke with companye anye where,
For feare to lose the thing that shuld be sene
To grow as were the hathorn grene.
Of this faire mayden any where,
That ever she was in forest sene,
To talke againe of the hathorne grene.
G. Poete [Peele?]
Minerva Athens must for sake, Sydanen Queen your seat must
take;
Sidanen conquers kinges with quil;
Sidanen governs states at wil;
Sidanen feares her foes with pen;
With pens Sidanen conquers men.
Sibill must from Cuma flee; in Egipt Isis may not be;
Thy Trojan seat Caesa shun; thy fame from Greece Penelope is
won;
With Judithes swords with delores mace,
Sidanen sittes in sacred place;
With Graces three, with Muses nine,
Sydanen doth like Phebus shine.
Lett Lucrece lurke, lett Helene blushe; Atlanta kneel on knee to
this;
Lett Sapho serve, lett Dido yelde; Sidanen wynes the same in
fielde.
In Rome Cornelia bare the belle,
Sidanen doth Cornelia excelle;
In Ethiope floorisht Sabaes, fame,
Sidanen farr surmountes th same.
Through Afrike spredd Zenobias name; all Asia Semiramis fame;
In Seitha soile by bluddy blade, Tomris queen great conquest
made:
Sidanen, crwell Centaurs kilde;
Sidanen, Syrens sleight hath spilde;
Sidanen, clensde Augeas stall
Sidanen, wrought Stymphalides all.
On seas doth Neptune serve her beck; on earth doth Folus tend her
deck.
In field doth Mars her fame defend, in skies doth Jove her state
comend.
The Sone, the moone, the starres conteste
Sidanen must the skies posesse;
Earth, water, fire, and also aire
With Echo, sownde Sidanen faire.
In woodes the Dryades dawnce for ioye; on hilles the Oriades
skippes xxx ?
In fieldes the Fawnes and Satyrs plaie; on fludds the Nayades
thus do fine
Sidanen fedd on Pailes papp;
Sidanen lulde in Junos lapp;
Sidanen taught in Vestas towre;
Sidanen nurst in Venus bowre.
With godis Pandora is her name, with men Pamphila is the
same,
Yet when she is Pansophia staild?, in Bryttain she Sidanen
cauld:
From Brutus steme, from Dardass line
Sidanen is a Phoenix fine;
From Cambers sede, from Hector's deed
Sidanen princely doth exceed.
The Eagles youth I wish this Queen, Acanthus like to flourish
green
As Serpents do ease their skin, so she being old may young
begin;
In ioyful days? with Nestors yeres,
I wishe to her and to her peeres,
That when Sidanen dieth I crave
Mausolus tombe she maye have.
Play: B104, Dargeson, or Sednay
ye fairest budd yt redrose euer bore
although my muse deuouste from greater care [Farmer - divert]
presentt thee wt a wanton Elegie
ne blame my verse of loose unchastitie
for paintinge forthe ye thinges yt hidden
are
Sine all men are what I in speeche declare
onely indused by varietie
loues plaints & praises euerie one can write
& passinge out panges in stately rimes
but of loues pleasures non did ere indite
yt hathe suceeded in these later times
accept of it deare Lo: in gentle gree
[and better farr, ere large, shall honor thee - Farmer]
___________________________
when yongemen in there Jollye Rogerie
rose earlye in ye morne ere breake of daye
to choose ym Valentines bothe freshe & gaye
wt whome they may consorte wt for shrine
[shine? Farmer- in Somers shene]
& daunce ye hey de gaye on owre towne greene [Hay
de Guyse? Hay: French dance
or else att Easter or at Pentecoste
perambulate ye feeldes yt florishe
moste
or else go to some Village borderinge neere
to taste ye cakes & creame, & suche good cheere
or see a playe of strainge moralitye
[danced by bachelours of magnamity - Farmer]
wherto ye countrey Franklinges flockmeal swarme
& John, & Joan come marchinge arme in arme
euen on ye hollowes of oure blessed Sainte
yt dothe true louers wt these joyes
acquainte
I went poore pilgrime to my Ladies shrine
to see if she woulde be my Valentine
but woe alasse shee was not to be found
for shee was shifted to ye upper roome
good Justice Digen haste wt ye crabtree
face
wt billes & staues, had scarde her from yt
place
& now shee was compelled for Sanctuarye
to flye unto a house of Venerye
thither went I & bouldely did enquire
whether they had hacneys to lett oute to hire
& what they craued by order of there trade
to let me ride a jurmey on a jade
heren stepte forthe a Loggin -[gap]- dame [Farmer - with that
foggy three chinde dame]
yt usethe to take yonge wenches for to tame
& askte me yf I mente as I preste
or onely made a question but in jeste
in jest (quoth I) yt tearme it as you will
I come for game therfore geue me my gill
why sir quoth shee yf yt be youre
demaunde
come laye me downe a gods pennye in my hande
for in oure oretarye sickerlye
none enters heare to do his drudgerye
but he must paye his offertarye firste
[and then perhaps Ile ease him of his thirst - Farmer]
I hearinge her so earneste for yt boxe
gaue her her due & she ye dore unlockes
In am I entred Venus be my speede
but wheres ye female yt must must doe this
deede
by blinde meanders, & by crooked waies
shee leades me outewardes as my storey sayes
untill shee came unto a shadie lofte
where Venus bouncinge Vestales skirmisht ofte
& there shee sett mee in a lether Cheare
& brought to me of wenches forthe a peare
to chouse of ym wch coulde contente mine
eye
but her I soughte I coulde no where espie
I spake ym faire & wishte ym well to
fare
yet soe it is I must haue fresher ware
wherfore dame Baude as daintie as you be
fetch gentle Mris. Frances here to me
by Holy dame (quoth shee) & godes owne mother
I will perceaue you are a wilye brother
for if there be a morcell of more prise
youle smell it oute though I be neare so nise
as you desire so shall you swiue wt her
but thinke youre pursestringes shall abide it deare
for he yt will haue Quailes must lauishe crownes
& Mris. Frances in her velvet gounes
& muffes & periwiges & as freshe as Maye
cannot be kepte for halfe a crowne a daye
of prise good Ostes we will not debate
thoughe you apprase me at ye highest rate
onely conducte me to this bonye bell
& tenne good poundes unto thee will I tell
of goolde or siluer wch yt you like
beste
so muche doe I her companie requeste
awaye shee wente soe sweete a thinge is goulde
wch [may] invade ye strongest houlde
soe heare she comes yt hathe my harte in keepe
singe lullabie my joyes & saull asleepe
sweepinge shee comes as shee woulde brushe ye
grounde
her ratlinge silkes my sences dothe confounde
oh I am ravisht voyde ye chamber straight
for I must needes upon her wt my waighte
my Tomalin (quoth shee) & then shee smilde
I[,] I[,] (quoth I) so more men are beguilede
wt smiles wt flatteringe wordes
wt faigned cheare
wherin there deedes there falschoode dothe appeare
as how my Lambkins blushinge shee replyde
because I in this Dauncing scoole abyde
yf it be all yt breedes thy discontente
we will remoue ye campe incontinente
for shelter onely sweete harte came I hether
& to auoyde ye troublous stormye wether
but now ye coaste is cleare we will be gone
since but thy selfe trew=loue have I none
wt yt shee skippes full lightlye one my
lippes
& faste a boute ye necke me culls and clippes
she wanton faintes & falls upon ye bede
& often tosseth to & forwe her hedd
shee shootes her eyes, and waggles wt her tonge
ah whoe is able to abstaine so longe
I come I come sweete lady by thy leaue
softly my fingers up ye curtens heaue
& makes me happie stealinge by degrees
firste bare her legges then crepte up to ye knees
from thence ascended up to her manlye thighe
a poxe on lingeringe when I am so nighe
Smock clime apace y
Elizium & Tempe are but toyes
compared to ye sighte yt I behoulde
which well might keepe a man from beinge oulde
& pretty risinge wombe wtoute a wenne
wch shone as brighte as anie siluer streame
& bore oute like ye bendinge of a hill
at whose declininge a fountaine dwelleth still
yt hathe his mouthe besett wt ugly
briers
resemblinge much a duskie nest of wires
a lustie buttock led by wt azured aeins [text -
armes]
whose comelye swellinge when my hande distranes [Farmer -
restraines]
for wanton checketh wt a harmelesse stripe
makes ye frutes of loue efsoones be ripe
& pleasure pluckt so timely from ye steme [not in
Farmer's version]
to dye ere he hathe seen Jerusalem [not in Farmer's
o god yt euer anie thinge so sweete
so sodainly shoulde fade and fleete
Her armes and legges are spread & I am all unarmed
Like one yt Ouid's cursed hemlocke chained
so are my lines unweldie for ye fighte
yt spende their aimes in thoughts of suche
delighte
What shoulde I doe to shew my selfe a man
it will not doe for ought yt bewtie can
I clippe, I kisse I uew I feele at will [Farmer - wink,
view?]
yet dead he lyes not thinkinge good nor ill
unhappie me (quoth shee) & wilte not stande
come let me rubbe and chafe it in my hande
perhaps yt silly worme is lubber sore [Farmer - has
laboured
sore]
& weried so yt it can doe no more
wch if it be as I am in greate dreede
I wish a thousand times yt I weare deade
howeaure it be no meenes shall want in me
yt maye availe for his recoverie
wch sayde she roulde it on her thighe
& when shee lookt shee oft woulde sighe
shee dandled it & daunct it up & doune
non ceasinge till shee raised it from his sound
[swoon]
& then shee flewe on her as it were wood
& on her breeche did thacke & fome a good
he flange he prauncte, he pearste her to ye bones
diginge as deepe as he could do for stones
now highe now low now shorte now thicke
now divinge deepe to touche her to ye quicke
now wt gued he would his course rebate
& straight woulde take him to a stately gate
pray while he liste, or thrust he neare so harde
poor patient Grissell lyeth at her warde
& geues & takes as blythe & free as may
& eare more meetes him in ye middle waye.
on him her eyes continually are fixte
wt her eie beames meltinge lookes were mixt
then like to sunne yt twixte two glasses playes
from theon theother caste radiatinge rayes
be like a starre yt to reguilde his beames
such is ye influence of Phebus stremes
imbathes the lines of his descending highte
in ye bright fountaines of her cleerest lighte
soe faire as fairest plannett in ye skye
her pruetye to no man doth denye
ye verie chamber yt includes her shrine
lookes like ye Pallas of ye gods deuine
who leades yt waye aboute ye Zodiacke
& euerie even defendes ye Ocean Lake
so fearce so feruent is her radiance
such fine stroakes shee [dartes] at euerie glance [text -
prtes]
as mighte inflame ye Joy lines of age
& make pale death his siryquedrie asswage [Farmer -
suddenly]
to stande & gase upon the Orient lampes
wher Cupid all his cheefest joyes encampes
& sit & playes at little attomy
yt in her sunnebeames swarmes aboundantlye
thus gazinge & thus striuinge we perseuer
but what is firme as may continue euer
& not so fast my ravisht Mris cryes
but my contente yt one thy life relyes [on]
be brought to soone from her desirefull feate
& me unwares of happie life defeate
to gether lett one equal motions stere [Farmer - our]
to gether lett us liue & dye my deere
to gether lett us martche unto contente
& be consumed wt one languishmente
as shee prerscribde so kepte shee crotchett time
& euer stroakt in order as a chime
whilst shee yt persevrd me wt her
pittye
unto our musicke framed a groninge dittye
alasss alass yt loue shouldst be a sinne
euen now my blisse & solace doth beginne
houlde wide thy lapp my louely Danae
& entertaine yt goulden shower so free
hot Aprill droppes one halfe so pleasant be
yt trillinge fawlles into thy treasurie
nor Nilus ouerflowes ye Egipte playnes
a sweete streame yt all all her joyntes inbalmes
ah ah & ah shee itchinge moues her hippes
& to & frowe full lightly startes & skippes
shee ierkes her legges & trampleth wt her heeles
nothinge may tell ye solace yt shee
feeles
I fainte I yealde desire rock me asleepe
sleepe sleepe I liue entomed in the deepe
not so my deare my dearest sainte replide
for from us yet yt sprite may not glide
untill ye sinew channells of our blood
wt hould there force form this imprised flood
& will we yt, then will it come to soone
dissouled end as if our dayes were done
yt whilst I speake my soule is fletinge hence
& life forsakes his earthly residence
stay stay sweete Joy & leaue me not forlorne [Not in Farmer's
version]
why shouldst I thou voide at arte so newly borne [ " ]
stay but an houre an houre is not so much
but half an hour if yt thy hast be suche
nay but on[e] quarter I will aske no more
yt thy departure yt tormente me sore
may be enlightened wt a little pause
& take away ye passion suden cause
he heares me not harde harted as he is
he is ye sonne of time & hates my blisse
time nere lookes backe & riuers ner returne
a second springe will helpe me ere I burne
no no ye well is drye yt shoulde refreshe
me
ye glasse is runne of all my destiny
nature of winter learnath ingradice [Farmer - nigardize]
who as shee ouerflowes ye streames wt
Ice
yt man nor beaste may of his pleasure taste
so shutes he up yt Cundite all in haste [conduit]
& will not lett her Nectar euer flowe
lest mortal man immortall ioys might knowe
adue unconstante loue to thy disporte
adue false mirth & melody too shorte
adue false harted instrumente of luste
yt falsely haste bewraide our equall truste
henceforth will I no more imploye thy ayde
or thee or men of Cowardice bewmaide [persuade?]
my little dilldo shall supply your kinde
I know [it] moues as lighte as any winde [text - I]
his plackett pinne oh how pleasante is to feele
& standes as stiffe as it was weare made of steele
& playes ye buttockes twixte my leggs & thighes
& geues me all he hath besides my comon fees [not in Farmer]
he lowes my pasture wt his purest seede [ " " ]
& doth me ticklinge seruice at my neede [ " "
]
now by my truthe he doth refreshe me well
& neuer makes my slender belly swell
poore Priamus thy triuph now must fall [error in ms, Farmer -
kingdome]
excepte thou thrust yt welkinge to ye
well
behoulde how he usurpes at bedd & bowre
& undermines thy kingdome euerye houre
how sley he breakes betwixte ye barke & tree
[Farmer- creepes]
& sucke ye sappe while sleepe detaineth thee
hees my Mris page at euerye sounde
& soone will tente a deepe entrenched wounde
he waites on courtelike Nimphs as yt be so coye [text
- in]
& bades ym scorne yt blinde alluringe
boye
he geues yonge girles ther shamefull sustenance
& euerie gapinge mouthe his full suffisance
he wt his cominge & his forraigne artes
deludes poor women yt haue louinge hartes
if anie wighte a cruell Mris serues
or in dispaire unhappie pyne & starues
curst is this Dilldo sencles counterfett
who still may fill but neuer can beget
but if reuenge enraged by dispaire
yt such a dwarfe his wellfare shoulde impaire
he yt woulde faine this womans secretarye knowe
lett him attende ye markes yt I will
showe
he is a youth almost two handfull bige
straight round & plump having but one eie
wherin ye Ram so feruently doth raigne [Farmer -
rheum]
yt Stigian gulfes can scarse ye teares
containe
attired he is wt veluet or wt silke
[Farmer - this couplet 4 lines later]
& nourisht wt hott water or wt milke
& other while in thicke congealed glasse
when he more glibb belowe to hell woulde passe
upon a chariott of fine wheeles he rides
yt which an arme stronge driuer stidfast guides
& often alters pase as ways growe deepe
& scates ye hill though it be nere so steepe
some times he smoothly slydeth doune yt hill
an other while ye stones his feete doth kill
in cloinye wayes he treadeth by & by [Farmer - clayey]
dasheth & spirreth all yt come him nye [not in
Farmer]
soe fares this Jolly rider in hs race
plunginge & sausinge forewardes in like case
he dasht he spraulde & he ploddeth foule
god geue thee shame thou fonle misshapen owle
Hye for greife a ladyes chamberline
& canst not thou thy telltale tonge refraine
I reade thou beardless blabb beware of stripes
& be advised what thou vainly pipes
thou wilt be whipte wt nettles for this grare
yf Cissly she but of this brauery heere [Farmer -
Illian queen]
St Dennis sheelde me from such female sprightes
regarde not dames what Cupides poets writes
I pende this storey onely for my slefe
who geueinge suche unto an Eraas elfe
am quite discouraged in my nursery [Farmer - musery]
since all my stor in her seemes penury
I am not as was Hercules ye stoute
yt to ye 18th can houlde out
I want those hearbes & rootes of Indian soyle
yt strengthen wearied members in there toyle
Drugges & Electuaries of new aduice
doe shunne my purse yt I trembles at ye
price
let yt I have suffise I yealde her whole [Farmer's
couplet later]
wch for a poore man is a princely dole
I paye oure ostes scott & lott wt moste
& looke as leane and lank as any goste
what can be added more to my renowne
[she lyeth breathlesse; I am taken downe - Farmer]
ye waues ye tide climes ovr ye
bankes
iudge gentlemen if this deserues not thanks
& soe goodnight unto you euery one
for now oure threed is spunne, our daye is gone [Farmer- our
playes is done]
__________________________
o mighest thou likewise please Apollos eye
no honor brookes not such melodye
yet Ouides wanton muse did not offende
This is ye fountaine whence my streames doe flowe
[Forgive me if I speak as I was taught - Farmer]
or else like women utter all I knowe
as longinge to unlade soe bad a fraught
my minde once purged of this lascivious witt
wt purified wordes, & hallowed verse
yt better may the grauer will be fitt
The endlesse prayers large poems shall reherse
meanewhile if you but smile at what I write
or for persumeinge banish me your sight
ffinisJerusalem, my happy home
[Jerusalem, my happy home from Rollins' Old Engish
Ballads, taken from BL MS Addl. 15,225. Rollins also, in
PMLA, gave another version as "The Queristers song of yorke in
praise of heaven" from the Shane MS, c 1615-26, BL MS Addl.
38,559. There is another version in Shirburn Ballads
. There is a also late unreprinted broadside copy
in the Rawlinson collection at the Bodleian.]
Hierusalem, my happie home,
when shall I come to thee?
When shall my sorrowes have an end?
thy ioyes when shall I see?
Oh happie harbour of the saintes,
O sweet and pleasant soyle,
In thee noe sorrow may be founde,
noe greefe, noe care, noe toyle.
In thee noe sicknesse may be seene,
Noe hurt, noe ache, noe sore:
There is noe death nor vglie devill,
there is life for euermore.
Noe dampish mist is sene in thee,
noe could nor darksome night;
There everie soule shines as the sunne,
there god himselfe giues light.
There lust and lukar cannot dwell,
there envie beares noe sway;
There is noe hunger, heate, nor coulde,
but pleasure everie way.
Hierusalem, Hierusalem,
god grant I once may see
Thy endlesse ioyes, and of the same
partaker aye to bee.
Thy wales are made of precious stones;
thy bulwarkes, diamondes square;
Thy gates are of right Orient pearle,
exceeding rich and rare.
Thy terrettes and thy Pinacles
with Carbuncles doe shine;
Thy verie streetes are paued with gould,
surpassinge cleare and fine
Thy houses are of Ivorie,
thy windows Cristale cleare;
Thy tyles are made of beaten gould,-
O god, that I were there!
Within thy gates noethinge doeth come
that is not passinge cleane;
Noe spider's web, noe durt, noe dust,
noe filthe may there be seene,
Ay my sweete home, hierusaleme,
would god I were in thee;
Would god my woes were at an end,
thy ioyes that I might see!
Thy saintes are crown'd with glorie great,
they see god face to face;
They triumph still, they still reioyce,
most happie is their case.
Wee that are heere in banishment,
continuallie doe mourne;
We sighe and sobbe, we weepe and weale,
perpetually we groane.
Our sweete is mixt with bitter gaule,
our pleasure is but paine,
Our ioyes scarce last the lookeing on,
our sorrows still remaine:
But there they liue in such delight,
such pleasure, and such play,
As that to them a thouand years
doth seeme as yester-day.
Thy Viniardes and thy Orchardes are
most beutifull and faire,
Full furnished with trees and fruites,
most wonderfull and rare.
Thy gardens and thy gallant walkes
continually are greene;
There grows such sweete and plesant flowers
as noe where eles are sene.
There is nector and Ambrosia made,
there is muske and Civette sweete;
There is manie a faire and dainte drugge
are troden vnder feete.
There Cinomon, there sugar, growes;
there narde and balme abound.
What tounge can tell or hart conceive,
the ioyes that there are found?
[Thy happy Saints (Ierusalem)
doe bathe in endlesse blisse:
None but those blessed soules can tell
how great thy glory is.]
Quyt through the streetes with siluer sound
the flood of life doe flowe;
Vpon whose bankes, on everie syde,
the wood of life doth growe.
There trees for euermore beare fruite,
and evermore doe springe;
There euermore the Angels sit,
and evermore doe singe.
There David standes, with harpe in hand,
as maister of the Queere. [Choir
Ten thousand times that man were blest
that might his musique heare.
Our Ladie sings magnificat,
with tune surpassinge sweete,
And all the virginns beare their partes,
sittinge aboue her feete.
Te Deum doth sant Ambrose singe,
saint Augustine dothe the like;
Ould Simeon and Zacharie
haue not their songes to seeke.
There Magdalene hath left her mone,
and cheerefullie doth singe,
With blessed saintes whose harmonie
in everie streete doth ringe.
Hierusalem, my happie home
would god I were in thee;
Would god my woes were at an end,
thy ioyes that I might see!
F B P
Shorter versions of this song may still be found in many
hymnals, and Helen Schneyer sings a version on a phono-record.
There are four extant copies of this. One is signed F. B. P. and
several ridiculous suggestions have been made as to who this
might be (that assumes there is a name represented). I've not
gotten far in tracing the modern tunes for this. Jackson,
White Spirituals in the Southern Uplands, #67, notes
one tune. The song was originally sung to "O man in desparation"
which may or may not be the tune given in Simpson's BBBM, #340.
Note: John Ward has pointed out relationship of Simpson's tune
and "In the Wanton Season" to "Mall Sims". [H. E. Rollins
published "In the Wanton Season", with tune, in PMLA, 38, pp.
147-9 (March, 1923). An earlier copy of "In the wanton season",
somewhat disordered, is in Folger Shakespeare Lib. MS V.a. 399, c
1605, without tune direction.]
Hi doth ham up and forth hi fleeth,
And commith to the nunns anon
And euch monke him taketh on, [one
And snellich berith forth har prei [quickly.. prey
To the mochil grei abbei, [great grey abbey
And techith the nunnes an oreisun
With jambleve up and dun [figuratively dancing *
The monke that wol be stalun gode [stallion
An kan set aright is hode
He schal hab withoute danger
xij. wives euch yere, [12 wives each year
Teaching the orieson was equivalant to learning the criss-cross
row in WILLWVR, "The fair maids desire to learn her ABC". Not
too infrequently it resulted in pregnancy.
Who shall have my fair lady?
Who shall have my fair lady?
Who but I, Who but I, Who but I,
Under the leaves green!
The fairest man
That best love can
Dandirly, dandirly, dandirly dan,
Under the leaves green!
Go to Index
I hard ane bern say till a bricht
My hunny my houp my hairt my heill
I haif bene lang your lufar leill [lover long
And can of yow gett confort nane [comfort none
How lang will ye wt denger deill
Ye brek my hart my bony ane
bot all wt kaill it was bedroppit
And he wes to mich fulich and grukkit
He clappit fast he kist he chukkit
As wt the glaikkis he wer ourgane
Yit be his feiris he wald haif fukkit
Ye brek my hairt my bony ane
Sen that I born wes of my mynny
I wowit nevir ane vder bot yow
My wame is of your lufe so fow
That as ane gaist I glour and grane
I trymmill sa ye will not trow
Ye brek my hairt my bony ane
Be still my cowffyne and my cawf
My new spaind howphra fra the sowk
And be the blythnes of my bowk
My sweit swanky saif yow allane
Na leid I livit all this owk
fow leiss me that graceles gane
My hony soppis my sweit possoddy
Be not our bustious to yor billie
Be warme hartit and not illwillie
Your halfs quhyt As quhalis bane [white as whale's bone
garss ryss on loft my quhillylillie
Y brek my hairt my bony ane
Wt mvderis milk that in your michaine
My belly huddroun my sweit hurle bawsy
My honygukkis my slasy gawsy
Your mvsing wald perss and hart of stane [pierce
Sa tak gud confort my gritheidit gawsy
fow leis me that graceles gane
My bony bab wt the ruch brilyeane
My tendir girdill my wally gowdy
My tirly mirly My towdy mowdy
quhen that our mowthis dois meit at ane
My stang dois torkin wt yor towdy
Ye brek etc.
Welcum my golk of maryland
My chirry and my maikles mynyeoun
My suker sweit as ony vnyeon [onion?
My stumill stick yit new to spane
I am Appluid to your opinyioun
ffow etc.
gramercy q scho my sweit cowhuby
Syne tha twa till ane play began
quhilk that they call the dirrydan
Quhill bayth thair bewis did meit in ane
ffow wo q scho will ye be man
full leis me that graceles ane.
ffinis q. ClerkThe Friar and the Nun
[c 1500. From Cambridge Univ. Lib. MS Add 7350]
Inducas Inducas
in temptacionibus
Ther was a frier of order gray
Inducas
which loued a Nunne meny a day
In temptacionibus
This fryer was lusty proper and yong
Inducas
he offerd the Nunne to lerne her syng
In temptacionibus
Othe re me fa the frier her tawaght
Inducas
Sol la this nunne he kyst full oft
In temptacionibus
By proper chaunt and Segnory
inducas
This Nunne he groped with flattery
in temptacionibus
The fryers first lesson was Veni ad me
Inducas
& ponam tollum meum ad te
in temptacionibus
The frier sang all by bemoll
inducas
Of the Nunne he begate a cristenyd sowle
in temptacionibus
The Nunne was tawyght to syng depe
inducas
lapides expungnauerunt me>
in temptacionibus
Thus the fryer lyke a prety man
inducas
Ofte rokkyd the Nunnys Quoniam
in temptacionibus
ffinis short & swete.
A shortened version was later printed in Richard Kele's
Christmas carroles newely Imprynted. c 1550?
[Christmas carols now aren't what they used to be!]An Invitation to Lubberland
with
An Account of the great Plenty of that Fruitful Country
There is all sorts of Fowl and Fish,
With Wine and store of Brandy;
Ye have there what your hearts can wish:
The Hills are Sugar-Candy
To the tune of: Billy and Molly [lost] or, The Journey-man
Shoemaker [Daniel Cooper].
This may be Printed: R[ichard]. P[ocock]. [1685-1688]
There is a ship, we understand,
Now riding in the river;
'Tis newly come from Lubberland, [Rumbelo?]
The like I think was never;
You that a lazy life do love.
I'd have you now go over,
They say the land is not above
Two thousand leagues from Dover.
The captain and the master too,
Do's give us this relation,
And so do's all the whole ship's crew,
Concerning this strange nation:
"The streets are pav'd with pudding-pies,
nay, powder'd-beef and bacon,
They say they scorn to tell you lies:'
Who thinks it is mistaken.
The king of Knaves, and Queen of Sluts
Reign there in peace and quiet;
You need not fear to starve your guts,
There is such store of dyet:
There may you live free from all care,
Like hogs set up a fat'ning;
The garments which the people wear
Is silver, silk and satin.
The lofty buildings of this place
For many years have lasted;
With nutmegs, pepper, cloves, and mace,
The walls are there rough-casted,
In curious hasty-pudding boil'd,
And most ingenious carving;
Likewise they are with pancakes ty'd,
Sure, here's no fear of starving.
The captain says, "In every town,
Hot roasted pigs will meet ye,
They in the streets run up and down,
Still crying out, Come eat me",
Likewise, he says, "At every feast,
The very fowls and fishes,
Nay from the biggest to the least,
Comes tumbling to the dishes.
"The rivers run with claret fine,
The brooks with rich canary,
The ponds with other sorts of wine,
To make your hearts full merry:
Nay, more than this, you may behold,
The fountains flow with brandy,
The rocks are like refined gold,
The hills are sugar candy.
"Rose-water is the rain they have,
Which comes in pleasant showers,
All places are adorned brave,
With sweet and fragrant flowers.
Hot custards grows on ev'ry tree,
Each ditch affords rich jellies;
Now if you will be ruled by me,
Go ther and fill your bellies.
"There's nothing there but holy-days
With music out of measure;
Who can forbear to speak the praise
Of such a land of pleasure?
There may you lead a lazy life
Free from all kind of labours:
And he that is without a wife,
May borrow of his neighbour.
"There is no law nor lawyer's fees
All men are free from fury,
For ev'ry one do's what he please,
Without a judge or jury:
The summer-time is warm they say,
The winter's ne'er the colder,
They have no landlords' rent to pay
Each man is a free-holder."
You that are free to cross the seas
Make no more disputation:
In Lubber-land you'll live at ease,
With pleasant recreation:
The Captain waits but for a gale
Of prosperous wind and weather,
And then they soon will hoist up sail,
Make haste saway together.
Printed for J. Deacon, at the Angel in Gilt-spur-street
[1685-1701]
Is a lond ihote Cokaygne [called
Ther nis lond under hevenriche
Of wel, of godnis, hit iliche [like it
Thogh Paradis be miri and bright
Cokaygne is of fairir sight.
..
...
The gees irostid on the spitte [geese roasted
Fless to the abbai, God hit wot [fly
And gredith, "Gees, al hote, al hot!" [cry out
..
That ye mote that lond ise [might .. see
And nevermore turne aye,
Prey we God so mote hit be [might it
Ame, pur seint charite.
[Several night visit songs are familiar,
but here's one with a different twist than usual.
Rap at the Door
The last time I came o'er the muir,
It was to see my love to be sure,
It was to see my love to be sure,
And she bade me rap at the door, door,
And she bade me rap at the door, door,
It was to see my love to be sure,
And she bade me rap at the door, door,
And she bade me rap at the door.
Coming to see you, I've broken my shin,
Coming to see you, I've broken my chin,
And the pain it feels wonderous sore, sore,
And the pain it feels wonderous sore, sore.
"Broken your chin! how sorry am I,
I can't find out the way for to cry,
But I will find out the way by and by,
And I'll tease you ten times more, more,
And I'll tease you ten times more."
That I'm your lover come to court you,
That I'm your lover come to court you,
And I pray you open the dooe, door,
And I pray you open the dooe, door."
"If I were to open the door to you,
It would only be for a minute or two
It would only be for a minute or two
My father and mother they'd you endure,
And they'd beat me wonderous sore, sore,
And they'd beat me wonderous sore."
For you have beguiled five or six,
For you have beguiled five or six,
And I myself will not be the next,
You may stand and rap at the door, door,
You may stand and rap at the door, door."
"If I've beguiled six of seven,
Eight, or nine, ten, or eleven,
Eight, or nine, ten, or eleven,
You yourself will make a round dozen,
So I'll rap no more at your door, door,
So I'll rap no more at your door.
The days are past that we have seen,
The days are past that we have seen,
There's another in the place where you should have been
So you may stand and rap at the door, door
So you may stand and rap at the door, door."
"If the trees are high the leaves are not shaken,
Although I'm slighted, I'm not heart-broken,
Although I'm slighted, I'm not heart-broken,
As long's there another true love to be gotten,
I'll rap no more at your door, door,
I'll rap no more at your door."
Although the hangman had your coat,
Although the hangman had your coat,
And yourself in a bottomless boat,
With the devil to row you ashore, ashore,
With the devil to row you ashore."The Repulsive Maid,
Who
Once took a young-man, but now cannot win
To open the door, and let him come in.
To a pleasant New Tune,: or, Open the door, and let me come
in.
Young-man.
Sweet, open the door, and let me come in,
For to be a Wooer I now bgin,
And say thy Lover I yet have been,
I'le Love thee and no more.
Maid.
To open the door, Love, that could I do,
And if it were for an hour or two;
But if that my father and mother should know,
I should be beaten sore.
Young-man.
O be beaten for me, Love, that were a sin!
Sweet, open the door, and let me come in;
Thy father or mother, nor none of thy kin,
Shall never beat thee more again.
Maid.
To open the door, Love I have been bold.
And many false tales I have been told;
But another man hath my heart in hold.
I cannot Love thee, therefore.
Young-man.
Thou know'st, before when the time that been,
Thou hast open'd the door and let me come in;
But now, my love is not worth a pin?
I prethee, Love, tell me wherefore!
Maid.
I am not disposed to tell thee now,
Go walk, a Knave! as thou knowest how;
For I can no entrance to thee allow;
Adieu for evermore.
Young-man.
To knock and to call I will never lin,
Till thou open the door and let me come in;
With coming I fell, and I broke my shin,
Which grieves me very sore.
Maid.
If thou hast broken thy shin my love sorry am I
Yet cannot I find in my heart for to cry,
I'le give thee a plaster for it by and by,
Shall pain thee ten times more.
Young-man.
I prethee, Love, do not to jeer begin,
But open the door and let me come in!
I'le be more kind then ever I have been;
I prethee, Love, open the door.
Maid.
Two wors to a bargain, my small friend,
To open the door I do not intend;
My Father and Mother I oft did offend:
I'le never offend them more.
Young-man.
Of father and Mother do not tell me,
For I am come alone to visit thee,
And if my face thou wilt not see,
Then shew me a reason wherefore.
Maid.
A reason just I can thee tell;
To do it now doth not like me well,
I hate thee as much as the Devil of Hell:
The adieu for evermore!
Young-man.
How comes it to pass, my Love, thou art curst,
And wert so kind to me at first?
Of all men living my luck is the worst,
To be hated and know not wherefore.
Maid.
Alasse, Sir! I have found out your Tricks,
You love do crave fo five or six;
Yet take who you will, it shall never me vex,
Adieu for evermore!
Young-man.
What though I have choice of six or seven,
Nay, what if I had nine, ten, or eleven?
Yet thou may'st make the dozen even,
And do as thou hast done before.
Maid.
I am not the first that has done amiss,
Nor shall be the last that a Knave will kiss:
I pray pick English out of this!
You never shall kiss me more.
Young-man.
The Rose is red, and the Leaves are green,
And the daies are past which I have seen;
Another man may be where I have been,
For now I am thrust out of door.
Maid.
Walk Knave! in a Parrot's note,
And if the Hang-man don't get your coat,
I'le meet you at Holborn-hill in a Boat,
If ever I love you more.
Printed for F. Coles, T. Vere, and W. Gilbertson. (1658-64)Fortune my Foe.
[From copy in Bagford Ballads. Original poems
below]
for the loss of his Ladies favour, almost past hope to get it
again, and in the end receives a comfortable Answer, and
attains his desire, as may here appear.
And wilt thy favours never better be?
Wilt thous, I say, for ever breed my pain?
And wilt thou not restore my joys again?
Fotune hath falsly stolen my Love away,
My love, an joy, whose sight did make me glad;
Such great misfortunes never young man had.
Fortune had never griev'd me half so sore,
But taking her whereon my heart did stay,
Fortune thereby hath took my life away.
With bitter thoughts still tossed to and fro,
O cruel Chance, thou breeder of my pain,
Take life, or else restore my love again.
In vain mine eyes refrain from quiet sleep:
In vain I shed my tears both night and day,
In vain my love my Sorrows do bewray.
Nor feels my love what griping grief I try:
Full well may I false Fortunes deeds reprove,
Fortune that so unkindly keeps my love.
When Fortune fleets and wavers as the wind;
Sometimes alot, sometimes again below.
Thus tottering Fortune tottereth to and fro.
My dearest love, in most unconstant bands,
And only serve the sorrows due to me,
Sorrow hereafter thou shalt my Mistress be.
Fortune that rules on earth, and earthly things,
So that alone I live not in this wo,
For many more harh Fortune served so.
With wisdom, skill, or mighty strength of hand;
In midst of mirth she bringeth bitter moan,
And woe to me that hath her hatred known.
Then had my Love, my Love for ever been:
Then, love, farewel, though Fortune favour thee,
No Fortune frail shall ever conquer me.
Mourn not, my dear, nor be not so dismaid.
Fortune cannot, with all her power and skill,
Enforce my heart to think thee any ill.
No cause thou hast to curse, but to rejoyce,
Fortune shall not thy joy and love deprive,
If by my love it may remain alive.
Thy life and love shall not be lost by me;
And while thy heart upon thy life do stay,
Fortune shall never steal the same away.
All careful thoughts see thou from thee expel:
As thou doth wish, thy love agrees to be,
For proof whereof behold I come to thee.
In vain therefore break not thy quiet sleep;
Waste not in vain thy time in sorrow so,
For why, thy love delights to ease thy woe.
And soon thy love will send th succor thee.
Tho well thou mayest false Fortunes deeds reprove,
Yet cannot Fortune keep thee from thy love.
Whose fickle wheel doth often slip aside,
And never think that Fortunee beareth sway,
If Vertue watch, and will not her obey.
Torment me not, but take away thy fears:
Thy Mistress mind brooks no unconstant bands,
Much less to live in ruling Fortunes hands.
Loosing thereby their travel snd their toyl;
Though Fortune be to them a cruel foe,
Fortune shall not make me to serve thee so.
For thou thereby shall never lose nor win;
If faithful love and favour I do find,
My recompense shall not remain behind.
Be thou not slain, where never blood was meant,
Revive again, to faint thou hast no need,
The less afraid, the better thou shalt speed.
my liues soule and my soules heaven above
fortune hath taken the away my pinces
my only light and my true fancies mistres
fortune hath taken all by taking thee
deade to all ioy I only liue to woe
So fortune now becomes my mortal foe
In vaine you sighes do smoke forth my dispears
In vaine you search the earth and heaven above
In vaine you search for fortune rules in love
Thus now I leave my love in fortunes bandes
and onlie love the sorowes due to me
sorowe henceforth it shal my princes be
fortune that rules on earth and earthly thinges
hath taken my loue in spight of Cupids might
so blinde a dame did never cupid right
then had my love for ever bene
but love farewell though fortune conquer thee
no fortune base shal ever alter me.
[Ralegh]
mourne not (my Wat) nor be thou so dismaid,
it passeth fickle fortunes powere and skill,
to force my harte to think thee any ill.
no no my pugg, thoughe fortune were not blinde,
and may so blinde a Witche so conquer me?
assure thy selfe she could not rule my mynde.
and rules & raignes on earth & earthly thinges
But neuer thinke fortune can beare the sway,
if vertue watche & will her not obay
ne she shall force me alter with such spede
But if to try this mistres iest with thee
........................................
.........................................
Pull vp thy harte supress thy brakishe teares,
torment thee not, but put away thy feares;
Slaine quite by her that nere gaue wiseman blowe
Revive againe & live without all drede,
the less afraid the better thou shalt spede.
per ReginamDabbling in the Dew Makes Milkmaids Fair
(out of mother's watchfull eye).
Can more on love than al this towne [kens/knows more about
love
lord wy wy &c lord where gozth
a....... estr thou schoperte for al thy fray
[My mother watches, I must to] my... ke away
for ryzt here of getest thou notz
[Do, do] go thy way good boy go
[Good Robyn go away] woult thou
[For I must go and milk] oure cow
Be on] thy way good rowunde robyn
[Please good Robyn, be on thy] wey go
I go to the meadow to milk my cow.
Then at the meadow I will you meet,
To gather the flowers both fair and sweet
Nay, God forbid, that may not be!
I wis my mother then shall us see.
We may us sport and not be seen
And if ye will, I shall consent
How say ye, maid? be ye content?
Nay, in good faith, I'll not mell with you!
I pray you, sir, let me go milk my cow
That now in these fields we may us sport?
Nay, God forbid, that may not be!
I wis my mother then shall us see.
That ye greatly move my courage
Sith I love you, love me again.
Let us make one, though we be twain
I pray you, sir, let me go milk my cow.
Wherefore ye must my mind fulfill,
And grant me here your maidenhead,
Or elles I shall for you be dead.
I pray you, sir, let me go milk my cow
But the next time ye must beware,
How in the meadow ye milk your cow
Adieu, farewell, and kiss me now!
I pray you, sir, let me go milk my cow.
Alas blinde fool, deceiu'd art thou
I prethee sweet Peg be not so coy
I scorn to fancy such a cow
For shame leaue off thy flattery
From thee I neuer meane to part
Good lacke how thou canst cog and lie!
In faith what colour then shall it be?
In time my constant heart will try
Then pluck it out, that I may see
Alas good sir, that shall not need
For thee I will not spare my blood
God send your Goslings well to speed
Alas good sir I am slready sped
What luck had I to come so late?
Because thou broughtest a calfe from bed
So I haue done long time God wot.
Why dost thou then my loue deny?
Because I see thou art a sot. A Merry new Dialogue Between a Courteous young Knight, and
a gallant Milk-Maid
to Adams fall, or Jockey and Jenny, or where are you going my
pritty Maid.
As I walked forth one Summers day
By a green Meadow I took my way,
I met with a bonny lass fresh and gay
with a fa la la la la le ro.
This bonny Lass was a handsome girl
I asked her questions above two or three
Word for word she answered me.
With a fa &.
Where art thou going my pritty Maid
A milking good sir she said.
Shall I go with thee my pritty maid?
with a fa
What will you do to with me sir she said
Talk of old stories my pritty Maid
You're kindly welcome sir she said.
with a fa &.
But what if I kiss thee my pritty Maid?
I hope you'll not hurt me sir she said.
I of a man yet ne're was afraid
with a fa &
Now if I get the with child my pritty maid
I'll give you the bearing on't sir she said
Thou art to be commended my pritty maid.
with a fa &.
But what if I unto the wars do go?
My pritty Maiden then what wilt thou do?
I'll put on Arms, and travel with you
with a fa &.
Alas pritty Maiden that must be not be
The bloody wars is not fitting for thee
Yet I commend the for thy constancy
with a fa &.
Hast thou any Parents my pritty maid?
Yes I have some good sir she said
My fathers a Black-smith by his trade
with a fa
Has he any means or Lands by the year?
O what portion can he give thee my dear
My portion good sir is my forehead I bear
with a fa &.
But what if I marry thee my pritty maid
What you will good sir she said
Thy wit and thy beauty my heart hath betrayed
with a fa &.
I'll make thee a Lady of high degree
If thou my Love and my wife will be
Lo yonder fine Bower is mine thou dost see
with a fa &.
Then let us walk to it my dearest quoth he
Nay pray you stay sir that must not be
My father and Mother first let us go see
with a fa &.
But when they came there this courteous young Knight
The old couple in him did take such delight
They made him so welcome he tarried all night
with a fa &
And in their discourse the Knight was so kind
Unto this old couple he told his mind
Where he much love and respect did find
with a fa
The old man replyed sir Knight quoth he
My daughters not fitting your bride to be
Yet the wait of her in Gold I'll give to thee
with a fa &.
Then wed her and bed her and take her away
And if you can love her by night and by day
Three thousand more i'le be bound you to pay
with a fa &,
The courteous knight then strait he replyed
Your pritty Milk-Maid shall be my bride
She'll ne're carry pale more what e're betide
with a fa &.
The Black-smith his daughter he cloated in Gold
The Knight was most rich and brave to behold
They seemed like two satuts cut out of one mould
with a fa &,
Then unto the church they strait took their way
And join'd both their loves in one night and day
with a fa &.
So farewell to Mary, to Peg and to Sue
And all pritty Maidens that dabbles i'th dew
See that in your Loves you ever prove true
with a fa &.
As credit you'll get if constant you be
For this pritty Milk-Maid did humble you see
Which made this young Knight & her to agree.
With a fa &.
Printed for W. Thackeray at the Golden Sugar-loaf in
Duck-lane.
with your white face and your yellow hair?
For Strawberry leaves make maidens fair.
Do if you will, sweet sir, she said, &c.
I will rise up again, sweet Sir, she said, &c.
What if I do bring you with child, &c.
I will bear it, sweet Sir she said, &c.
Who will you have for father for your child, &c.
You shall be his father, sweet Sir, she said, &c.
What will you dor for whittles for your child, &c.
His father shall be a taylor, sweet Sir, she said, &c.
Wi' her red, rosy cheeks and her coal-black hair:
And she has met a young man a-coming o'er the bent;
With a double and adieu to thee fair May.
Wi' thy red, rosy cheeks and thy coal-black hair;
Unto the yowes a-milkin, kind Sir, she says,
With a double and adieu to thee fair May.
Wi' they red, rosey cheeks and thy coal black hair;
Wad I be ought the warre o'thet, kind Sir, she says,
With a double and adieu to thee fair May. &c.
Play: WHRGOPM
Some body will spye us, in faith we are seen
Now Love will yow kisse me, fye fye Love away
The aire is a telltale, and it will us betray
Nay fie Love, away Love, I pray you be gone
My mother knows nothing, but that I'me alone.
I pray you be quiet, I thinke yow're abrust
With nothing content, such ran yow not rest
Nay looke now, hold off, or in faith yow had best
Harke some bodye calls me, I pray you begone,
My mother knows nothing, but that I'me alone.
Truth next time I meet you, I sel be more prise
yow shall not come neer me, well since it is past
I'le never more meet yow, this shall be the last
Reply not, be silent, I pray yow begone,
My mother knows nothing, but that I'me alone.
I am not tyde in Cupids bande;
I pray thee leave thy foolinge, heyda!
by my faith & troth I cannot: heyda, fie!
what? doe you meane to be soe bold?
I must cry out! I cannot holde: heyda, fie!
what a deale of doe is here, is here, is here!
I begin to fainta!
heyda, fye! on! oh! oh! oh
what was that yoy sayd?
heyda! heyda! heyda! heyda!
you will neuer leaue till I be paide.
thou canst not make my belly burst.
I pray thee leaue thy fooling: heyda, fie!
what? doe you mean to vse me soe?
I pray thee Robin let me goe: heyda, fie!
what a deale of doe is here, is here, is here!
I begin to fainta. &c.
a done, o quickly, a done, o quickly, o quickly dispatch
the devel tis pittie yt my prettie bum shoulde want
this sport in feare
ay ay nay pishe nay fie you are to longe
my mother comes in faith yo doe me wronge
ah ah o now a then holyday, holy day, holy day
o now o then I never saw ye like
what will you have me strike
if anie bodye knowe, alacke I die for woe
Lord! What is't you do?
I ne'er met with one so uncivil as you;
I wou'd have you to know, you're mistaken in me.
You Men now so rude, so boisterous are grown,
A Woman can't trust her self with you alone:
I cannot but wonder what 'tis that shou'd move ye;
If you do so again, I swear, I swear, I swear, I swear,
I swear I won't love ye.
I never saw such idle fooling;
You've grown so lewd Sir,
So debauch'd I hate your ways;
Leave, what are you doing?
I see you seek my ruin,
I'll cry out, pray make no delay,
But take your hand away;
Ah! good Sir, pray Sir, don't you do so,
Never was I thus abus'd so,
By any Man, but you alone,
Therefore Sir, pray begone.
Be quiet, Sir! begone I say!
Lord bless us! how you romp and tear!
There!
I swear!
Now you have laid my bosom bare!
I do not like such boisterous play,
So take that saucy hand away -
Why, now, you're ruder than before!
Fie!
I'll cry!
Oh - I can't bear it - I shall die! -
I vow I'll never see you more!
But - are you sure you closed the door?
Farmer's Merry Songs, V, p. 9, contains one from
Bod. MS Rawl. 214. Farmer read the attribution as 'Mr. Mark P'
but I read it as 'Mr Mark D', not that I can identify him.
Bracketed lines supplied from a variant in Merrie
Drollery, 1661, which commences "Nay out upon this fooling
for shame".
for shame! nay, take away your hand!
in faith, you are to blame.
[Nay come, this fooling must not be;
Nay pish, nay fie; you tickle mee.]
I'll bite, I'll scratch, I'll squeak, I'll cry out;]
nay come, this fooling must not be;
nay pish, nay fy; you tickle mee.
You hurt my thighs, pray take away your hand;
the dore stands open, that all may see;
nay pish, nay fy; you tickle mee.
both togeather, face to face,
Ile not cry out; then you, then you shall see:
nay pish, nay fi; you tickle mee.
for I have don't, why should I complane?
the way is open, & all is free;
since tis noe more, pray tickle mee.
sche will not fansie althouge my selfe do make them"
but will say "fy away, I pray thee come not neere me."
To whome I did reply, and say " I pray the sweet to heere me"
Words are but winde, I gladly would see thee walking
But to say more by the waye, louers must be talking
"go to, good Sr, you ar ane foole, you dull me with
yor pratling.
No sweet, yes sowre, wat a deuels name als yow
it is a little prettie thing, it is of estimatioun
to take it in, it is no blot vnto yor reputatioun
what doeth yor hand ther, swet, it doeth but warme
me
tuch, away, let me be I pray, in faith sweet hert I will not
gif such ane oathe cannot be broke, weill then come to & kill
not
What, ar yow desparate, are yow meand to st[r]ike me"
"no sweet hert, that Ame I not, I thinck to vse the kyndly
And houps to liue the saife and sound & so shall vse the
friendly
fy, fy, faith sr, I ame vndone for ever,
No sweet hert, &
Fines
Doe you mean to overthrow me?
out! alas! I am betraid!
what! is this the louve you show me?
to vndo a sillye Maide.
Alas! I dye! my hart doth breake!
I dare not cry, I cannot speake!
what! all alone? nay then I finde
men are to strong for women kind.
out vpon the maid that put me
in this roome to be alone!
yett she was noe foole to shut mee
where I shold be seen of None.
harke! harke! alac! what Noyce is that?
o, now I see it is the Catt.
come gentle pus, thow wilt not tell;
if all doe soe thou shalt not tell.
Seely foole! why doubts thou tellinge
where thou didst not doubt to trust?
if thy belly fall a swellinge,
theres noe helpe, but out itt must.
alas the spite! alas the shame!
for then I quite Loose my good name;
but yett the worst of Maids disgract,
I am not the first nor shalbe last.
This is in the Percy Folio MS: Loose and Humorous
Songs, and tacked onto "Dulcina" in the Giles Earl MS.
A ditty delightfull of Mother Watkins ale,
A warning wel wayed, though counted a tale.
There was a maid this other day,
And she would needs go forth to play;
And as she walked she sighd and said,
I am afraid to die a mayd.
With that, behard a lad
What talke this maiden had,
Whereof he was full glad,
And did not spare
To say, faire mayd, I pray,
Whether goe you to play?
Good sir, then did she say,
What do you care?
For I will, without faile,
Mayden, give you Watkins ale;
Watkins ale, good sir, quoth she,
What is that I pray you tel me?
Tis sweeter farre then suger fine,
And pleasanter than muskadine;
And if you please, faire mayd, to stay
A little while, with me to play,
I will giue you the same,
Watkins ale cald by name,
Or els I were to blame,
In truth, faire mayd.
Good sir, quoth she againe,
Yf you will take the paine,
I will it not refraine,
Nor be dismayd.
He toke this mayden then aside,
And led her where she was not spyde,
And told her many a prety tale,
And gaue her well of Watkins ale.
Good sir, quoth she, in smiling sort,
What doe you call this prety sport?
Or what is this you do to me?
Tis called Watkins ale, quoth he,
Wherein, faire mayd, you may
Report another day,
When you go forth to play,
How you did speed.
Indeed, good sir, quoth she,
It is a prety glee,
And well it pleasth me,
No doubt indeed.
Thus they sported and they playd,
This yong man and this prety mayd,
Vnder a banke whereas they,
Not long agoe this other day.
When he had done to her his will,
They talkt, but what it shall not skill;
At last, quoth she, sauing your tale,
Giue me some more of Watkins ale,
Or else I will not stay,
For I must needs away, -
My mother bad me play, -
The time is past;
Therfore, good sir, quoth she,
If you haue done with me.
Nay, soft, faire maid, quoth he,
Againe at last
Let vs talke a little while.
With that the mayd began to smile,
And saide, good sir, full well I know,
'Your ale, I see, runs very low.
This yong man then, being so blamd,
Did blush as one being ashamde;
He tooke her by the midle small,
And gaue her more of Watkins ale;
And saide, faire maid, I pray,
When you goe forth to play,
Remember what I say,
Walke not alone.
Good sir, quoth she againe,
I thank you for your paine,
For fear of further staine,
I will be gone.
Farewell, mayden, then quoth he;
Adue, good sir, again quoth she.
Thus they parted at last,
Till thrice three months were gone and past.
This mayden then fell very sicke,
He maydenhead began to kicke,
Her colour waxed wan and pale
With taking much of Watkins ale.
I wish all maydens coy,
That heare this prety toy,
Wherein most women ioy,
How they doe sport;
For surely Watkins ale,
And if it be not stale,
Will turne them to some bale,
As hath report.
New ale will make their bellies bowne,
As trial by this same is knowne
This prouerbe hath bin taught in schools,
It is no iesting with edge tooles.
Thrise scarcely changed hath the moon
Since first this pretty tricke was done,
Which being harde of one by chance,
He made thereof a country dance;
And, as I heard the tale,
He cald it Watkins ale,
Which neuer will be stale,
I doe beleeue;
This dance is now in prime,
And chiefly vsde th