Chapter XVII: Part I: , p. 2 our p. 195. A Puritan of late (2)

The mention, on pp. 116, of “our bold Army” turning out the “black Synod,” refers less probably to Colonel “_Pride’s Purge_” of the Presbyterians, on 6th December, 1648, than to the events of April 20, 1653; and helps to fix the date to the same year. In 6th verse the blanks are to be thus filled, “Arms of the _Rump_ or the _King_;” “C. R., or O. P.;” the joke of “the breeches” being a supposed misunderstanding of the Commonwealth-Arms on current coin (viz., the joined shields of England and Ireland) for the impression made by Noll’s posteriors. Compare “Saw you the States-Money,” in _Rump_ Coll., i. 289. On one side they marked “God with us!”

“_~Common-wealth~ on the other, by which we may guess_
_~God~ and the ~States~ were not both of a side._”

Pages 121, 375. _Come, let’s purge our brains._

This song is almost certainly by THOMAS JORDAN, the City-Poet. With many differences he reprints it later in his _London in Luster_, as sung at the Banquet given by the Drapers Company, October 29th, 1679; where it is entitled “The Coronation of Canary,” and thus begins (in place of our first verse):—

_Drink your wine away,_
_’Tis my Lord Mayor’s day,_
_Let our Cups and Cash be free._
_Beer and Ale are both || But the sons of froth,_
_Let us then in wine agree._
_To taste a Quart || Of every sort,_
_The thinner and the thicker;_
_That spight of Chance || We may advance,_
_The Nobler and the Quicker._
_Who shall by Vote of every Throat_
_Be crown’d the King of Liquor._

2.

_~Muscadel~ Avant, Bloody ~Alicant~,_
_Shall have no free vote of mine;_
_~Claret~ is a Prince, And he did long since_
_In the Royal order shine._
_His face, &c._, (as in _M. D. C._ p. 112.)

In sixth verse, “_If a ~Cooper~ we With a red nose see_,” refers to Oliver Cromwell; and proves it to have been written before September, 1658.

Pages 125, 315. _Lay by, &c., Law lies a-bleeding._

The date of this ballad seems to have been 1656, rather than 1658. The despotism of the sword here so powerfully described, was under those persons who are on p. 254 of _M. D. C._ designated “Oliver’s myrmidons,” meaning, probably, chiefly the major-generals of the military districts, into which the country was divided after Penruddock’s downfall in 1655. They were Desborough, Whalley, Goffe, Fleetwood, “downright” Skippon, Kelsey, Butler, Worseley, and Berry; to these ten were added Barkstead. Compare Hallam’s account:—“These were eleven in number, men bitterly hostile to the royalist party, and insolent to all civil authority. They were employed to secure the payment of a tax of ten per cent., imposed by Cromwell’s arbitrary will on those who had ever sided with the King during the late wars, where their estates exceeded £100 per annum. The major-generals, in their correspondence printed among Thurloe’s papers, display a rapacity and oppression greater than their master’s. They complain that the number of those exempted is too great; they press for harsher measures; they incline to the unfavourable construction in every doubtful case; they dwell on the growth of malignancy and the general disaffection. It was not indeed likely to be mitigated by this unparalleled tyranny. All illusion was now gone as to the pretended benefits of the civil war. It had ended in a despotism, compared to which all the illegal practices of former kings, all that had cost Charles his life and crown, appeared as dust in the balance. For what was Ship-money, a general burthen, by the side of the present decimation of a single class, whose offence had long been expiated by a composition and effaced by an act of indemnity? or were the excessive punishments of the Star Chamber so odious as the capital executions inflicted without trial by peers, whenever it suited the usurper to erect his high court of justice [by which Gerard and Vowel in 1654, Slingsby and Dr. Hewit in 1658 fell]? A sense of present evils not only excited a burning desire to live again under the ancient monarchy, but obliterated, especially in the new generation, that had no distinct remembrance of them, the apprehension of its former abuses.” (_Constitutional Hist. England_, cap. x. vol. ii. p. 252, edit. 1872.) This from a writer unprejudiced and discriminating.

Pages 131, 376. _I’ll tell you a story._

TOWER HILL AND TYBURN. The date of this ferocious ballad is not likely to have been long before the execution of the regicides Harrison, Hacker, Cook, and Hew Peters, in October, 1660; some on the 13th, others on the 16th. Probably, shortly before the trial of Harry Marten, on the 10th of the same month. The second verse indicates a considerable lapse of time since Monk’s arrival and the downfall of the Rump (burnt in effigy, Febr. 11, 1659-60); so we may be certain that it was written late, about September, if not actually at beginning of October.

Sir Robert TICHBOURNE, Commissioner for sale of State-lands, Alderman, Regulator of Customs, and Lord Mayor in 1658, was named in the King’s Proclamation, 6th June, 1660, as one of those who had fled, and who were summoned to appear within fourteen days, on penalty of being exempted from any pardon. His name occurs again, among the exceptions to the Act of Indemnity; along with those of Thos. Harrison, Hy. Marten, John Hewson, Jn. Cook, Hew Peters, Francis Hacker, and other forty-five. Nineteen of these fifty-one surrendered themselves: Tichbourne and Marten among them. None of them were executed; although Scoop was, who also had yielded. The trial of the regicides commenced on 9th October, at Hick’s Hall, Clerkenwell.

HUGH PETERS suffered, along with JOHN COOK (the Counsel against Charles I.) “that read the King’s charge,” on the 16th October. He was depressed in spirits at the last, but there was dignity in his reply to one who insulted him in passing—“Friend, you do not well to trample on a dying man;” and his sending a token to his daughter awakens pity. Physically he had failed in courage, and no wonder, to face all that was arrayed to terrify him: or he might have justified anticipations and “made a pulpit of the place.” His last sermon at Newgate is said to have been “incoherent.”

HARRY MARTEN’S private life is so generally declared to have been licentious (dozens of ballads referring to his “harem,” “Marten’s girl that was neither sweet nor sound,” “Marten, back and leave your wench,” &c.), and his old friend Cromwell when become a foe openly taxing him as a “whoremaster,” that it is better for us to think of him with reference to his unswerving faithfulness in Republican opinions; his gay spirit (more resembling the reckless indifference of Cavaliers than his own associates can have esteemed befitting); his successful exertions on many occasions to save the shedding of blood; and his gallant bearing in the final hours of trial. The living death to which he was condemned, of his twenty years imprisonment at Chepstow Castle, has been recorded (mistakenly as _thirty_) by that devoted student Robert Southey, _clarum et venerabilem nomen!_ in a poem which can never pass into oblivion, although cleverly mocked by Canning in the Anti-Jacobin, Nov. 20, 1797:—

For twenty years secluded from mankind
Here MARTEN lingered. Often have these walls
Echo’d his footsteps, as with even tread
He paced around his prison; not to him
Did Nature’s fair varieties exist:
He never saw the sun’s delightful beams
Save when through yon high bars it pour’d a sad
And broken splendour. Dost thou ask his crime?
He had rebelled against his King, and sat
In judgment on him: _&c._

John Forster has written his memoir, and, in one of his best moments, Wallis painted him. Here are his own last words, sad yet firm, the old humour still apparent, if only in the choice of verse, it being the anagram of his name:—

Here, or elsewhere (all’s one to you—to me!)
Earth, air, or water, gripes my ghostless dust,
None knowing when brave fire shall set it free.
Reader, if you an oft-tried rule will trust,
You’ll gladly do and suffer what you must.

My life was worn with serving you and you,
And death is my reward, and welcome too:
Revenge destroying but itself. While I
To birds of prey leave my old cage and fly.
Examples preach to th’ eye—care, then, mine says,
Not how you end, but how you spend your days.

(_Athenæ Oxonienses_, iii. 1243.)

As to Thomas HARRISON, fifth-monarchy enthusiast, firm to the end in his adversity, he who had been ruthless in prosperity, we have already briefly referred to his closing hours in our Introduction to _Merry Drollery, Compleat_, p. xxix.

JOHN HEWSON, Cobbler and Colonel, who had sat in the illegal mockery of Judgment on King Charles, was for the after years ridiculed by ballad-singers as a one-eyed spoiler of good leather. He escaped the doom of Tyburn by flight to Amsterdam, where he died in 1662. In default of his person, his picture was hung on a gibbet in Cheapside, 25th January, 1660-61. (See _Pepys’ Diary_ of that date.) His appearance was not undignified. One ballad specially devoted to him, at his flight, is “A Hymne to the Gentle Craft; or, _Hewson’s_ Lamentation”:—

Listen a while to what I shall say
Of a blind cobbler that’s gone astray
Out of the Parliament’s High-way,
Good people, pity the blind!

[verse 17.]

And now he has gone to the Lord knows whether,
He and this winter go together,
If he be caught he will lose his leather,
Good people, pity the blind!

(_Rump_, Coll. 1662 edit., ii. 151-4.)

Verse 14. Dr. John HEWIT with Sir Harry Slingsby had been executed for conspiracy against Cromwell, 8th June, 1658. The Earl of Strafford’s death was May 12th, 1641; and that of Laud, January 10th, 1644.

Verse 15. DUN was the name of the Hangman at this time, frequently mentioned in the _Rump_ ballads. Jack Ketch was his successor: Gregory had been Hangman in 1652.

Pages 134, 376. _I’ll go no more to the Old Exchange._

The _first_ Royal Exchange, Sir Thomas Gresham’s Bourse, was opened by Queen Elizabeth, January 23rd, 1570, and destroyed in the Great Fire of 1666. The _second_ was commenced on May 6th, 1667, and burnt on January 10th, 1838. The present building, the _third_, was opened by Queen Victoria Oct., 28th, 1844. The “Old Exchange,” often referred to in ballads, was Gresham’s. But the “New Exchange” was one, erected where the stables of Durham House in the Strand had stood: opened April 11th, 1609, and removed in 1737. King James I. had named it “Britain’s Bourse.” Built on the model of the established Royal Exchange, it had “cellars, a walk, and a row of shops, filled with milliners, seamstresses, and those of similar occupations; and was a place of fashionable resort. What, however, was intended to rival the Royal Exchange, dwindled into frivolity and ruin, and the site is at present [1829] occupied by a range of handsome houses facing the Strand” (T. Allen’s _Hist. and Antiq. of London_, iv. 254). In the ballad it is sung of as “Haberdashers’ Hall.” Cp. Roxb. Coll., ii., 230.

Pages 152, 378. _There is a certain, &c._

This is an imperfect version of “A Woman’s Birth,” merely the beginning, four stanzas. The whole fifteen (eleven following ours) are reprinted by Wm. Chappell, in the Ballad Society’s _Roxburghe Bds._, iii. 94, 1875, from a broadside in Roxb. Coll., i. 466, originally printed for Francis Grove [1620-55]. 2nd verse reads:—Her husband _Hymen_; 4th. _Wandring ~eye~; insatiate_. The gifts of Juno, Flora, and Diana follow; with woman’s employment of them.

Page 172. _Blind Fortune, if thou, &c._

We find this in MS. Harleian, No. 6396, fol. 13. Also two printed copies, in _Parnassus Biceps_, 1656, 124; and in _Sportive Wit_, same year, p. 39. We gained the corrections, which we inserted as _marginalia_, from the MS.; “_Ceres_ in _hir_ Garland” having been corrupted into “_Cealus_ in _his_.” “_Aglaura_,” Sir John Suckling’s play, (printed originally in 4to. 1639, with a broad margin of blank, on which the wits made merry with epigrammes, “By this wide margent,” &c.), appeared on April 18th, 1638, and is here referred to. Probably the date of the poem is nearly as early. On p. 175 the “Pilgrimage up _Holborn_ Hill” refers to a journey from Newgate to Tyburn. (See p. 365).

Pages 180, 379. _Heard you not lately of a man._

The Mad-Man’s Morrice; written by HUMFREY CROUCH: For the second part of the broad-sheet version we must refer readers to vol. ii. page 153, of the Ballad Society’s reprint of the _Roxburghe Ballads_ (now happily arrived at completion of the first massive folio vol. of Major Pearson’s original pair; the bulky third and slim fourth vols. being afterwards added). We promised to give it, and gladly would have done so, if we had space: for it is a trustworthy picture of a Bedlamite’s sufferings, under the harsh treatment of former days. Date about 1635-42.

To our enumeration of mad songs (_Westm. Droll._ App. p. 9) we may add Thomas Jordan’s “I am the woefullest madman.”

_M. D., C._, p. 198, lines 22, 23. _True Hearts._

“I’ll drink to thee a brace of quarts || Whose Anagram is called _True Hearts_.” The Anagram of True Hearts gives us “Stuart here!” which, like drinking “to the King—_over the water_!” in later days by the Jacobites, would be well understood by suspected cavaliers.

In March 1659-60 appeared the anagram “Charles Stuart: Arts Chast Rule.” Later: Awld fool, Rob the Jews’ Shop.

Pages 255, 287. _When I do travel in the night._

Like “How happy’s the prisoner,” _Ibid._ p. 107, we trace this so early as 1656. It is in _Sportive Wit_, p. 12, as “When I go to revel in the night,” The Drunkard’s Song.

Pages 153 (and Introduction, ix). _The best of Poets, &c._

THE BOW GOOSE. We have found this, (15 verses of our 18,) five years earlier, in _Sportive Wit_, 1656, p. 35. It there begins, “The best of Poets write of Hogs, And of _Ulysses_ barking Dogs; Others of Sparrows, Flies, and Hogs.” Our text, though later, seems to be the better, and has three more verses: “Frogs,” in connection with “the Best of Poets,” referring to Homer and to _Batrachomyomachia_; supposed to be his, and translated by George Chapman, about 1623 (of whom A. C. Swinburne has recently written so glowing a eulogium, coupling with it the noblest praise of Marlowe).

_M. D., C._, pp. 166, 376. _Now, thanks to, &c._

Of course, the words displayed by dashes are _Crown_, _Bishop_, _King_. To this same tune are later songs (1659-60) in the Rump, ii. 193-200, “What a reprobate crew is here,” &c. Wilkins prints an inferior version of 7th line in 3rd verse, as “Take _Prynne_ and his clubs, or _Say_ and his tubs,” referring to William, Viscount “Say and Seal.” Ours reads “club, or _Smec_ and his tub,” the allusion being to _Smectymnuus_, a name compounded, like the word _Cabal_ in Charles II.’s time, of the initials of five personal names: Ste. Marshall, Edm. Calamy, Thos. Young, Matth. Newcomen, and Willm. Spurstow; all preachers, who united in a book against Episcopacy and the Liturgy. Milton, in 1641 published his _Animadversions upon the Remonstrants Defence against Smectymnuus_; and in 1642, _An Apology for Smectymnuus_. John Cleveland devotes a poem to “The Club Divines,” beginning “Smectymnuus! the Goblin makes me start.” (_Poems_, p. 38, 1661; also in the _Rump_ Coll., i. 57.)

Pages 200, 382. _A Story strange, &c._

Correction:—Instead of the words “_Choyce Drollery_, p. 31,” in first line of note (M. D., C., p. 382), read “_Jovial Drollery_ (i.e., _Sportive Wit_), p. 59.” The same date, viz. 1656.

Pages 210-11, 384. “_To ~Virginia~ for Planters._”

The reference here is to the proposed expedition of disheartened Cavaliers (among whom was Wm. D’Avenant) from France and England to the Virginian plantations. It was defeated in 1650, the vessels having been intercepted in the channel by the Commonwealth’s fleet. By the way, the infamous sale into slavery of the royalist prisoners during the war in previous years by the intolerant Parliament, deserves the sternest reprobation.

Page 226. “_Sea-coal Lane._”

An appropriate dower, as Sea-coal Lane in the Old Bailey bore a similar evil repute to Turnball Street, Drury Lane, and Kent Street, for the _bona-roba_ tribe: as “the suburbs” always did.

Pages 232, 390. _How poor is his spirit._

Written when Oliver rejected the title of King, 8th May, 1657. (See next note, on p. 254.)

Pages 254, 393. Oliver, Oliver, _take up thy Crown_.

After Cromwell’s designating the Battle of Worcester, 3rd September, 1651, his “crowning victory” many of his more uncompromising Republicans kept a stealthy eye upon him. Our ballad evidently refers itself to the date of the “purified” Parliament’s “Petition and Advice,” March 26, 1656, when Cromwell hesitated before accepting or declining the offered title of King; thinking (mistakenly, as we deem probable) that his position would become more unsafe, from the jealousy and prejudices of the army, than if he seemed contented with the name of Protector to the Commonwealth, while holding the actual power of sovereignty. His refusal was in April, 1657. Hallam thinks it was not until after Worcester fight that “he began to fix his thoughts, if not on the dignity of royalty, yet on an equivalent right of command. Two remarkable conversations, in which Whitelock bore a part, seem to place beyond controversy the nature of his designs. About the end of 1651, Whitelock himself, St. John, Widdrington, Lenthall, Harrison, Desborough, Fleetwood, and Whalley met Cromwell, at his own request to consider the settlement of the nation,” &c. (_Constit. Hist. England_, cap. x. p. 237, edit. 1872.) “Twelve months after this time in a more confidential discourse with Whitelock alone, the general took occasion to complain both of the chief officers of the army and of the parliament,” &c. (_Ibid._ p. 238). The conference not being satisfactory to Cromwell, on each occasion ended abruptly; and Whitelock (if we may trust his own account, which perhaps is asking too much) was little consulted afterwards. When they had conferred the title of Lord Protector, the right of appointing his successor was added on 22nd May.

Pages 255, 393. _When I do travel, &c._

“With upsie freeze I line my head,” of our text, is in the play “Cromwell’s Coronation” printed “With _tipsy_ frenzie.” But we often find the other phrase; sometimes, as in the ballad of “The Good Fellow’s Best Beloved” (i.e. strong drink) varied thus, “With good _ipse he_,” (about 1633). See Bd. Soc. _Roxb. Bds._ iii. 248, where is W. Chappell’s note, quoting Nares:—“It has been said that _op-zee_, in Dutch, means ‘over sea,’ which cones near to another English phrase for drunkenness, being ‘half-seas over.’ But _op-zyn-fries_ means, ‘in the Dutch fashion,’ or _à la mode de Frise_, which perhaps is the best interpretation of the phrase.” In Massinger and Decker’s “Virgin Martyr,” 1622, Act ii. sc. 1, we find the vile Spungius saying, “_Bacchus_, the God of brewed wine and sugar, grand patron of rob-pots, _upsie freesie_ tipplers, and _super-naculum_ takers,” &c. Probably Badham’s conjecture is right, and in Hamlet, i. 4, we should read not “up-spring,” but

“_Keeps wassail, and the swaggering ~upsy freeze~._”

(_Cambr. Essays_, 1656; _Cambr. Shakesp._ viii. 30). T. Caldecott had so early as 1620 (in _Spec. new edit. Shakesp._ Hamlet) anticipated the guess, but not boldly. He brings forward from T. Lodge’s _Wit’s Miserie_, 4to, 1596, p. 20, “Dance, leap, sing, drink, _upsefrize_.” And again:—

_For ~Upsefreeze~ he drunke from four to nine,_
_So as each sense was steeped well in wine:_
_Yet still he kept his ~rouse~, till he in fine_
_Grew extreame sicke with hugging ~Bacchus~ shrine._

[_The Shrift._]

A new Spring shadowed in sundrie pithie Poems by _Musophilus_, 4to. 1619, signat. l. b., where “_Upsefreese_” is the name of the frier. Like “Wassael” and “Trinkael,” the phrase upsie-friese, or vrijster, seems to have been used as a toast, perhaps for “To your sweetheart.”

Pages 259, 354. _If none be offended._

The exact date of this ballad’s publication was 31st December, 1659: in _Thomason Collection_, Numero xxii., folio, Brit. Mus.

Page 270. _Pray why should any, &c._

Probably written in 1659-60, when Monk was bridling the Commons. “Cooks” alludes to John Cook, the Solicitor for the Commonwealth, who at the trial of Charles Ist. exhibited the charge of high treason. After the Restoration, Cook was executed along with Hugh Peters, 16th Oct., 1660, at Charing Cross.

Pages 283 (line 22), 395. _I have the finest Nonperel._

“_Hyrens_” (as earlier printed in _Wit and Drollery_, 1656, p. 26), instead of “Syrens” of our text, is probably correct. Ancient Pistol twice asks “Have we not _Hirens_ here?” (_Henry_ IV., Part 2nd, Act ii. sc. 4). George Peele had a play, now lost, on “The Turkish Mahomet and Hiren the fair Greek” [1594?] In the _Spiritual Navigator_, 1615, we learn, is a passage, “There be Syrens in the sea of the world. _Syrens?_ _Hirens_, as they are now called. What a number of these syrens, hirens, cockatrices, courteghians—in plain English, harlots—swimme amongst us!”

Page 287. Title, “_Oxford Feasts._”

An unfortunate misprint crept in, detected too late: for “_Feasts_” read properly “_Jeasts_:” the old fashioned initial _J_ being barred across like _F_.

Page 293, line 11. “_Heresie in hops._”

This must have been an established jest. Compare Introd. to _M. D., C._, pp. xxxi-ii. and T. Randolph’s “Fall of the Mitre Tavern,” Cambridge, before 1635,

“_The zealous students of that place_
_Change of religion bear:_
_That this mischance may soon bring in_ || _A heresy of beer._”

Page 295, line 24. “_A hundred horse._”

“He that gave the King a hundred horse,” refers, no doubt, to Sir John Suckling and his loyal service in 1642. See introduction to _M. D., C._, pp. xix. xx. The Answer to “I tell thee, Jack, thou gavest the King,” there mentioned, and probably referring to Sir John Mennis, a carping rival although a Cavalier, has a smack of Cleveland about it (it certainly is not Suckling’s):—

_I tell thee, fool, who ere thou be,_
_That made this fine sing-song of me,_
_Thou art a riming sot:_
_These very lines do thee betray,_
_This barren wit makes all men say_
_’Twas some rebellious Scot._

_But it’s no wonder if you sing_
_Such songs of me, who am no King,_
_When every blew-cap swears_
_Hee’l not obey King ~James~ his Barn,_
_That huggs a Bishop under’s Arme,_
_And hangs them in his ears._

_Had I been of your Covenant,_
_You’d call me th’ son of ~John~ of ~Gaunt~,_
_And give me t’ great renown;_
_But now I am ~John~ [f]or the King,_
_You say I am but poor ~Suckling~,_
_And thus you cry me down._

_Well, it’s no matter what you say_
_Of me or mine that run away:_
_I hold it no good fashion_
_A Loyal subjects blood to spill,_
_When we have knaves enough to kill_
_By force of Proclamation._

_Commend me unto ~Lesley~ stout,_
_And his Pedlers him about,_
_Tell them without remorse_ [p. 151.]
_That I will plunder all their packs_
_Which they have got with their stoln knick knacks,_
_With these my hundred horse._

_This holy War, this zealous firke_
_Against the Bishops and the Kirk_
_Is a pretended bravery;_
_Religion, all the world can tell,_
_Amongst Highlanders nere did dwell,_
_Its but to cloak your knavery._

_Such desperate Gamesters as you be,_
_I cannot blame for tutoring me,_
_Since all you have is down,_
_And every Boor forsakes his Plow,_
_And swears that he’l turn Gamester now_
_To venture for a Crown._

(_Le Prince d’Amour_, 1660, pp. 150, 151.)

Pages 296, 398 (Cp. this vol. p. 149, line 8). _Now that the Spring._

This is by WILLM. BROWNE, author of “Britannia’s Pastorals.” The date is probably about fifteen years before 1645. It is one among the “Odes, Songs, and Sonnets of Wm. Browne,” in the Lansdowne MS. 777, fol. 4 _reverso_ and 5, with extra verses not used in the Catch.

_A Rounde._ [1st verse sung by] All.

_Now that the Spring hath fill’d our veynes_
_With kinde and actiue fire,_
_And made green Liu’ryes for the playnes,_
_and euery grove a Quire,_
_Sing we a Song of merry glee_
_and ~Bacchus~ fill the bowle:_
_1. Then heres to thee; 2. And thou to mee_
_and euery thirsty soule._

_Nor Care nor Sorrow ere pay’d debt_
_nor never shall doe myne;_
_I haue no Cradle goeing yet,_
_[?2.] nor I, by this good wyne._
_No wyfe at home to send for me,_
_noe hoggs are in my grounde,_
_Noe suit at Law to pay a fee,_
_Then round, old Jockey, round._

All.

_Sheare sheepe that haue them, cry we still,_
_But see that noe man scape_
_To drink of the Sherry_
_That makes us so merry_
_and plumpe as the lusty Grape._

(_Lansdowne MS._, No. 777.)

“Noe hoggs are in my grounds” may refer to the Catch (if it be equally old):—

_Whose three Hogs are these, and whose three Hoggs are these,_
_They are ~John Cook’s~, I know by their look, for I found them in my
pease._
_Oh! pound them: oh pound them! But I dare not, for my life;_
_For if I should pound ~John Cook’s~ Hoggs, I should never kiss ~John
Cook’s~ wife, &c._

(_Catch Club_, 1705, iii. 46.)

Pages 293, 358. _Fetch me ~Ben Jonson’s~ scull._

In 1641 this was printed separately and anonymously as “_A Preparative to Studie; or, the Vertue of Sack_,” 4to. Ben Jonson had died in August, 1637. Line 9 reads: dull _Hynde_; 21, Genius-making; 28, Welcome, by; after the word “scapes” these additional lines:—

_I would not leave thee, Sack, to be with ~Jove~,_
_His Nectar is but faign’d, but I doe prove_
_Thy more essentiall worth; I am (methinks), &c._

Line 46, instead of “long since,” reads “_of late_” (referring to whom?); 38, tempt a _Saint_; 44, _farther_ bliss; 53, against thy _foes_ (N.B.); That _would_; and, additional, after “horse,” in line 56, this historical allusion to David Lesley, of the Scotch rebellion:—

_I’me in the North already, ~Lasley’s~ dead,_
_He that would rise, carry the King his head,_
_And tell him (if he aske, who kill’d the Scot)_
_I knock’t his Braines out with a pottle pot._
_Out ye Rebellious vipers; I’me come back_
_From them againe, because there’s no good Sack,_
_T’other odd cup, &c._

By this we are guided to the true date: between May, 1639, and August, 1640.

Pages 309, 399. _Why should we boast._

Compare pp. 129, 315, of present volume, for the _Antidote_ version and note upon it. Brief references must suffice for annotation here. See Mallory’s “_Morte d’Arthur_,” the French _Lancelot du Lac_, and _Sir Tristram_. Three MSS., the Auchinlech, Cambridge University, and Caius College, preserve the romance of _Sir Bevis of Hamptoun_, with his slaying the wild boar; his sword _Morglay_ is often mentioned, like Arthur’s _Excalibur_: Ascapard, the thirty-feet-long giant, who after a fierce battle becomes page to Sir Bevis. Caius Coll. MS. and others have the story _Richard Cœur de Leon_, but the street-ballad served equally to keep alive his fame among the populace, _Coll. Old. Bds._ iii. 17. Wm. Ellis gives abstracts of romances on Arthur, Guy of Warwick, Sir Bevis, Richard Lion-heart, Sir Eglamour of Artoys, Sir Isumbras, the Seven Wise Masters, Charlemagne and Roland, &c., in his _Spec. Early English Metrical Romances_; of which J. O. Halliwell writes, in 1848:—“Ellis did for ancient romance what Percy had previously accomplished for early poetry.” In passing, we must not neglect to express the debt of gratitude due to the managers of the _E. E. Text Soc._, for giving scholarly and trustworthy prints of so many MSS., hitherto almost beyond reach. For _Orlando Inamorato_ and _Orlando Furioso_ we must go to Boiardo and Ariosto, or the translators, Sir John Harrington and W. Stewart Rose. Dunlop’s _Hist. of Fiction_ gives a slight notice of some of this ballad’s heroes, including _Huon_ of Bordeaux, the French _Livre de Jason_, Prince of the Myrmidons, the _Vie de Hercule_, the _Cléopâtre_, &c. Valentine and Orson is said to have been written in the reign of Charles VIII., and first printed at Lyons in 1495. SS. David, James, and Patrick, with the rest of the Seven Champions, like the Four Sons of Aymon, are of easy access. Cp. Warton.

ARTHUR O’BRADLEY.

(_Merry Droll., Com._, pp. 312, 395; _Antidote ag. Mel._, 16).

Here is the five years’ earlier Song of “Arthur o’ Bradley,” (_vide ante_, pp. 166-175) never before reprinted, we believe, and not mentioned by J. P. Collier, W. Chappell, &c., when they referred to “Saw ye not Pierce the Piper” of _Antidote_ and _M. D., C._, 1661. But ours is the earliest-known complete version [before 1642?]:—

A SONG. [p. 81.]

All you that desire to merry be,
Come listen unto me,
And a story I shall tell,
Which of a Wedding befell,
Between _Arthur_ of _Bradley_
And _Winifred_ of _Madly_.
As _Arthur_ upon a day
Met _Winifred_ on the way,
He took her by the hand,
Desiring her to stand,
Saying I must to thee recite
A matter of [great] weight,
Of Love, that conquers Kings,
In grieved hearts so rings,
And if thou dost love thy Mother,
Love him that can love no other.
_Which is oh brave ~Arthur~_, &c.

For in the month of May,
Maidens they will say,
A May-pole we must have, [∴ date before 1642.]
Your helping hand we crave.
And when it is set in the earth,
The maids bring Sullybubs forth; [Syllabubs]
Not one will touch a sup,
Till I begin a cup.
For I am the end of all
Of them, both great and small.
Then tell me yea, or nay,
For I can no longer stay.
_With oh brave ~Arthur~_, &c.

Why truly _Arthur_[,] quoth she,
If you so minded be,
My good will I grant to you,
Or anything I can do.
One thing I will compell,
So ask my mothers good will.
Then from thee I never will flye,
Unto the day I do dye.
Then homeward they went with speed,
Where the mother they met indeed.
Well met fair Dame, quoth _Arthur_,
To move you I am come hither,
For I am come to crave, [p. 83.]
Your daughter for to have,
For I mean to make her my wife,
And to live with her all my life.
_With oh brave ~Arthur~_, &c.

The old woman shreek’d and cry’d,
And took her daughter aside,
How now daughter, quoth she,
Are you so forward indeed,
As for to marry he,
Without consent of me?
Thou never saw’st thirteen year,
Nor art not able I fear,
To take any over-sight,
To rule a mans house aright:
Why truly mother, quoth she,
You are mistaken in me;
If time do not decrease,
I am fifteen yeares at least.
_With oh brave ~Arthur~_, &c.

Then _Arthur_ to them did walk,
And broke them of their talk.
I tell you Dame, quoth he,
I can have as good as thee;
For when death my father did call,
He then did leave me all
His barrels and his brooms,
And a dozen of wo[o]den spoones,
Dishes six or seven,
Besides an old spade, even
A brasse pot and whimble,
A pack-needle and thimble,
A pudding prick and reele,
And my mothers own sitting wheele;
And also there fell to my lot
A goodly mustard pot.
_With O brave_ Arthur, &c.

The old woman made a reply,
With courteous modesty,
If needs it must so be,
To the match I will agree.
For [when] death doth me call,
I then will leave her all;
For I have an earthen flaggon,
Besides a three-quart noggin,
With spickets and fossets five,
Besides an old bee-hive;
A wooden ladle and maile,
And a goodly old clouting paile;
Of a chaff bed I am well sped,
And there the Bride shall be wed,
And every night shall wear
A bolster stufft with haire,
A blanket for the Bride,
And a winding sheet beside,
And hemp, if he will it break, [p. 85.]
New curtaines for to make.
To make all [well] too, I have
Stories gay and brave.
Of all the world so fine,
With oh brave eyes of mine,
_With oh brave ~Arthur~_, &c.

When _Arthur_ his wench obtained,
And all his suits had gained,
A joyfull man was he,
As any that you could see.
Then homeward he went with speed,
Till he met with her indeed.
Two neighbours then did take
To bid guests for his sake;
For dishes and all such ware,
You need not take any care.
_With oh brave ~Arthur~_, &c.

To the Church they went apace,
And wisht they might have grace,
After the Parson to say,
And not stumble by the way;
For that was all their doubt,
That either of them should be out.
And when that they were wed,
And each of them well sped,
The Bridegroom home he ran,
And after him his man, [p. 86.]
And after him the Bride,
Full joyfull at the tyde,
As she was plac’d betwixt
Two yeomen of the Guests,
And he was neat and fine,
For he thought him at that time
Sufficient in every thing,
To wait upon a King.
But at the doore he did not miss
To give her a smacking kiss.
_With oh brave ~Arthur~_, &c.

To dinner they quickly gat,
The Bride betwixt them sat,
The Cook to the Dresser did call,
The young men then run all,
And thought great dignity
To carry up Furmety.
Then came leaping _Lewis_,
And he call’d hard for Brewis;
Stay, quoth _Davy Rudding_,
Thou go’st too fast with th’ pudding.
Then came _Sampson Seal_,
And he carry’d Mutton and Veal;
The old woman scolds full fast,
To the Cook she makes great hast,
And him she did controul,
And swore that the Porridge was cold.
_With oh brave_, &c.

My Masters a while be brief,
Who taketh up the Beef?
Then came _William Dickins_, [p. 87.]
And carries the Snipes & Chickens.
_Bartholomew_ brought up the Mustard,
_Caster_ he carry’d the Custard.
In comes _Roger Boore_,
He carry’d up Rabbets before:
Quoth _Roger_, I’le give thee a Cake,
If thou wilt carry the Drake.
[1] Speak not more nor less,
Nor of the greatest mess,
Nor how the Bride did carve,
Nor how the Groom did serve
_With oh brave ~Arthur~_, &c.

But when that they had din’d,
Then every man had wine;
The maids they stood aloof,
While the young men made a proof.
Who had the nimblest heele,
Or who could dance so well,
Till _Hob_ of the hill fell over, [? oe’r]
And over him three or four.
Up he got at last,
And forward about he past;
At _Rowland_ he kicks and grins,
And he [? hit] _William_ ore the shins;
He takes not any offence,
But fleeres upon his wench.
The Piper he play’d [a] Fadding,
And they ran all a gadding.
_With oh brave ~Arthur [o’ Bradley]~_, &c.

(“_Wits Merriment_,” 1656, pp. 81-7.)

The often mentioned “Arthur o’ Bradley’s Wedding,” a modern version attributed to Mr. Taylor, the actor and singer, is given, not only in _Songs and Ballads of the Peasantry_, &c., (p. 139 of R. Bell’s Annot. ed.), collected by J. H. Dixon; but also in Berger’s _Red, White, and Blue Monster Songbook_, p. 394, where the music arranged by S. Hale is stated to be “at Walker’s.”

Pages 326, 402. _Why should we not laugh?_

The reference to “Goldsmith’s Hall” (see p. 363), where a Roundhead Committee sate in 1647, and later, for the spoliation of Royalists’ estates, levying of fines and acceptance of “Compounders” money, dates the song.

Pages 328, 402. _Now we are met._

If we are to reckon the “twelve years together by the ears” from January 4, 1641-2, the abortive attempt of Charles I. to arrest at the House “the Five Members” (Pym, Hampden, Haslerig, Denzil Holles, and Strode), we may guess the date of this ballad to be 1653-4. Verse 14 mentions Oliver breaking the Long Parliament (20th April, 1653); and verses 15, 16 refer to the Little, or “Barebones Parliament” July 4, to 2nd December, 1653, (when power was resigned into the hands of Cromwell). Shortly after this, but certainly before Sept. 3rd, 1654 (when the next Parliament, more impracticable and persecuting, met), must be the true date of the ballad. “_Robin_ the Fool” is “Robin Wisdom,” Robert Andrews. “_Fair_” is Thomas Lord Fairfax the “Croysado-General.” “Cowardly W——” is probably Philip, Lord Wharton, a Puritan, and Derby-House committee-man; of inferior renown to Atkins in unsavoury matters; but whose own regiment ran away at Edgehill: Wharton then took refuge in a saw-pit. President _Bradshaw_ died 22nd Nov., 1659. Dr. Isaac DORISLAUS, Professor of History at Cambridge, and of Gresham College, apostatized from Charles I., and was sent as agent by the Commons to the Hague, where he was in June, 1649, assassinated by some cavaliers, falsely reported to be commissioned by the gallant Montrose (see the ballad “What though lamented, curst,” &c., in King’s Pamphlets, Brit. Mus.).

“_Askew_,” is “one Ascham a Scholar, who had been concerned in drawing up the King’s Tryal, and had written a book,” &c., (Clarendon, iii. 369, 1720). This Anthony Ascham, sent as Envoy to Spain from the Parliament in 1649, was slain at Madrid by some Irish officers, (Rapin:) of whom only one, a Protestant, was executed. See _Harl. Misc._ vi. 236-47. All which helped to cause the war with Spain in 1656.

Harry Marten’s evil repute as to women, and lawyer Oliver St. John’s building his house with stones plundered from Peterborough Cathedral, were common topics. “The women’s war,” often referred to as the “bodkin and thimble army,” of 1647, was so called because the “Silly women,” influenced by those who “crept into their houses,” gave up their rings, silver bodkins, spoons and thimbles for support of Parliamentary troops.

Page 332, line 2.

We should for _Our_ read _Only_.

Page 348, line 10. “Old Lilly.”

An allusion to William Lilly’s predictive almanacks, shewing that this Catch was not much earlier in date than Hilton’s book, 1652. Lilly was the original of Butler’s “Cunning man, hight Sidrophel” in _Hudibras_, Part 2nd, Canto 3. Compare note, p. 353.

Page 361 (Appendix), line 5.

For misprint _alterem_, read _alteram_.

Page 394 (Appendix), _New England, &c._

References should be added to the _Rump_ Coll., 1662, i. 95, and _Loyal Songs_, 1731, i. 92. “Isaack,” is probably Isaac Pennington. Hampden and others were meditating this _journey to New England_, until stopped, most injudiciously, by an order in Council, dated April 6, 1638.

We here give our additional Note, on the “Sessions of the Poets,” reserved from p. 376.

§ 3.—SESSIONS OF POETS.

We believe that Sir John Suckling’s Poem, sometimes called “A Sessions of Wit,” was written in 1636-7; almost certainly before the death of Ben Jonson (6th August, 1637). Among its predecessors were Richard Barnfield’s “Remembrance of some English Poets,” 1598 (given in present volume, p. 273); and Michael Drayton’s “Censure of the Poets,” being a Letter in couplets, addressed to his friend Henry Reynolds; and the striking lines, “On the Time-Poets,” pp. 5-7 of _Choyce Drollery_, 1656. The latter we have seen to be anonymous; but they were not impossibly by that very Henry Reynolds, friend of Drayton; although of this authorship no evidence has yet arisen. Of George Daniel’s unprinted “Vindication of Poesie,” 1636-47, we have given specimens on pp. 272, 280-1, and 331-2. Later than Suckling (who died in 1642), another author gave in print “The Great Assizes Holden in Parnassus by Apollo and his Assessors:” at which Sessions are arraigned Mercurius Britannicus, &c., Feb. 11th, 1644-5. This has been attributed to George Wither; most erroneously, as we believe. The mis-appropriation has arisen, probably, from the fact of Wither’s name being earliest on the roll of Jurymen summoned:

“_Hee, who was called first in all the List,_
_~George Withers~ hight, entitled Satyrist;_
_Then ~Cary~, ~May~, and ~Davenant~ were called forth,_
_Renowned Poets all, and men of worth,_
_If wit may passe for worth: Then ~Sylvester~,_
_~Sands~, ~Drayton~, ~Beaumont~, ~Fletcher~, ~Massinger~,_
_~Shakespeare~, and ~Heywood~, Poets good and free,_
_Dramatick writers all, but the first three:_
_These were empanell’d all, and being sworne_
_A just and perfect verdict to return_,” _&c._ (p. 9.)

George Wither was quite capable of placing himself first on the list, in such a manner, we admit; but it is incredible to us that, if he had been the author, he could have described himself so insultingly as we find in the following lines, and elsewhere:—

“_he did protest_
_That ~Wither~ was a cruell Satyrist;_
_And guilty of the same offence and crime,_
_Whereof he was accused at this time:_
_Therefore for him hee thought it fitter farre,_
_To stand as a Delinquent at the barre,_
_Then to bee now empanell’d in a Jury._
_~George Withers~ then, with a Poetick fury,_
_Began to bluster, but ~Apollo’s~ frowne_
_Made him forbeare, and lay his choler downe._”

(_Ibid_, p. 11.)

Two much more sparkling and interesting “Sessions of Poets” afterwards appeared, to the tune of Ben Jonson’s “Cook Laurel.” The first of these begins:—

“_~Apollo~, concern’d to see the Transgressions_
_Our paltry Poets do daily commit,_
_Gave orders once more to summon a Sessions,_
_Severely to punish th’ Abuses of Wit._

_~Will d’Avenant~ would fain have been Steward o’ the Court,_
_To have fin’d and amerc’d each man at his will;_
_But ~Apollo~, it seems, had heard a Report,_
_That his choice of new Plays did show h’ had no skill._

_Besides, some Criticks had ow’d him a spite,_
_And a little before had made the God fret,_
_By letting him know the Laureat did write_
_That damnable Farce, ‘~The House to be Let~.’_

_Intelligence was brought, the Court being set_
_That a Play Tripartite was very near made;_
_Where malicious ~Matt. Clifford~, and spirituall ~Spratt~,_
_Were join’d with their Duke, a Peer of the Trade,” &c._

The author did not avow himself. It must have been written, we hold, in 1664-5. The second is variously attributed to John Wilmot, Earl of Rochester, and to George Villiers, Duke of Buckingham, being printed in the works of both. It begins:—

“_Since the Sons of the Muses grew num’rous and loud,_
_For th’ appeasing so factious and clam’rous a crowd,_
_~Apollo~ thought fit in so weighty a cause,_
_T’ establish a government, leader, and laws,” &c._

Assembled near Parnassus, Dryden, Etherege, Wycherley, Shadwell, Nat Lee, Settle, Otway, Crowne, Mrs. Aphra Behn, Rawlins, Tom D’Urfey, and Betterton, are in the other verses sketched with point and vivacity; but in malicious satire. It was probably written in 1677. Clever as are these two later “Sessions,” they do not equal Suckling’s, in genial spirit and unforced cheerfulness.

We need not here linger over the whimsical Trial of Tom D’Urfey and Tom Brown (who squabbled between themselves, by the bye), in a still later “Sessions of the Poets Holden at the foot of Parnassus Hill, July the 9th, 1696: London, printed for E. Whitlock, near Stationers’ Hall, 1696”:—a mirthful squib, which does not lay claim to be called poetry. Nor need we do more than mention “A Trip to _Parnassus_; or, the Judgment of _Apollo_ on Dramatic Authors and Performers. A Poem. London, 1788”—which deals with the two George Colmans, Macklin, Macnally, Lewis, &c. Coming to our own century, it is enough to particularize Leigh Hunt’s “Feast of the Poets;” printed in his “Reflector,” December, 1811, and afterwards much altered, generally with improvement (especially in the exclusion of the spiteful attack on Walter Scott). It begins—_“’Tother day as Apollo sat pitching his darts,” &c._ In 1837 Leigh Hunt wrote another such versical review, viz., “Blue-Stocking Revels; or, The Feast of the Violets.” This was on the numerous “poetesses,” but it cannot be deemed successful. Far superior to it is the clever and interesting “Fable for Critics,” since written by James Russell Lowell in America.

Both as regards its own merit, and as being the parent of many others (none of which has surpassed, or even equalled it), Sir John Suckling’s “Sessions of Poets” must always remain famous. We have not space remaining at command to annotate it with the fulness it deserves.

ADDITIONS AND CORRECTIONS.

The type-ornaments in _Choyce Drollery_ reprint are merely substitutes for the ruder originals, and are not in _fac-simile_, as were the Initial Letters on pages 5 and 7 of our _Merry Drollery, Compleat_ reprint.

Page 42, line 6, “a Lockeram Band:” Lockram, a cheap sort of linen, see J. O. Halliwell’s valuable _Dictionary of Archaic and Provincial Words_, p. 525, edit. 1874. To this, and to the same author’s 1876 edition of Archdeacon _Nares Glossary_, we refer readers for other words.

Page 73-77, 297, _Marchpine_, or _Marchpane_, biscuits often made in fantastic figures of birds or flowers, of sweetened almonds, &c. _Scettuall_, or _Setiwall_, the Garden Valerian. _Bausons_, i.e. badgers. _Cockers_; boots. Verse fifth omitted from _Choyce Drollery_, runs:—

“Her features all as fresh above,
As is the grass that grows by _Dove_,
And lythe as lass of _Kent_;
Her skin as soft as _Lemster_ wool,
As white as snow on _Peakish Hull_,
Or Swan that swims in _Trent_.”

A few typographical errors crept into sheet G (owing to an accident in the Editor’s final collation with original). P. 81, line 2, read _Blacke_; line 20, Shaft; p. 85, line 3, Unlesse; p. 86, line 5, Physitian; line 17, that Lawyer’s; p. 87, line 9, That wil stick to the Laws; p. 88, line 8, O that’s a companion; p. 90, first line, _basenesse_; line 23, nature; p. 91, line 13, add a comma after the word blot; p. 94, line 13, Scepter; p. 96, line 10, Of this; p. 97, line 15, For feare; p. 99, line 6, add a comma; p. 100, line 13, finde. These are all _single-letter_ misprints.

Page 269, line 14, for _encreasing_, read _encreaseth_; and end line 28 with a comma.

I. H. in line 35, are the initials of the author, “Iohn Higins.”

Page 270, line 9, add the words—“It is by Sir Wm. Davenant, and entitled ‘The Dying Lover.’”

Page 275, penultimate line, read _Poet-Beadle_. P. 277, l. 17, for 1698 read 1598.

Page 281, line 20, for _liveth_, read _lives_; _claime_.

Page 289, after line 35, add—“Page 45, ‘_As I went to_ Totnam.’ This is given with the music, in Tom D’Urfey’s _Pills to purge Melancholy_, p. 180, of 1700 and 1719 (vol. iv.) editions; beginning ‘As I came from _Tottingham_.’ The tune is named ‘Abroad as I was walking.’ Page 52, _He that a Tinker_; Music by Dr. Jn. Wilson.”

Page 330, after line 10, add—“_Fly, boy, fly_: Music by Simon Ives, in Playford’s _Select Ayres_, 1659, p. 90.”

The date of “The Zealous Puritan,” _M. D. C._, p. 95, was 1639. “He that intends,” &c., _Ibid._, p. 342, is the _Vituperium Uxoris_, by John Cleveland, written before 1658 (_Poems_, 1661, p. 169).

“Love should take no wrong,” in _Westminster-Drollery_, 1671, i. 90, dates back seventy years, to 1601: with music by Robert Jones, in his Second Book of Songs, Song 5.

Introduction to Merry Drollery (our second volume) p. xxii. lines 20, 21. Since writing the above, we have had the pleasure of reading the excellent “Memoir of Barbara, Duchess of Cleveland,” and the “Althorp Memoirs,” by G. Steinman Steinman, Esq., F. S. A., (printed for Private Circulation, 1871, 1869); by the former work, p. 22, we are led to discredit Mrs. Jameson’s assertion that the night of May 29, 1660, was spent by Charles II. in the house of Sir Samuel Morland at Vauxhall. “This knight and friend of the King’s _may_ have had a residence in the parish of Lambeth before the Restoration, but as he was an Under Secretary of State at the time, it is more probable that he lived in London; and _as he did not obtain from the Crown a lease of Vauxhall mansion and grounds until April 19, 1675_, the foundations of a very improbable story, whoever originated it, are considerably shaken.” Mr. Steinman inclines to believe the real place of meeting was Whitehall. He has given a list of Charles II.’s male companions in the Court at Bruges, with short biographies, in the _Archæologia_, xxxv. pp. 335-349. We knew not of this list when writing our Introduction to _Choyce Drollery_.

TABLE OF FIRST LINES

In “Merry Drollery,” 1661, 1670, 1691

(_Now first added._)

[The Songs and Poems _peculiar to the first edition_, 1661 (having been afterwards omitted), are here distinguished by being printed in Roman type. They are all contained _in the present volume_. Those that were added, in the later editions only, have no number attached to them in our first column of pages, viz. for 1661. The third edition, in 1691, was no more than a re-issue of the 1670 edition, with a fresh title-page to disguise it, in pretence of novelty (see p. 345, _ante_). The outside column refers to our Reprint of the “Drolleries;” but where the middle column is blank, as shewing the song was not repeated in 1670 and 1691, our Reprint-page belongs to the _present volume_. The “Reserved Pieces,” given only in Supplement, bear the letter “R” (for the extra sheet, signed R*).—ED.]

FIRST LINES. [In Editions] 1661 1670 1875

_A Brewer may be a Burgess_ ii. 70 252 252

_A fig for Care, why should we_ 217 217

_A Fox, a Fox, up gallants_ 29 38 38

_A Maiden of late, whose name_ 160 170 170

_A Pox on the Jaylor, and on his_ 289 289

A Puritan of late 2 195

_A Session was held the other day_ 68 72 72

_A Story strange I will you tell_ ii. 12 200 200

A young man of late 27 201

_A young man that’s in love_ 34 42 42

A young man walking all alone 32 204

_After so many sad mishaps_ 112 118 118

_After the pains of a desperate Lover_ 171 171

_Ah, ah, come see what’s_ 30 40 40

_All in the Land of ~Essex~_ 48 56 56

_Am I mad, O noble ~Festus~?_ ii. 50 234 234

_~Amarillis~ told her swain_ 8 10

Among the Purifidian sect ii. 103 243

_Are you grown so melancholy?_ ii. 101 286 286

_Aske me no more why there appears_ 62 70 70

_~Bacchus~ I am, come from_ 61 69 69

_Be merry in sorrow_ 1^b 6 8

_Be not thou so foolish nice_ 61 69 69

_Blind Fortune, if thou want’st_ 163 172 172

_Bring forth your Cunny-skins_ ii. 8 196 196

_But since it was lately enacted_ ii. 24 212 212

_Call for the Master, oh, this_ 9 11

_Call ~George~ again, boy_ ii. 118 304 304

_Calm was the evening, and clear_ 220 220

_Calm was the evening, and clear_ 292 292

_Cast your caps and cares aside_ 87 92 92

_Come, Drawer, and fill us about_ ii. 80 263 263

Come, Drawer, some wine ii. 29 237

_Come, Drawer, turn about the b._ ii. 86 268 268

_Come, Drawer, come, fill us_ ii. 3 190 190

_Come, faith, let’s frolick_ ii. 65 246 246

Come, hither, my own sweet ii. 106 247

_Come, Imp Royal, come away_ ii. 45 231 231

_Come, ~Jack~, let’s drink a pot of Ale_ 45 52 52

_Come, let us drink, the time invites_ 93 97 97

_Come, let’s purge our brains_ 114 121 121

_Come, my dainty Doxies, my Dove_ ii. 44 230 230

_Come, my ~Daphne~, come away_ 86 91 91

_Come, my delicate, bonny sweet_ 23 34 34

_Cook ~Laurel~ would needs have_ ii. 26 214 14

Discoveries of late have been ii. 33 R^f

_Doctors, lay by your irkesome_ 41 48 48

Fair Lady, for your New Year’s ii. 81 R^n

_Fetch me ~Ben Johnson’s~ scull_ 293 293

From _Essex_ Anabaptist Laws ii. 38 241

_From hunger and cold, who lives_ ii. 9 197 197

_From ~Mahomet~ and Paganisme_ 164 174 174

_From the fair ~Lavinian~ shore_ 291 291

_From what you call’t Town_ 191 182 182

Full forty times over I have, &c. ii. 61 R^i

_Gather your rosebuds while_ ii. 11 199 199

_Go, you tame Gallants_ ii. 57 242 242

_God bless my good Lord Bishop_ 166 176 176

_Good Lord, what a pass is this_ 75 79 79

_Had she not care enough_ 211 211

_Hang Chastity! it is_ 88 220

_Have you observed the Wench_ ii. 141 332 332

He is a fond Lover, that doateth ii. 62 R^l

_He that a happy life would lead_ ii. 147 339 339

_He that intends to take a wife_ ii. 153 342 342

_Heard you not lately of a man_ 169 180 180

_Here’s a health unto his Majesty_ 212 212

Hey, ho, have at all! 168 R^e

_Hold, quaff no more_ ii. 19 210 210

_How happy is the Prisoner_ 101 107 107

_How poor is his spirit_ ii. 48 232 232

_I am a bonny ~Scot~, Sir_ 119 127 127

_I am a Rogue, and a stout one_ ii. 16 204 204

_I came unto a Puritan to woo_ 73 77 77

_I doat, I doat, but am a sot_ ii. 53 237 237

I dreamt my Love lay in her bed 11 197

_I have reason to fly thee_ ii. 97 281 281

_I have the fairest Non-perel_ ii. 99 283 283

I loved a maid—she loved not me ii. 151 R^p

_I marvel, ~Dick~, that having been_ 46 54 54

I mean to speak of _England’s_ 85 218

_I met with the Divel in the shape_ 103 109 109

_I pray thee, Drunkard, get thee_ ii. 119 306 306