Chapter XVIII: Part III: , p. 24, Part IV, p. xxxi, taken down from James Olver, (5)

‘Wo be to my parents all,
Y^t lives so farr beyond y^e sea!
I might have lived a noble life,
And wedded in my own countrë.’

* * * * *

Finlay’s Scottish Ballads, I, xxxii.

A “romantic ballad, of which, unfortunately, one stanza only has been preserved. The tradition bears that a young lady was carried away by the fairies, and that, although invisible to her friends who were in search of her, she was sometimes heard by them lamenting her destiny in a pathetic song, of which the stanza just mentioned runs nearly thus:”

O Alva hills is bonny,
Dalycoutry hills is fair,
But to think on the braes of Menstrie
It maks my heart fu sair.

* * * * *

KING EDELBRODE

Sent by Motherwell to C. K. Sharpe, with a letter dated October 8, 1825. Also entered in Motherwell’s Note-Book, p. 53 (excepting the second line of the first stanza).

King Edelbrode cam owre the sea,
Fa la lilly
All for to marry a gay ladye.
Fa la lilly.

(Then follows the description of a queen, jimp and sma, not remembered.)

Her lilly hands, sae white and sma,
Fa la lilly
Wi gouden rings were buskit braw.
Fa la lilly

“I cannot get any precise account of its subject, but it related somehow to a most magnificent marriage. The old lady who sung it died some years ago.” (Letter to Sharpe.)

“It may be the same ballad as the scrap I have, with something of a similar chorus.” (Note-Book, where the “chorus” is Fa fa lilly.)

The reference seems to be to ‘The Whummil Bore,’ No 27, I, 255.

* * * * *

C. K. Sharpe’s Letters, ed. Allardyce, II, 106 (1813).

‘O come you from the earth?’ she said,
‘Or come you from the skye?’
‘Oh, I am from yonder churchyard,
Where my crumbling relicks lie.’

Sharpe somewhere asks, Where does this belong?

Possibly in some version of ‘Proud Lady Margaret,’ No 47, II, 425.

* * * * *

MS. of Thomas Wilkie, p. 79, “Scotch Ballads, Materials for Border Minstrelsy,” No 73 a, Abbotsford.

The great bull of Bendy-law
Has broken his band and run awa,
And the king and a’ his court
Canna turn that bull about.

* * * * *

“Scotch Ballads, Materials for Border Minstrelsy,” No 86 a, Abbotsford, in the handwriting of Thomas Wilkie.

Red-Cap he was there,
And he was there indeed,
And he was standing by,
With a red cap on his head.

* * * * *

“Scotch Ballads, Materials for Border Minstrelsy,” No 73 a; MS. of Thomas Wilkie, Abbotsford, derived by Wilkie from his father, “who heard a Lady Brigs sing this when he was a boy.”

He took a sword in every hand
And on the house did venture,
And swore if they wad not gee her up
He would make all their doors play clatter.

Her angry father, when he saw this,
That he would lose his ae daughter,
He swore if he had not been gude at the sword
He durst not come to make his doors clatter.

* * * * *

It was far in the night, and the bairnies grat;
The mither beneath the mools heard that.

sung in Wuthering Heights, ch. 9, has not unnaturally been taken for a relic of a traditional Scottish ballad of a dead mother returning to her abused children. It is, in fact, a stanza (not literally well remembered) from the Danish ballad ‘Moderen under Mulde,’ Grundtvig, II, 470, No 89, =B= 11, translated by Jamieson, and given in the notes to the fourth canto of Scott’s Lady of the Lake.

* * * * *

The following “fragment,” given in Motherwell’s MS., p. 184, “from Mr William Steele of Greenock, advocate,” I suppose to have been the effort of a self-satisfied amateur, and to have been written as a fragment. The third and fourth stanzas recall the broadside ballad ‘The Lady Isabella’s Tragedy.’

Lady Margaret has bound her silken snood
A little aboon her bree,
Lady Margaret has kilted her grey mantel
A little aboon her knee.

Lady Margaret has left her bonnie bower,
But and her father’s ha,
And with Lord Hugh Montgomerie
Lady Margaret has gane awa.

* * * * * * *

‘I have made a bed, Lady Margaret,
Beneath the hawthorn-tree;
It’s lang and it’s deep, and there thou shalt sleep
Till I come back to thee.’

* * * * * * *

Then out and spake her father dear,
As he sat down to dine,
‘Gae, page, and tell Lady Margaret to come
And fill for me the wine.

‘Gae, page, and tell Lady Margaret to come
And glad her father’s ee;
The wine that is poured by her fair, fair hand
Is sweetest aye to me.’

Then out and spake the fat earth-worm,
That wons beneath the stane;
‘Yestreen I fed on a rosie cheek
And on a white hause-bane.

‘Yestreen I fed on a rosy cheek
And on a snaw-white bree;
But never again Lady Margaret
Shall fill the wine for thee.”@

FOOTNOTES:

[117] Stanza 1^{1,2} of Percy’s ballad is from The Taming of the Shrew, iv, 1; 3, 5, 7, are, wholly or in part, from Hamlet, iv, 5; 12, 13, from Fletcher’s Queen of Corinth, iii, 2; 15 from Hamlet, as before; 17, 18, from Much Ado about Nothing, ii, 3; one line of 22 from King Lear, iii, 4.

[118] The verses from this tale are printed separately in Buchan’s Ballads of the North of Scotland, I, 117, ‘The Maid and Fairy.’

[119] But Jamieson confesses: “Of the verses which have been introduced I cannot answer for the exactness of any, except the stanza put into the mouth of the king of Elfland, which was indelibly impressed upon my memory [though J. was only seven or eight years old] long before I knew anything of Shakspere.” The stanza is: [in came the king of Elfland,]

‘With fi, fi, fo and fum! I smell the blood of a Christian man; Be he dead, be he living, wi my brand I’ll clash his harns frae his harn-pan.’

ADDITIONS AND CORRECTIONS

VOL. I.

1. Riddles Wisely Expounded.

P. 1 a, VI, 496 a. Guess or die. Kristensen, Jyske Folkeminder, X, 2, ‘Svend Bondes Spørgsmaal,’ =B.=

3-5. From Miss M. H. Mason’s Nursery Rhymes and Country Songs, p. 31; sung in Northumberland.

E

1
There was a lady in the West,
Lay the bank with the bonny broom
She had three daughters of the best.
Fa lang the dillo
Fa lang the dillo dillo dee

2
There came a stranger to the gate,
And he three days and nights did wait.

3
The eldest daughter did ope the door,
The second set him on the floor.

4
The third daughter she brought a chair,
And placed it that he might sit there.

(_To first daughter._)

5
‘Now answer me these questions three,
Or you shall surely go with me.

(_To second daughter._)

6
‘Now answer me these questions six,
Or you shall surely be Old Nick’s.

(_To all three._)

7
‘Now answer me these questions nine,
Or you shall surely all be mine.

8
‘What is greener than the grass?
What is smoother than crystal glass?

9
‘What is louder than a horn?
What is sharper than a thorn?

10
‘What is brighter than the light?
What is darker than the night?

11
‘What is keener than an axe?
What is softer than melting wax?

12
‘What is rounder than a ring?’
‘To you we thus our answers bring.

13
‘Envy is greener than the grass,
Flattery smoother than crystal glass.

14
‘Rumour is louder than a horn,
Hunger is sharper than a thorn.

15
‘Truth is brighter than the light,
Falsehood is darker than the night.

16
‘Revenge is keener than an axe,
Love is softer than melting wax.

17
‘The world is rounder than a ring,
To you we thus our answers bring.

18
‘Thus you have our answers nine,
And we never shall be thine.’

Findlay’s MSS, I, 151, from J. Milne.

‘What’s greener than the grass?
What’s higher than the clouds?
What is worse than women’s tongues?
What’s deeper than the floods?’

‘Hollin’s greener than the grass,
Heaven’s higher than the clouds,
The devil’s worse than women’s tongues,
Hell’s deeper than the floods.’

2. The Elfin Knight.

P. 7 b, III, 496 a, IV, 439 a. ‘Store Fordringer,’ Kristensen, Jyske Folkeminder, XI, 175, No 66 (three copies), 294, No 4. ‘Umulige Fordringer,’ Kristensen, Efterslæt til Skattegraveren, p. 20, No 16.

14 a, II, 495. After the note to 14 a at II, 495, add: C. R. Lanman.

17. Communicated by Mr Walker, of Aberdeen, as sung, 1893, by John Walker, Portlethen; learned by him from his father, above fifty years before.

1
There was a knight on the head o yon hill
Blowing his horn lood and shrill.
Blow, blow, blow the wind, blow

2
‘Ye’se get to me a camrick sark
Without ae steek o needlewark.

3
‘An ye will wash it in a wall
Where rain never fell nor water sprang.

4
‘An ye sall dry it on a thorn
That never wis sprung sin Adam was born.’

5
‘Ye’se gie me an acre o red lan
Atween the see an the watery san.

6
‘An ye will plough it wi yer horn,
An sa it a’ wi ae pick o corn.

7
‘. . . . . . . .
An cut it doon wi a sheepshank bone.

8
‘An ye will big it in the sea,
An bring the foonshief dry to me.

9
‘An when ye have done and finished yer wark,
Come in, Jock Sheep, an ye’ll get yer sark.’

_As delivered, 5-8 precede 2-4._

17, 484 b. =M.= Findlay’s MSS, I, 21, from the recitation of Jeany Meldrum, Framedrum, Forfarshire.

17, II, 495 b. In The Monthly Chronicle of North Country Lore and Legend, III, 7, ‘Whittingham Fair’ is given by Mr Stokoe with a few variations.

1. _Second line of refrain_,
For once she was a true lover of mine.

2, 4. _Second line of refrain_,
Then she shall be a true lover.

3. _Second line of refrain_,
And she shall be a true lover.

5. _Second line of refrain_,
Before he shall be a true lover.

6. _Second line of refrain_,
Then he shall be a true lover.

7, 8, 9. _Second line of refrain_,
And he shall be a true lover.

6^1. to buy.

8^1. to sheer’t.

_After_ 8: Tell him to thrash it on yonder wall,
And never let one corn of it fall.
Then he shall be a true lover of mine.

17, 484 f., II, 495 f., IV, 439 f.

‘Scarborough Fair,’ taken down by H. M. Bower, December, 1891, from William Moat, a Whitby fisherman. English County Songs, by Lucy E. Broadwood and J. A. Fuller Maitland, 1893, p. 12.

1
‘Is any of you going to Scarborough Fair?
Remember me to a lad as lives there;
Remember me to a lad as lives there;
For once he was a true lover of mine.

(_Second line always twice._)

2
‘Tell him to bring me an acre of land
Betwixt the wild ocean and yonder sea sand;
And then he shall be a true lover of mine.

3
‘Tell him to plough it with one ram’s horn,
And sow it all over with one pepper corn;
And then he shall be a true lover of mine.

4
‘Tell him to reap it with sickle of leather,
And bind it together with one peacock-feather;
And then he shall be a true lover of mine.

5
‘And now I have answered your questions three,
I hope you’ll answer as many for me;
And then thou shalt be a true lover of mine.’

6
‘Is any of you going to Scarborough Fair?
Remember me to a lass as lives there;
For once she was a true lover of mine.

7
‘Tell her to make me a cambric shirt,
Without any needles or thread, or owt through’t;
And then she shall be a true lover of mine.

8
‘Tell her to wash it by yonder wall,
Where water neer sprung, nor a drop o rain fall;
And then she shall be a true lover of mine.

9
‘Tell her to dry it on yonder thorn,
Where blossom neer grew sin Adam was born;
And then she shall be a true lover of mine.

10
‘And now I have answered your questions three,
And I hope you’ll answer as many for me;
And then thou shalt be a true lover of mine.’

Rev. S. Baring-Gould gives me these variations, from the West of England:

‘O tell her to bleach it on yonder fresh grass,
Where never a foot or a hoof did pass.’

‘O tell him to thresh it in yonder barn,
That hangs to the sky by a thread of yarn.’
(Dartmoor.)

‘Pray take it up in a bottomless sack,
And every leaf grows merry in time
And bear it to the mill on a butterfly’s back.
O thus you shall be a true lover of mine’
(Cornwall.)

4. Lady Isabel and the Elf-Knight.

P. 26 b. =Danish.= ‘Kvindemorderen,’ two fragments; Kristensen, Folkeminder, XI, 62, No 33.

29-37, 486 a, IV, 441 a. =FF.= ‘Schön Hannchen,’ Frischbier und Sembrzycki, Hundert Ostpreussische Volkslieder, 1893, p. 35, No 22, from Angerburg, 51 vv. The ballad is of the third class. Hannchen walks in the wood, and Ulrich advances to meet her. The birds are all singing, and the maid asks why. ‘Every bird has its song,’ says Ulrich; ‘go you your gait.’ He takes her under a briar where there is a pretty damsel (who is quite superfluous). Hannchen lays her head in the damsel’s lap and begins to weep. The damsel asks whether her weeping is for her father’s gear, or because Ulrich is not good enough for her. It is not for her father’s gear, and Ulrich is good enough. ‘Is it, then,’ says the damsel or Ulrich, ‘for the stakes on which the eleven maidens are hanging? Rely upon it, you shall be the twelfth.’ She begs for three cries, which are addressed to God, her parents, and her brothers. The brothers hear, hasten to the wood, and encounter Ulrich, who pretends to know nothing of their sister. His shoes are red with blood. ‘Why not?’ says Ulrich, ‘I have shot a dove.’ They know who the dove is. Hannchen is borne to the churchyard, Ulrich is strung up on the gallows. No 23 of the same collection is =X.=

‘Die schöne Anna,’ Böckel, Deutsche Volkslieder aus Oberhessen, p. 86, No 103, ‘Als die wunderschöne Anna,’ Lewalter, Deutsche V. l. in Niederhessen gesammelt, 1^5 Heft, No 24, p. 51, and also No 25, are fragmentary pieces, varieties of =DD=, I, 486 a.

37 b, 3d paragraph. A variety of =A= is printed in Altpreussische Monatschrift, N. F., XXVIII, 632, 1892, without indication of local derivation, ‘Der Ritter und die Königstochter.’ The knight takes measures (not very summary ones) to drown himself.

43 b (or 44 a), 488 a, III, 497 a, IV, 441 b. =Italian.= Add: Canti popolari Emiliani by Maria Carmi, Archivio, XII, 178, No 2.

44 b, 1st paragraph. Add: ‘El Mariner’ and ‘Giovanina,’ Villanis, Canzoni p. Zaratine, in Archivio XI, 33, 34, Nos 2, 3.

58. =E.= A copy of ‘The Outlandish Knight,’ with unimportant verbal variations, is given in English County Songs, by Lucy E. Broadwood and J. A. Fuller Maitland, p. 164.

III, 497 b. A pair on horseback go a long way without speaking. A trait in Polish, French, and Italian versions of No 4. Add: Munthe, Folkpoesi från Asturien, p. 118 f., VII, =A=, 76 f., =B=, 70 f. (‘Don Bueso,’ Duran, =I=, lxv, no hablara la niña.) Dead lover and maid in Bartoš, Nové národne pisnĕ moravské, p. 150. Lagus, Nyländske F. visor, ‘Kung Valdemo’ (==Ribold), No 1, a, 28, b, 18, ‘Kämpen Grimborg,’ No 3, a, 21, b, 19.

5. Gil Brenton.

P. 62. In Traditionary Stories of Old Families, by Andrew Picken, 1833, I, 289, ‘The Three Maids of Loudon,’ occur the following stanzas:

Seven pretty sisters dwelt in a bower,
With a hey-down, and a ho-down
And they twined the silk, and they workd the flower.
Sing a hey-down and a ho-down

And they began for seven years’ wark,
With a hey-down and a ho-down
All for to make their dear loves a sark.
With a hey down and a ho-down

O three long years were passd and gone,
And they had not finishd a sleeve but one.

‘O we’ll to the woods, and we’ll pull a rose,’
And up they sprang all at this propose.

(W. Macmath.)

6. Willie’s Lady.

P. 82 a. ‘Barselkvinden,’ three fragments, Kristensen, Folkeminder, XI, 42, No 23.

85 b, 3d paragraph. Say, of the parish of Logierait.

7. Earl Brand.

P. 88, III, 498 b, IV, 443 a. ‘Hr. Ribolt.’ =Danish.= Add: Skattegraveren, VI, 17, No 257, ‘Nævnet til døde,’ Kristensen, Efterslæt til Skattegraveren, p. 81, No 76; Folkeminder, XI, 36, No 22, A-D.

91 f. 489 b, III,498 b, IV, 443 a. =Swedish.= [‘Ridborg,’] Thomasson, Visor från Bleking, Nyare Bidrag, etc., VII, No 6, p. 12, No 7.

96 b. =Danish.= ‘Hertug Frydenborg,’ Danmarks g. Folkeviser, No 305, V, II, 216. =A a=, =b=, =h=, =n=, =o=; =B b=, =c=; =E= =k=, =l=; =F b=, =c=, =e=, =f=; with diversities, the plant nearly always lilies. (A few of these, from Kristensen, have been already cited.)

9. The Fair Flower of Northumberland.

P. 116. =D.= In a copy sent by Motherwell to C. K. Sharpe with a letter, October 8, 1825, this version is said to have been obtained from Mrs Nicol, of Paisley.

117, 493 a.

G

‘The Heiress of Northumberland,’ from C. K. Sharpe’s first collection, p. 7.

Sir W. Scott, commenting on this copy (to which he by mistake gives the title of The Stirrup of Northumberland), says: “An edition considerably varied both from Ritson’s and the present I have heard sung by the Miss Tytlers of Woodhouselee. The tune is a very pretty lilt.” Sharpe’s Ballad Book, ed. 1880, p. 142.

At the end of the ballad we are told: Tradition’s story is that the hero of this song was one of the Earls of Douglass, who was taken captive and put in prison by Percy, Earl of Northumberland.

1
‘Why, fair maid, have pity on me,’
Waly ‘s my love wi the life that she wan
‘For I am bound in prison strong,
And under the heir o Northumberland.’

2
‘How can I have pity on thee,’
Waly’s my love, etc.
‘When thou hast a wife and children three,
All dwelling at home in fair Scotland?’

3
Now he has sworn a solemn oath,
And it was by eternity,
That wife and children he had none,
All dwelling at home in fair Scotland.

4
Now she’s gone to her father’s bedstock,
Waly’s my love, etc.
And has stolen the key of the dungeon-lock,
And she the great heir o Northumberland.

5
And she’s gone to her father’s chest,
She has stolen away a suit of the best,
Altho she was heir o Northumberland.

6
Now she’s gone to her father’s coffer,
And has taen out gold nane kens how meickle,
Altho she, etc.

7
She’s gane to her father’s stable,
And taen out a steed baith lusty and able,
For a’she was heir, etc.

8
The rade till they came to Crafurdmoor,
He bade her light down for an English whore,
Altho she, etc.

9
The rade till the came to the water o Clyde,
He bade her light down, nae farer she should ride,
‘For now I am at hame in fair Scotland.’

10
‘Yonder view my castle,’ said he;
‘There I hae a wife and children three,
All dwelling at home,’ etc.

11
‘O take me by the middle sae sma
And thro me oer your castle-wa,
For I darena gang hame to Northumberland.’

12
When she came to her father’s yett,
She durst hardly rapp thereat,
Altho she was, etc.

13
Out then spoke her stepmother sour,
She bad her pack off for an impudent whore,
‘For thou shalt not be heir o Northumberland.’

14
Out then spock her bastard brother;
‘She’ll hae nae mair grace than God has gien her,
And she shall be heir o Northumberland.’

15
Out and spoke her father sae mild,
‘She’s no the first maid a false Scot has beguild,
And she shall be,’ etc.

10. The Twa Sisters.

P. 125, 493 b, II, 498 b, III, 499 a, IV, 447 b. ‘Les roseaux qui chantent, Revue des Traditions Populaires, VII, 223 (blue flower); ‘L’os qui chante,’ discussion of the tale by M. Charles Ploix, Rev. des Trad. Pop., VIII, 129 ff.

11. The Cruel Brother.

P. 142 b, 496 a, III, 499 a, IV, 449 a. Add a ballad of Rissiäld, Canti popolari Emiliani, Maria Carmi, Archivio, XII, 185, No 7.

144 a, l. 18. ‘Le Testament de Marion.’ Another version, ‘La belo Marioun,’ Laroche, Folklore du Lauraguais, p. 247.

144 b, 2d paragraph. Add at the end: the (she) ass, Testament de l’Âne, Buchon, Noels et Chants pop. de la Franche-Comté, p. 89, No 28; and elsewhere.

147. =E.= For this stanza we find, whatever may be the explanation, the following in Findlay MSS, I, 146. “From Miss Butchart, Arbroath.”

There were three sisters livd in a bouer,
With a hech hey an a lillie gay
There cam a knicht to be their wooer.
An the primrose springs sae sweetly
Sing Annet, an Marrot, an fair Maisrie,
An the dew hangs in the wood, gay ladie.

12. Lord Randal.

=P.= 152 b, 498 b, III, 499 b. =Italian.= Three imperfect versions (Sardinian) in Ferraro, C. p. in dialetto logudorese, 1891, pp. 3-5.

156 a, last paragraph, northern ballad. Add: ‘Den onde svigermoder,’ Kristensen, Jyske Folkeviser, I, 332, No 122; Skattegraveren, V, 84, No 635.

157, 499, IV, 449.

‘Lairde Rowlande, or Ronalde,’ The Sporting Magazine, XXV, 209, January, 1805; communicated by Philodice, as recited by a “peasant’s girl” at Randcallas, Perthshire. (Reprinted by Mr Edward Peacock in The Athenæum, August 27, 1892, p. 288.)

1
‘Ah, where have you been, Lairde Rowlande, my son?
Ah, where have you been, Lairde Rowlande, my son?’
‘I’ve been in the wild woods; mither, mak my bed soon,
For I’m weary wi hunting and faine would lie down.’

2
‘Oh, you’ve been at your true-love’s, Lairde Rowlande, my son,’ etc.
‘I’ve been at my true-love’s; mither,’ etc.

3
‘What got you to dinner?’ etc.
‘I got eels boild in brue; mither,’ etc.

4
‘What’s become of your warden?’ etc.
‘He died in the muirlands; mither,’ etc.

5
‘What’s become of your stag-hounds?’ etc.
‘They swelled and they died; mither,’ etc.

‘Jacky, my son,’ written out by Miss F. J. Adams, a Devonshire lady, and derived by her from her Devonshire nurse, sixty or seventy years ago. (Rev. S. Baring-Gould.)

1
‘Where hast thou been to-day, Jacky, my son?
Where hast thou been to-day, my honey man?’
‘Oh, I’ve been a courting, mother, make my bed soon,
For I am sick to the heart, fain would lie down.’

2
‘Where shall I make it to?’ etc.
‘Oh, in the churchyard, mother,’ etc.

3
‘What wilt thou leave thy mother?’ etc.
‘Oh, I’ll leave her my money, mother,’ etc.

4
‘What wilt thou leave thy father?’ etc.
‘Oh, I’ll leave him my ’state, mother,’ etc.

5
‘What wilt thou leave thy sweetheart?’ etc.
‘A rope for to hang her, mother,’ etc.

‘The Croodin Doo.’ Findlay MSS, I, 192.

1
‘Whare did ye get your dinner the day,
My wee, wee croodin doo?’
(_Twice._)

2
‘I got it in my step-mither’s ha,
Oh, granny, mak my bed noo.’
(_Twice._)

3
‘What did ye get to your dinner the day,
My wee, wee croodin doo?’
(_Twice._)

4
‘I got a wee fishie wi four wee feeties,
Oh, granny, mak my bed noo.’
(_Twice._)

5
‘Did ony body eat it but yoursel,
My wee, wee croodin doo?’
(_Twice._)

6
‘I gied the banes to my wee, wee dogie,
Oh, granny, mak my bed noo;
He streekit out his head an died at my feet,
O, granny, een as I do noo.’

Among C. K. Sharpe’s papers, and in his handwriting, is a piece in dialogue between Mother and Son headed, Death of Lord Rounal, a Gaelic ballad founded on a tradition of his receiving poison by treachery at the castle of his mistress’ father, and dying on his return home. This is the familiar Scottish ballad made over in English and mildly sentimental phraseology. All the Celtic in it is “dark Dungael, the chief of meikle guile,” the father.

13. Edward.

P. 167 b, 501 b, III 499 b. =Swedish.= ‘Sven i Rosengård’ in Thomasson, Visor från Bleking, Nyare Bidrag, etc., VII, No 6, p. 16, No 9.

168 a, second paragraph, ‘when stones float,’ etc. Compare Sir John Mandeville, as to the Dead Sea, ch. 9 (of the Cotton MS.): “And zif a man caste iren therein, it wole flete aboven, and zif men caste a fedre therein, it wol synke to the botme.”

14. Babylon, or, The Bonnie Banks o Fordie.

P. 170, II, 499 a, III, 500. Add to the French ballad, ‘C’est trois garçons dépaysés,’ Pineau, Le Folk-Lore du Poitou, p. 281; ‘Les Coumpagnons,’ Laroche, Folklore du Lauraguais, p. 245.

171 a. =Danish.= Add: Hr. Tures Døtre, Kristensen, Folkeminder, XI, 145, No 56.

15. Leesome Brand.

P. 178 b. =Danish.= Add: ‘Barnefødsel i Lunden,’ Kristensen, Folkeminder, XI, 102, No 45, =A-I=, 9 copies.

181 b, II, 499 a. =French=, =B.= Add: ‘La-bas, sus ces grands champs,’ Pineau, Le Folk-Lore du Poitou, p. 315.

16. Sheath and Knife.

P. 185, III, 500. In C. K. Sharpe’s papers there is the following version, in Motherwell’s handwriting, sent by him to Sharpe with a letter dated Paisley, 8th October, 1825.

F

‘The Broom blooms bonnie,’ from the recitation of Agnes Lyle, Kilbarchan.

1
‘There is a feast in your father’s house,
The broom blooms bonnie, and so is it fair
It becomes you and me to be very douce.’
And we’ll never gang up to the broom nae mair

2
‘Will you go to yon hill so hie,
Take your bow and your arrow wi thee.’

3
He’s tane his lady on his back,
And his auld son in his coat-lap.

4
‘When ye hear me give a cry,
Ye’ll shoot your bow and let me ly.

5
‘When ye see me lying still,
Throw awa your bow and come running me till.’

6
When he heard her gie a cry,
He shot his bow and he let her lye.

7
When he saw she was lying still,
He threw awa his bow and came running her till.

8
It was nae wonder his heart was sad,
When he shot his auld son at her head.

9
He howkit a grave lang, large and wide,
He buried his auld son down by her side.

10
It was nae wonder his heart was sair,
When he shooled the mools on her yellow hair.

11
‘Oh,’ said his father, ‘son, but thou’rt sad,
At our braw meeting you micht be glad.’

12
‘Oh,’ said he, ‘father, I’ve lost my knife,
I loved as dear almost as my own life.

13
‘But I have lost a far better thing,
I lost the sheathe that the knife was in.’

14
‘Hold thy tongue and mak nae din,
I’ll buy thee a sheath and a knife therein.’

15
‘A’ the ships ere sailed the sea
Neer’ll bring such a sheathe and knife to me.

16
‘A’ the smiths that lives on land
Will neer bring such a sheath and knife to my hand.’

III, 500. =E.= Colonel W. F. Prideaux has printed this piece, from a manuscript of Motherwell’s in his possession, in Notes and Queries, Eighth Series, I, 372, with the trifling variations (or confirmations of doubtful readings) here annexed.

1^1 Ane.

3^1. we’ll hunt

6^1. let me doun by the rute o the.

7^2. And _wanting_: as ony.

9^2. faithless.

10^1. The ae.

17. Hind Horn.

P. 196 a (7). Historia: Hertzog Heinrich der löw, XVI, 221, of the edition of the Litt. Verein in Stuttgart, ed. Goetze, 228 vv.

198 a. Tales. Add: Stier, Ungarische Volksmärchen, p. 53.

198 b, 502 b, II, 499 b, IV, 450 b. ‘Le retour du mari,’ Pineau, Le Folk-Lore du Poitou, p. 385; La Tradition, VI, 207 f.

199 b. =Romaic.= Add: Manousos, II, 73; Ζωγραφεῖος Ἀγών, p. 76, No 26.

205. =G.= Kinloch has made numerous small changes. The ballad will now be given as first written down, Kinloch MSS, VII, 117. It appears to have been derived by Miss Kinnear from Christy Smith.

1
‘Hynde Horn’s bound, love, and Hynde Horn’s free;
Whare was ye born? or frae what cuntrie?’

2
‘In gude greenwud whare I was born,
And all my friends left me forlorn.

3
‘I gave my love a gay gowd wand,
That was to rule oure all Scotland.

4
‘My love gave me a silver ring,
That was to rule abune aw thing.

5
‘Whan that ring keeps new in hue,
Ye may ken that your love loves you.

6
‘Whan that ring turns pale and wan,
Ye may ken that your love loves anither man.’

7
He hoisted up his sails, and away sailed he
Till he cam to a foreign cuntree.

8
Whan he lookit to his ring, it was turnd pale and wan;
Says, I wish I war at hame again.

9
He hoisted up his sails, and hame sailed he
Until he cam till his ain cuntree.

10
The first ane that he met with,
It was with a puir auld beggar-man.

11
‘What news? what news, my puir auld man?
What news hae ye got to tell to me?’

12
‘Na news, na news,’ the puirman did say,
‘But this is our queen’s wedding-day.’

13
‘Ye’ll lend me your begging-weed,
And I’ll lend you my riding-steed.’

14
‘My begging-weed is na for thee,
Your riding-steed is na for me.’

15
He has changed wi the puir auld beggar-man.

16
‘What is the way that ye use to gae?
And what are the words that ye beg wi?’

17
‘Whan ye come to yon high hill,
Ye’ll draw your bent bow nigh until.

18
‘Whan ye come to yon town-end,
Ye’ll lat your bent bow low fall doun.

19
‘Ye’ll seek meat for St Peter, ask for St Paul,
And seek for the sake of your Hynde Horn all.

20
‘But tak ye frae nane o them aw
Till ye get frae the bonnie bride hersel O.’

21
Whan he cam to yon high hill,
He drew his bent bow nigh until.

22
And when he cam to yon toun-end,
He loot his bent bow low fall doun.

23
He sought for St Peter, he askd for St Paul,
And he sought for the sake of his Hynde Horn all.

24
But he took na frae are o them aw
Till he got frae the bonnie bride hersel O.

25
The bride cam tripping doun the stair,
Wi the scales o red gowd on her hair.

26
Wi a glass o red wine in her hand,
To gie to the puir beggar-man.

27
Out he drank his glass o wine,
Into it he dropt the ring.

28
‘Got ye’t by sea, or got ye’t by land,
Or got ye’t aff a drownd man’s hand?’

29
‘I got na’t by sea, I got na’t by land,
Nor gat I it aff a drownd man’s hand;

30
‘But I got it at my wooing,
And I’ll gie it to your wedding.

31
‘I’ll tak the scales o gowd frae my head,
I’ll follow you, and beg my bread.

32
‘I’ll tak the scales o gowd frae my hair,
I’ll follow you for evermair.’

33
She has tane the scales o gowd frae her head,
She’s followed him, to beg her bread.

34
She has tane the scales o gowd frae her hair,
And she has followd him evermair.

35
Atween the kitchen and the ha,
There he loot his cloutie cloak fa.

36
The red gowd shined oure them aw,
And the bride frae the bridegroom was stown awa.

19. King Orfeo.

P. 215. Professor Sophus Bugge maintains that the Scandinavian ballad ‘Harpens Kraft’ shows acquaintance with the English romance, and indeed, like the English ballad, is derived from it. (Arkiv för nordisk Filologi, VII, 97 ff., 1891.)

20. The Cruel Mother.

P. 218. Findlay’s MSS, I, 58 f., derived from his mother.

1
I lookëd ower the castle-wa,
Hey rose, ma lindie, O
Saw twa bonnie babies playin at the ba.
Doon in the green wood-sidie, O

2
‘O bonnie babies, an ye were mine,
I wad feid ye wi flour-breid an wine.’

3
‘O cruel mother, when we were thine,
You did not prove to us sae kin.’

4
‘O bonnie babies, an ye were mine,
I wad cleid ye wi scarlet sae fine.’

5
‘O cruel mother, when we were thine,
You did not prove to us sae fine.

6
‘For wi a penknife ye took our life
And threw us ower the castle-wa.’

7
‘O bonnie babies, what wad ye hae dune to me
For my bein sae cruel to thee?’

8
‘Seven yeare a fish in the flood,
Seven yeare a bird in the wood.

9
‘Seven yeare a tinglin bell,
Seventeen yeare in the deepest hell.’
Under the green wood-sidie, O

219 b, 504 a, II, 500 a, III, 502 b, IV, 451 a. Add =S=, Deutsche Volksballaden aus Südungarn, Grünn und Baróti, in Ethnologische Mitteilungen aus Ungarn, II, 201, No 4, 1892.

21. The Maid and the Palmer.

P. 228. M. G. Doncieux has attempted to arrange “Le cycle de Sainte Marie-Madelaine,” in Revue des Traditions Populaires, VI, 257.

22. St Stephen and Herod.

P. 233 ff. ‘Stjærnevisen,’ Kristensen, XI, 207, No 76 =A=, =B=, has nothing about Stephen, but is confined to the scripture-history, piety, and New Year’s wishes.

P. 236 a, IV, 451 b. =French.= An imperfect French ballad in Mélusine, VI, 24, from a wood-cut “at least three centuries old.”

Add a Piedmontese popular tale communicated by Count Nigra to the editor of Mélusine, VI, 25 f.

M. Gaidoz, at the same place, 26 f., cites two versions of the resuscitation of the cock, from example-books. The first, from Erythræus (i.e. Rossi), ch. CLV, p. 187, is essentially the same as the legend of St Gunther given from Acta Sanctorum (p. 239 a). The other, from the Giardino d’ Essempi of Razzi, is the story told by Vincentius (p. 237, note †).

25. Willie’s Lyke-Wake.

P. 250, II, 502 a, III, 503 a. =Italian.= Add: Canti pop. Emiliani, Maria Carmi, Archivio, XII, 187, No 9. A fragment in Dalmedico, Canti del popolo veneziano, p. 109, seems, as Maria Carmi suggests, to belong to this ballad.

26. The Three Ravens.

P. 253. It has already been noted that traditional copies of ‘The Three Ravens’ have been far from infrequent. When a ballad has been nearly three hundred years in print, and in a very impressive form, the chance that traditional copies, differing principally by what they lack, should be coeval and independent amounts at most to a bare possibility. Traditional copies have, however, sometimes been given in this collection on the ground of a very slight chance; and not unreasonably, I think, considering the scope of the undertaking.

The copy which follows was communicated by E. L. K. to Notes and Queries, Eighth Series, II, 437, 1892, and has been sent me lately in MS. by Mr R. Brimley Johnson, of Cambridge, England, with this note:

“From E. Peacock, Esq., F. S. A., of Dunstan House, Kirton-in-Lindsay, Lincolnshire, whose father, born in 1793, heard it as a boy at harvest-suppers and sheep-shearings, and took down a copy from the recitation of Harry Richard, a laborer, who could not read, and had learnt it ‘from his fore-elders.’ He lived at Northorpe, where a grass-field joining a little stream, called Ea, Ee, and Hay, is pointed out as the scene of the tragedy.”

1
There was three ravens in a tree,
As black as any jet could be.
A down a derry down

2
Says the middlemost raven to his mate,
Where shall we go to get ought to eat?

3
‘It’s down in yonder grass-green field
There lies a squire dead and killd.

4
‘His horse all standing by his side,
Thinking he’ll get up and ride.

5
‘His hounds all standing at his feet,
Licking his wounds that run so deep.’

6
Then comes a lady, full of woe,
As big wi bairn as she can go.

7
She lifted up his bloody head,
And kissd his lips that were so red.

8
She laid her down all by his side,
And for the love of him she died.

6^2. _Var._ child.

27. The Whummil Bore.

P. 255. Serving the king long without sight of his daughter. Prof. Wollner notes that this trait is rather frequently found in Slavic. For example, in Karadžič, II, 617, No 96, Yakšič Mitar serves the vojvode Yanko nine years and never sees his sister.

29. The Boy and the Mantle.

P. 268 ff., II, 502 a, III, 503, IV, 454 a. Tests of chastity. On the Herodotean story, I, 271, see =E.= Lefébure, Mélusine, IV, 37-39.--St Wilfred’s Needle, in Ripon Minster. ‘In ipso templo, avorum memoria Wilfridi acus celeberrima fuit. Id erat augustum in cryptoporticu foramen quo mulierum pudicitia explorabatur; quæ enim castæ erant facile transibant, quæ dubia fama nescio quo miraculo constrictæ detinebantur.’ Camden, Britannia, ed. 1607, p. 570; see Folk-Lore Journal, II, 286. (G. L. K.)

31. The Marriage of Sir Gawain.

P. 293. Mr Clouston, Originals and Analogues of some of Chaucer’s Canterbury Tales, p. 520 cites a pretty story from a modern Turkish author, in which, as so often happens, parts are reversed. A young king of the fairies of a certain realm is cursed by his mother to appear old and ugly until a fair mortal girl shall love him enough to miss his company. This comes to pass after forty years, and the ugly old man becomes a beautiful youth of seventeen. (Phantasms from the Presence of God, written in 1796-97 by ‘Ali ‘Aziz Efendi, the Cretan.)

33. Kempy Kay.

P. 301. =A= was communicated to C. K. Sharpe by Robert Pitcairn with the stanzas in the order printed by Sharpe. The arrangement in =A= would seem, therefore, to have been an afterthought of Pitcairn’s. There is some slight difference of reading, also, in Pitcairn’s MS., and one defect is supplied. The variations in the copy sent Sharpe are (besides the order, as aforesaid) as follows:

2^1. I’m coming.

2^4. o weir.

3^4. three heire _wanting_.

4^4. Shone.

5^2. bruchty.

5^3. the night.

6^3. And in.

7^4. Between.

9^4. a lintseed bow (_with the variant_ a bruchtit ewe).

10^1. lauchty.

10^4. A’ _wanting_.

12^3. teeth into.

13^2. sheets (_no doubt erroneously_). _A stanza between 8 and 9 is noted as deficient, and something after 13._

303. =C.= In a copy of =C= sent Sharpe by Motherwell in a letter of December 6, 1824, the fourth stanza is lacking, the fifth is third.

3^2. span: years.

5^2. stool.

‘Knip Knap,’ taken down in the summer of 1893 by Mr Walker, of Aberdeen, at Portlethen, from the singing of an old man, as learned more than fifty years before from an old blacksmith at Dyce, near Aberdeen.

1
Knip Knap a hunting went,
Out-ower the head o yon hill, aye, aye
Wi a lust o pig-staves out-oer his shouther,
An mony a dulchach forby, aye, aye.

2
There he met an old woman,
Was herdin at her kye;
‘I’m come yer ae dochter to woo,’
She’s a very good servant,’ said I.

3
The wife gaed hame to her ain hole-house,
Lookit in at her ain spunk-hole,
An there she saw her ain foul flag,
Loupin across the coal.

4
‘Win up, win up, my ae foul flag,
An mak yer foul face clean,
For yer wooer is comin here the nicht,
But yer foul face canna be seen. na, na’

5
She’s taen the sheave-wisps out o her sheen,
An in behint the door,
An she has faen to the stale strang,
Seven year auld an more.

6
An aye she scrubbit, an aye she weesh,
Out-ower the pint o her chin,
Till a knip-knap cam to the door,
She kent it was her wooer.

7
He’s taen her in his airms twa,
Kissd her cheek an chin:
‘An I hae gotten kisses twa,
Whaur I never thocht to get ane.’

8
The verra hair was in her head
Was like the heather-cowe,
An ilka louse at the reet o that
Was like a brockit ewe.

9
The verra ee was in her head
Was like a muckle pan,
The hunkers and clunkers that hang frae her sheen
Wad hae covered an acre o lan.

10
The verra teeth was in her head
Was like a tether’s check,
An the sneeters and snotters that hang frae her nose
Wad a gart a frozen mill gang.

11
The verra tongue was in her head
Wad been a guid mill-clap,
. . . . . . . .
. . . . . . . .

12
. . . . . . . .
. . . . . . . .
An ye may know very weel by that
She was a comely woman.

34. Kemp Owyne.

P. 309. From a manuscript collection of Charles Kirkpatrick Sharpe’s, p. 2; “Second Collection,” see Sharpe’s Ballad Book, ed. 1880, p. 144. This copy closely resembles =A=.

1
Her mother died when she was young,
And was laid in the silent tomb;
The father weded the weel worst woman
This day that lives in Christiendom.

2
She served her with hands and feet,
In every way that well could be,
Yet she did once upon a day
Throw her in over a craig of sea.

3
Says, Ly you there, you dove Isabeal,
And let you never borrowed be
Till Kempenwine come ower the sea
And borrow you with kisses three;
Whatever any may do or say,
O borrowed may you never be!

4
Her breath grew strong, and her hair grew long,
And twisted thrice about a tree,
And so hideous-like she did apear
That all who saw her from her did flee.

5
Now Kempenwine gat word of this
Where he was living beyond the sea;
He hied him straight unto that shoar,
The monstrous creature for to se.

6
Her breath was strong, and her hair was long,
And twisted was around the tree,
And with a swing she cried aloud,
Come to craig of sea and kiss with me.

7
‘Here is a royal ring,’ she cried,
‘That I have found in the green sea,
And while your finger it is on
Drawn shall your blood never be;
But if you touch me, tail or fin,
I vow this brand your death shall be.’

8
He steppëd in, gave her a kiss,
The royal ring he brought him wi;
Her breath was strong, and [her] hair was long,
Yet twisted twice about the tree,
And with a swing she came about,
‘Come to craig of sea and kiss with me.

9
‘Here is a royal belt,’ she cried,
‘That I have found in the green sea,
And while your body it is on
Drawn shall your blood never be;
But if you touch me, tail or fin,
I vow this brand your death shall be.’

10
He steppëd in, gave her a kiss,
The royal belt he brought him wee;
Her breath yet strong, her hair yet long,
Yet twisted once about the tree,
And with a swing she came about,
‘Come to craig of sea and kiss with me.

11
‘Here is a royal brand,’ she cried,
‘That I have found in the green sea,
And while your body it is on
Drawn shall your blood never be;
But if you touch me, tail or fin,
I vow my brand your death shall be.’

12
He steppëd in, gave her a kiss,
The royal brand he brought him wee;
Her breath now soft, her hair now short,
And disengagëd from the tree,
She fell into his arms two,
As fair a woman as ever could be.

_Written in long lines, and not divided into stanzas._

8^2. him with.

6^4, 8^6, 10^6. Craig of sea.

35. Allison Gross.

P. 314. Gifts offered by a hill-maid. ‘Bjærgjomfruens Frieri,’ Kristensen, Skattegraveren, II, 100, No 460; XII, 22 ff., Nos 16, 17; Folkeminder, XI, 20 ff., No 18, A-E.

36. The Laily Worm and the Mackrel of the Sea.

P. 315. Though Skene has rendered this ballad with reasonable fidelity, for an editor, it shall, on account of its interest, be given as it stands in the old lady’s MS., where it is No 2. It proves not absolutely true, as I have said, that the Skene ballad has “never been retouched by a pen.”

1
‘I was bat seven year alld
Fan my mider she did dee,
My father marrëd the ae warst woman
The wardle did ever see.

2
‘For she has made me the lailly worm
That lays att the fitt of the tree,
An o my sister Meassry
The machrel of the sea.

3
‘An every Saterday att noon
The machrl comes ea to me,
An she takes my laylë head,
An lays it on her knee,
An keames it we a silver kemm,
An washes it in the sea.

4
‘Seven knights ha I slain
Sane I lay att the fitt of the tree;
An ye war na my ain father,
The eight an ye sud be.’

5
‘Sing on your song, ye l[a]ily worm,
That ye sung to me;’
‘I never sung that song
But fatt I wad sing to ye.

6
‘I was but seven year aull
Fan my mider she [did] dee,
My father marrëd the a warst woman
The wardle did ever see.

7
‘She changed me to the layel[y] worm
That layes att the fitt of the tree,
An my sister Messry
[To] the makrell of the sea.

8
‘And every Saterday att noon
The machrell comes to me,
An she takes my layly head,
An layes it on her knee,
An kames it weth a siller kame,
An washes it in the sea.

9
‘Seven knights ha I slain
San I lay att the fitt of the tree;
An ye war na my ain father,
The eight ye sud be.’

10
He sent for his lady
As fast as sen cod he:
‘Far is my son,
That ye sent fra me,
And my daughter,
Lady Messry?’

11
‘Yer son is att our king’s court,
Sarving for meatt an fee,
And yer doughter is att our quin’s court,
A mary suit an free.’

12
‘Ye lee, ye ill woman,
Sa loud as I hear ye lea,
For my son is the layelly worm
That lays at the fitt of the tree,
An my daughter Messry
The machrell of the sea.’

13
She has tain a silver wan
An gine him stroks three,
An he started up the bravest knight
Your eyes did ever see.

14
She has tane a small horn
An loud an shill blue she,
An a’ the came her tell but the proud machrell,
An she stood by the sea:
‘Ye shaped me ance an unshemly shape,
An ye’s never mare shape me.’

15
He has sent to the wood
For hathorn an fun,
An he has tane that gay lady,
An ther he did her burne.

_Written without division into stanzas or verses._

3^2. comes ea (aye); _but, on repetition in_ 8^2, comes _simply, with better metre_.

15^1. hes has.

15^3. that that.

316. ‘Nattergalen,’ in Kristensen, Folkeminder, XI, 25, No 20, A-C.

In a Kaffir tale a girl marries a crocodile. The crocodile bids her lick his face. Upon her doing so, the crocodile casts his skin and turns into a strong and handsome man. He had been transformed by the enemies of his father’s house. (Theal, Kaffir Folk-Lore, 1882, p. 37, cited by Mr Clouston.)

39. Tam Lin.

P. 339. Teind to hell. See Isabel Gowdie’s case, in the Scottish Journal, I, 256, and compare Pitcairn’s Criminal Trials.

345. =D a.= This copy occurs in “the second collection” of Charles Kirkpatrick Sharpe, p. 3, with a few variations, as follows. (See Sharpe’s Ballad Book, ed. 1880, p. 145.)

1^3. Charters wood, _and always_.

3^1. the seam.

3^3. is gone.

5^2. ye.

6^4. ask no.

10^4. we have.

11^1. to me.

12^2. aft.

12^3. the Lord of Forbes.

12^4. all his.

15 _occurs after_ 24.

15^1. Tho Elfin.

15^4. the tenth one goes.

15^5. I am an, _or_, I a man.

16^5. if that.

16^6. miles Cross.

17^1. go unto the Miles cross.

20^4. next the.

23^1, 24^1. int.

25^1. She did her down.

27^2. so green.

27^3. Where.

27^4. ride next.

28^4. he is.

29^4. He.

32^2. and cry.

34^1. I thought.

40. The Queen of Elfan’s Nourice.

P. 358, II, 505 b, III, 505 b, IV, 459 a. Mortal midwife for fairies. ‘La Sage-femme et la Fée,’ R. Basset, Contes pop. berbères, 1887, No 26, p. 55 (and see notes, pp. 162, 163). (G. L. K.)

41. Hind Etin.

P. 361 b, III, 506 a, IV, 459 a. =Danish.= ‘Jomfruen i Bjærget,’ fragment, in Kristensen, Folkeminder, XI, 6, No 12.

364 a, III, 506 a, IV, 459 a. =Danish.= ‘Agnete og Havmanden,’ Kristensen, Skattegraveren, III, p. 17, No 34, XII, 65 ff., Nos 136, 137; Efterslæt, p. 2, No 2, p. 174, No 126; Folkeminder, XI, 7, No 13, A-D.

42. Clerk Colvill.

P. 371, No 42, p. 389. =C= in Findlay MSS, I, 141: ‘Clerk Colin,’ from Miss Butchart, Arbroath, 1868. Miss Butchart, who died about 1890, aged above ninety years, was the daughter of the Mrs Butchart from whom Kinloch got certain ballads, and niece to the Mrs Arrot who was one of Jamieson’s contributors. In the MS. there are these readings:

2^3. To gang.

4^3. maun gae.

5^2. could gang.

6^1. To Clyde’s.

374 b, IV, 459 a. =Danish.= ‘Elveskud,’ Kristensen, Skattegraveren, XII, 54, No 125; ‘Elvedansen,’ Folkeminder, XI, 15, No 17, =A-C=.

380, II, 506 a, III, 506 a, IV, 459 a. =TT=, ‘La chanson de Renaud,’ Pineau, Le Folk-Lore du Poitou, p. 399; =UU=, ‘La Mort de Jean Raynaud, Wallonia, I, 22.

=VV, WW=. Versions de la Bresse, one, and a fragment, J. Tiersot, Revue des Traditions Populaires, VII, 654 ff.

382, II, 506 a, III, 506 a. =Italian.= =N.= ‘El conte Anzolin,’ Villanis, Canzoni pop. Zaratine, Archivio, XI, 32. A burlesque form in Canti pop. Emiliani, Maria Carmi, Archivio, XII, 186, and a Venetian rispetto of the same character (noted by Maria Carmi) in Bernoni, Canti pop. Veneziani, 1873, Puntata 7, p. 12, No 62.

44. The Twa Magicians.

P. 400 a, III, 506 b, IV, 459 b. =French.= =Y.= ‘Les Transformations,’ Wallonia, I, 50.

401 b, 3d paragraph. Say: Cosquin, Contes lorrains, I, 103, No 9, and notes.

402 a, last paragraph, Gwion. See the mabinogi of Taliesin in Lady Charlotte Guest’s Mabinogion, Part VII, p. 358 f.

45. King John and the Bishop.

P. 405 b, II, 506, IV, 459 b. Another Magyar version in Zs. f. vergleichende Literaturgeschichte, N. F. V, 467.

46. Captain Wedderburn’s Courtship.

P. 414. Rev. J. Baring-Gould informs me that there is an Irish version of this piece in Ulster Ballads, British Museum, 1162. k. 6, entitled ‘The Lover’s Riddle.’ The lady, who in =B=, =C= is walking through the wood ‘her lane,’ is in the Ulster copy walking ‘down a narrow lane,’ and she meets ‘with William Dicken, a keeper of the game.’ The only important difference as to the riddles and the answers is that the young lady remembers her Bible to good purpose, and gives Melchisedec as an example of a priest unborn (Hebrews vii, 3).

415, note †. Miss M. H. Mason gives two copies in her Nursery Rhymes and Country Songs, pp. 23, 24, ‘A Paradox.’

417, note †, II, 507 b, III, 507 a, IV, 459 b. “They were told that in front of the king’s house there were twenty-score poles, with a head on each pole with the exception of three.” ‘The Lad with the Skin Coverings,’ J. G. Campbell, The Fians, p. 261. (There are three adventurers in this case.) (G. L. K.)

421. =B. h.= ‘Captian Wederburn,’ “The Old Lady’s Collection,” No 38.

=B.= =a.=

1
The lard of Roslie’s doughter was walking on the green,
An by came Captain Wederburn, a servant to our king,
An he said to his livery-man, Wer it no agenst our laa,
I wad take her to my ain bed an lay her neast the waa.

=a.=

2
‘I am in my father’s garden, walken among my father’s trees,
An ye dou latt me walk a whill nou, kind sir, if ye pleas;
For the supper-beals they will be rung an I will be mised awa,

=a.=

4^3.
An my father will ate nae supper gine I be mised awa.’

=a.=

6.
He lighted off his hors an sett the lady one,
. . . . . . . . .

=A.= =a.=

6^{1,3}.
He sett her ahind his livery-man, was leath to latt her faa:

=A.= =a.=

5^4.
‘We’s baith lay in ae bed, an ye’s lay neast the wa.’

=B.= =a.=