The English and Scottish popular ballads, volume 1 (of 5) (part 7 of 7)

The English and Scottish popular ballads, volume 1 (of 5) (part 7 of 7)

39 b. To the Polish versions are further to be added: #NN#, Piosnki wieśniacze znad Dzwiny, p. 41, No 51; #OO#, Roger, p. 78, No 138; #PP#, Roger, p. 69, No 125; #QQ#, ib., p. 79, No 140; #RR#, p. 81, No 142; #SS#, p. 79, No 139. The last three are imperfect, and #QQ#, #RR#, have a beginning which belongs elsewhere. Jasia suggests to Kasia to get the key of the new room from her mother by pretending headache, and bids her take gold enough, #NN#, #OO#. They go off while her mother thinks that Kasia is sleeping, #NN#, #OO#, #QQ#. They come to a wood, #NN#, #PP# (which is corrupt here), #SS#; first or last, to a deep stream, #NN#, #OO#, #QQ#, #SS#; it is red sea in #RR#, as in #J#. Jasia bids Kasia return to her mother, #NN# (twice), #RR#; bids her take off her rich clothes, #OO#, to which she answers that she has not come here for that. John throws her into the water, #NN#, #OO#, #QQ#, #SS#, from a bridge in the second and third. Her apron catches on a stake or post; she begs John for help, and gets for answer, "I did not throw you in to help you: you may go to the bottom," #OO#. She swims to a stake, to which she clings, and John hews her in three, #QQ#. Fishermen draw out the body, and carry it to the church, #NN#, #OO#. She apostrophizes her hair in #QQ#, #SS#, as in #G#, #I#, #J#, and in the same absurd terms in #QQ# as in #J#. John is pursued and cut to pieces in #OO#, also broken on the wheel. #PP# closely resembles German ballads of the third class. Katie shouts three times: at her first cry the grass curls up; at the second the river overflows; the third wakes her mother, who rouses her sons, saying, Katie is calling in the wood. They find John with a bloody sword; he says he has killed a dove. They answer, No dove, but our sister, and maltreat him till he tells what he has done with his victim: "I have hidden her under the yew-bush; now put me on the wheel."

39 b, line 13 of the middle paragraph. Read Piosnki for Piesni, and omit the quotation marks in this and the line before.

40 b, line 2 (the girl's adding her hair to lengthen the cord). In the tale of the Sea-horse, Schiefner, Awarische Texte, Memoirs of the St Petersburg Academy, vol. XIX, No 6, p. 11 f, a sixty-ell rope being required to rescue a prince from a well into which he had been thrown, and no rope forthcoming, the daughter of a sea-king makes a rope of the required length with her hair, and with this the prince is drawn out. Dr Reinhold Köhler, who pointed out this incident to me, refers in his notes to the texts, at p. vii f, to the song of Südäi Märgän, Radloff, II, 627-31, where Südäi Märgän's wife, having to rescue her husband from a pit, tries first his horse's tail, and finds it too short, then her hair, which proves also a little short. A maid is then found whose hair is a hundred fathoms long, and her hair being tied on to the horse's tail, and horse, wife, and maid pulling together, the hero is drawn out. For climbing up by a maid's hair, see, further, Köhler's note to Gonzenbach, No 53, II, 236.

40 b, line 7. A message is sent to a father by a daughter in the same way, in Chodzko, Les Chants historiques de l'Ukraine, p. 75; cf. p. 92, of the same. Tristram sends messages to Isonde by linden shavings inscribed with runes: Sir Tristrem, ed. Kölbing, p. 56, st. 187; Tristrams Saga, cap. 54, p. 68, ed. Kölbing; Gottfried von Strassburg, vv 14427-441.

40 b, line 36. For #G#, #I#, read #G#, #J#.

40, note [61]. In a Ruthenian ballad a girl who runs away from her mother with a lover tells her brothers, who have come in search of her, I did not leave home to go back again with you: Golovatsky, Part I, p. 77, No 32; Part III, I, p. 17, No 4, p. 18, No 5. So, "I have not poisoned you to help you," Part I, p. 206, No 32, p. 207, No 33.

41 a, second paragraph. Golovatsky, at I, 116, No 29, has a ballad, found elsewhere without the feature here to be noticed, in which a Cossack, who is watering his horse while a maid is drawing water, describes his home as a Wonderland, like John in Polish #Q#. "Come to the Ukraine with the Cossacks," he says. "Our land is not like this: with us the mountains are golden, the water is mead, the grass is silk; with us the willows bear pears and the girls go in gold." She yields; they go over one mountain and another, and when they have crossed the third the Cossack lets his horse graze. The maid falls to weeping, and asks the Cossack, Where are your golden mountains, where the water that is mead, the grass that is silk? He answers, No girl of sense and reason engages herself to a young Cossack. So in Zegota Pauli, P. l. ruskiego, p. 29, No 26==Golovatsky, I, 117, No 30, where the maid rejoins to the glowing description, I have ranged the world: golden mountains I never saw; everywhere mountains are of stone, and everywhere rivers are of water; very like the girl in Grundtvig, 82 #B#, st. 7; 183 #A# 6, #E# 5, 6.

41 b, last paragraph. Several Bohemian versions are to be added to the single example cited from Waldau's Böhmische Granaten. This version, which is presumed to have been taken down by Waldau himself, may be distinguished as #A#. #B#, Sušil, Moravské Národní Písně, No 189, p. 191, 'Vrah,' 'The Murderer,' is very like #A#. #C#, Sušil, p. 193. #D#, Erben, Prostonárodni české Písně a Říkadla, p. 480, No 16, 'Zabité děvče,' 'The Murdered Maid.' #E#, p. 479, No 15, 'Zabitá sestra,' 'The Murdered Sister.' #B# has a double set of names, beginning with Black George,--not the Servian, but "king of Hungary,"--and ending with Indriasch. The maid is once called Annie, otherwise Katie. At her first call the grass becomes green; at the second the mountain bows; the third the mother hears. #C# has marvels of its own. Anna entreats John to allow her to call to her mother. "Call, call," he says, "you will not reach her with your call; in this dark wood, even the birds will not hear you." At her first call a pine-tree in the forest breaks; at the second the river overflows; at the third her mother rises from the grave. She calls to her sons to go to Anna's rescue, and they rise from their graves. The miscreant John confesses that he has buried their sister in the wood. They strike off his head, and put a bat on the head, with an inscription in gold letters, to inform people what his offence has been. There is a gap after the seventh stanza of #D#, which leaves the two following stanzas unintelligible by themselves: 8, Choose one of the two, and trust nobody; 9, She made her choice, and shouted three times towards the mountains. At the first cry the mountain became green; at the second the mountain bowed backwards; the third the mother heard. She sent her sons off; they found their neighbor John, who had cut off their sister's head. The law-abiding, and therefore modern, young men say that John shall go to prison and never come out alive. In #E# the man, a young hunter, says, Call five times; not even a wood-bird will hear you. Nothing is said of the first call; the second is heard by the younger brother, who tells the elder that their sister must be in trouble. The hunter has a bloody rifle in his hand: how he is disposed of we are not told. All these ballads but #C# begin with the maid cutting grass, and all of them have the dove that is "no dove, but our sister."

Fragments of this ballad are found, #F#, in Sušil, p. 112, No 113, 'Nevěsta nešt' astnice,' 'The Unhappy Bride;' #G#, p. 171, No 171, 'Zbojce,' 'The Murderer;' and there is a variation from #B# at p. 192, note 3, which is worth remarking, #H#. #F#, sts 11-14: "Get together what belongs to you; we will go to a foreign land;" and when they came to the turf, "Look my head through."[426] Every hair she laid aside she wet with a tear. And when they came into the dark of the wood he cut her into nine [three] pieces. #G.# Katie meets John in a meadow; they sit down on the grass. "Look my head through." She weeps, for she says there is a black fate impending over her; "a black one for me, a red one for thee." He gets angry, cuts off her head, and throws her into the river, for which he is hanged. #H.# He sprang from his horse, robbed the maid, and laughed. He set her on the grass, and bade her look his head through. Every hair she examined she dropped a tear for. "Why do you weep, Katie? Is it for your crants?" "I am not weeping for my crants, nor am I afraid of your sword. Let me call three times, that my father and mother may hear." Compare German #H# 10, 11; #Q# 8-10, etc., etc.

42 a. These Ruthenian ballads belong with the other Slavic parallels to No 4: #A#, Zegota Pauli, P. l. ruskiego, p. 21==Golovatsky, III, I, 149, No 21; #B#, Golovatsky, III, I, 172, No 46. #A.# A man induces a girl to go off with him in the night. They wander over one land and another, and then feel need of rest. Why does your head ache? he asks of her. Are you homesick? "My head does not ache; I am not homesick." He takes her by the white sides and throws her into the deep Donau, saying, Swim with the stream; we shall not live together. She swims over the yellow sand, crying, Was I not fair, or was it my fate? and he dryly answers, Fair; it was thy fate. In #B# it is a Jew's daughter that is wiled away. They go in one wagon; another is laden with boxes [of valuables?] and pillows, a third with gold pennies. She asks, Where is your house? Over those hills, he answers. He takes her over a high bridge, and throws her into the Donau, with, Swim, since you were not acquainted with our way, our faith!

42 a. #A#, line 2. Read: Puymaigre.

43 a. #D.# Add: Poésies populaires de la France, IV, fol. 332, Chanson de l'Aunis, Charente Inférieur; but even more of the story is lost.

44 a. A ballad in Casetti e Imbriani, C. p. delle Provincie meridionali, II, 1, begins like 'La Contadina alla Fonte' (see p. 393 a), and ends like 'La Monferrina Incontaminata.' Of the same class as the last is, I suppose, Nannarelli, Studio comparativo sui Canti popolari di Arlena, p. 51, No 50 (Köhler), which I regret not yet to have seen.

45 a. Portuguese #C, D#, in Alvaro Rodrigues de Azevedo, Romanceiro do Archipelago da Madeira, p. 57, 'Estoria do Bravo-Franco,' p. 60, 'Gallo-frango.'

47. A story from Neumünster about one Görtmicheel, a famous robber, in Müllenhoff, p. 37, No 2, blends features of 'Hind Etin,' or 'The Maid and the Dwarf-King,' No 41, with others found in the Magyar ballad, p. 45 f. A handsome wench, who had been lost seven years, suddenly reappeared at the home of her parents. She said that she was not at liberty to explain where she had been, but her mother induced her to reveal this to a stone near the side-door, and taking up her station behind the door heard all. She had been carried off by a robber; had lived with him seven years, and borne him seven children. The robber, who had otherwise treated her well, had refused to let her visit her home, but finally had granted her this permission upon her promising to say nothing about him. When the time arrived for her daughter to go back, the mother gave her a bag of peas, which she was to drop one by one along the way. She was kindly received, but presently the robber thought there was something strange in her ways. He laid his head in her lap, inviting her to perform the service so common in like cases. While she was doing this, she could not but think how the robber had loved her and how he was about to be betrayed by her, and her remorseful tears dropped on his face. "So you have told of me!" cried the astute robber, springing up. He cut off the children's heads and strung them on a willow-twig before her eyes, and was now coming to her, when people arrived, under the mother's conduct, who put a stop to his further revenge, and took their own. See the note, Müllenhoff, p. 592 f.

57 a. #D.# Insert: #d.# A stall-copy lent me by Mrs Alexander Forbes, Liberton, Edinburgh. (See p. 23, note §.)

62 b. Insert after #c#:

#d.#

1^{1,2}. Have ye not heard of fause Sir John, Wha livd in the west country?

After 2 a stanza nearly as in #b.#

5 wanting.

6^1. But he's taen a charm frae aff his arm.

6^3. follow him.

7^2. five hundred.

7^3. the bravest horse.

8^1. So merrily.

8^4. Which is called Benan Bay.

9, 11, wanting.

12^1. Cast aff, cast aff.

12^4. To sink.

13. Nearly as in #b.#

14. 'Cast aff thy coats and gay mantle, And smock o Holland lawn, For thei'r owre costly and owre guid To rot in the sea san.'

15. 'Then turn thee round, I pray, Sir John, See the leaf flee owre the tree, For it never befitted a book-learned man A naked lady to see.'

Sir John being a Dominican friar, according to the historical preface.

16. As fause Sir John did turn him round, To see the leaf flee owre the [tree], She grasped him in her arms sma, And flung him in the sea.

17. 'Now lie ye there, ye wild Sir John, Whar ye thought to lay me; Ye wad hae drownd me as naked 's I was born, But ye's get your claes frae me!'

18. Her jewels, costly, rich and rare, She straight puts on again; She lightly springs upon her horse, And leads his by the rein.

21^3. O that's a foundling.

22. Then out and spake the green parrot, He says, Fair May Culzean, O what hae ye done wi yon brave knight?

23. 'Haud your tongue, my pretty parrot, An I'se be kind to thee; For where ye got ae handfu o groats, My parrot shall get three.'

25. 'There came a cat into my cage, Had nearly worried me, And I was calling on May Culzean To come and set me free.'

27 wanting.

28^3. Carleton sands.

29^2. Was dashed.

29^3. The golden ring.

5. Gil Brenton.

#P.# 62 a, last three lines. Read: said by Lockhart to be Miss Christian Rutherford, his mother's half-sister.

66 b, lines 2, 3. Read: 37 #G#, 38 #A#, #D#, and other versions of both.

66 b, line 4. 'Bitte Mette,' Kristensen, Jyske Folkeminder, V, 57, No 7, affords another version.

66 b, last line. For other cases of this substitution see Legrand, Recueil de Contes populaires grecs, p. 257, 'La Princesse et sa Nourrice;' Köhler, Romania, XI, 581-84, 'Le conte de la reine qui tua son sénéchal;' Neh-Manzer, ou Les Neuf Loges, conte, traduit du persan par M. Lescallier, Gènes, 1808, p. 55, 'Histoire du devin Afezzell.' (Köhler.) The last I have not seen.

67 a, note [99], line 37. Read: a Scotch name.

84 b. The same artifice is tried, and succeeds, in a case of birth delayed by a man's clasping his hands round his knees, in Asbjørnsen, Norske Huldre-Eventyr, I, 20, 2d ed.

85 a, first paragraph. A story closely resembling Heywood's is told in the Zimmerische Chronik, ed. Barack, IV, 262-64, 1882, of Heinrich von Dierstein; Liebrecht in Germania XIV, 404. (Köhler.) As the author of the chronicle remarks, the tale (Heywood's) is in the Malleus Maleficarum (1620, I, 158 f).

85 a, third paragraph. Other cases resembling Gonzenbach, No 54, in Pitré, Fiabe, Novelle, etc., I, 173, No 18; Comparetti, Novelline popolari, No 33, p. 139. (Köhler.)

85, note. Add: (Köhler.)

85 b. Birth is sought to be maliciously impeded in Swabia by crooking together the little fingers. Lammert, Volksmedizin in Bayern, etc., p. 165. (Köhler.)

7. Earl Brand.

#P.# 88. Add:

#G.# 'Gude Earl Brand and Auld Carle Hude,' the Paisley Magazine, 1828, p. 321, communicated by W. Motherwell.

#H.# 'Auld Carle Hood, or, Earl Brand,' Campbell MSS, II, 32.

#I.# 'The Douglas Tragedy,' 'Lord Douglas' Tragedy,' from an old-looking stall-copy, without place or date.

This ballad was, therefore, not first given to the world by Mr Robert Bell, in 1857, but nearly thirty years earlier by Motherwell, in the single volume of the Paisley Magazine, a now somewhat scarce book. I am indebted for the information and for a transcript to Mr Murdoch, of Glasgow, and for a second copy to Mr Macmath, of Edinburgh.

92 a. Add: #I.# 'Hildebrand,' Wigström, Folkdiktning, II, 13. #J.# 'Fröken Gyllenborg,' the same, p. 24.

96 a. Böðvar Bjarki, fighting with great effect as a huge bear for Hrólfr Kraki, is obliged to return to his ordinary shape in consequence of Hjalti, who misses the hero from the fight, mentioning his name: Saga Hrólfs Kraka, c. 50, Fornaldar Sögur, I, 101 ff. In Hjálmtèrs ok Ölvers Saga, c. 20, F. S. III, 506 f, Hörðr bids his comrades not call him by name while he is fighting, in form of a sword-fish, with a walrus, else he shall die. A prince, under the form of an ox, fighting with a six-headed giant, loses much of his strength, and is nigh being conquered, because a lad has, contrary to his prohibition, called him by name. Asbjørnsen og Moe, Norske Folkeeventyr, 2d ed., p. 419. All these are cited by Moe, in Nordisk Tidskrift, 1879, p. 286 f. Certain kindly domestic spirits renounce relations with men, even matrimonial, if their name becomes known: Mannhardt, Wald- und Feldkulte, I, 103.

97 b. Insert: #Spanish.# Milá, Romancerillo Catalan, 2d ed., No 206, #D#, p. 164: olivera y oliverá, which, when grown tall, join.

#Servian.# Add: Karadshitch, I, 345, vv 225 ff, two pines, which intertwine. In #I# 309, No 421, they plant a rose over the maid, a vine over the man, which embrace as if they were Jani and Milenko. The ballad has features of the Earl Brand class. (I, 239, No 341==Talvj, II, 85.)

#Russian.# Hilferding, Onezhskya Byliny, col. 154, No 31, laburnum (?) over Basil, and cypress over Sophia, which intertwine; col. 696, No 134, cypress and willow; col. 1242, No 285, willow and cypress.

Little Russian (Carpathian Russians in Hungary), Golovatsky, II, 710, No 13: John on one side of the church, Annie on the other; rosemary on his grave, a lily on hers, growing so high as to meet over the church. Annie's mother cuts them down. John speaks from the grave: Wicked mother, thou wouldst not let us live together; let us rest together. Golovatsky, I, 186, No 8: a maple from the man's grave, white birch from the woman's, which mingle their leaves.

#Slovenian.# Štúr, O národnich Písních a Pověstech Plemen slovanských, p. 51: the lovers are buried east and west, a rose springs from the man's grave, a lily from the maid's, which mingle their growth.

#Wend.# Add: Haupt and Schmaler, II, 310, No 81.

#Breton.# Add: Villemarqué, Barzaz Breiz, 'Le Seigneur Nann et La Fée,' see p. 379, note §, of this volume.

98 a. #Armenian.# The ashes of two lovers who have been literally consumed by a mutual passion are deposited by sympathetic hands in one grave. Two rose bushes rise from the grave and seek to intertwine, but a thorn interposes and makes the union forever impossible. (The thorn is creed. The young man was a Tatar, and his religion had been an insuperable obstacle in the eyes of the maid's father.) Baron von Haxthausen, Transkaukasia, I, 315 f. (Köhler.)

A Middle High German poem from a MS. of the end of the 14th century, printed in Haupt's Zeitschrift, VI, makes a vine rise from the common grave of Pyramus and Thisbe and descend into it again: p. 517. (Köhler.)

J. Grimm notes several instances of this marvel (not from ballads), Ueber Frauennamen aus Blumen, Kleinere Schriften, II, 379 f, note **.

104.

G

The Paisley Magazine, June 2, 1828, p. 321, communicated by William Motherwell. "Sung to a long, drawling, monotonous tune."

* * * * * * *

1 'Gude Earl Brand, I long to see Faldee faldee fal deediddle a dee All your grey hounds running over the lea.' And the brave knights in the valley

2 'Gude lady fair, I have not a steed but one, But you shall ride and I shall run.'

3 They're ower moss and they're ower mure, And they saw neither rich nor pure.

4 Until that they came to auld Karl Hude; He's aye for ill and never for gude.

5 'Gude Earl Brand, if ye love me, Kill auld Karl Hude, and gar him die.'

6 'O fair ladie, we'll do better than sae: Gie him a penny, and let him gae.'

7 'Gude Earl Brand, whare hae ye been, Or whare hae ye stown this lady sheen?'

8 'She's not my lady, but my sick sister, And she's been at the wells of Meen.'

9 'If she was sick, and very sair, She wadna wear the red gold on her hair.

10 'Or if she were sick, and like to be dead, She wadna wear the ribbons red.'

11 He cam till he cam to her father's gate, And he has rappit furious thereat.

12 'Where is the lady o this hall?' 'She's out wi her maidens, playing at the ball.'

13 'If you'll get me fyfteen wale wight men, Sae fast as I'll fetch her back again.'

14 She's lookit ower her left collar-bane: 'O gude Earl Brand, we baith are taen,'

15 'Light down, light down, and hold my steed; Change never your cheer till ye see me dead.

16 'If they come on me man by man, I'll be very laith for to be taen.

17 'But if they come on me one and all, The sooner you will see me fall.'

18 O he has killd them all but one, And wha was that but auld Karl Hude.

19 And he has come on him behind, And put in him the deadly wound.

20 O he has set his lady on, And he's come whistling all along.

21 'Gude Earl Brand, I see blood:' 'It's but the shade o my scarlet robe.'

22 They cam till they cam to the water aflood; He's lighted down and he's wushen aff the blood.

23 His mother walks the floor alone: 'O yonder does come my poor son.

24 'He is both murderd and undone, And all for the sake o an English loon.'

25 'Say not sae, my dearest mother, Marry her on my eldest brother.'

26 She set her fit up to the wa, Faldee faldee fal deediddle adee She's fallen down dead amang them a'. And the brave knights o the valley

H

Campbell MSS, II, 32.

1 Did you ever hear of good Earl Brand, Aye lally an lilly lally And the king's daughter of fair Scotland? And the braw knights o Airly

2 She was scarce fifteen years of age When she came to Earl Brand's bed. Wi the braw knights o Airly

3 'O Earl Brand, I fain wad see Our grey hounds run over the lea.' Mang the braw bents o Airly

4 'O,' says Earl Brand, 'I've nae steads but one, And you shall ride and I shall run.' Oer the braw heights o Airly

5 'O,' says the lady, 'I hae three, And ye shall hae yeer choice for me.' Of the braw steeds o Airly

6 So they lap on, and on they rade, Till they came to auld Carle Hood. Oer the braw hills o Airly

7 Carl Hood's aye for ill, and he's no for good, He's aye for ill, and he's no for good. Mang the braw hills o Airly

8 'Where hae ye been hunting a' day, And where have ye stolen this fair may?' I' the braw nights sae airly

9 'She is my sick sister dear, New comd home from another sister.' I the braw nights sae early

10 'O,' says the lady, 'if ye love me, Gie him a penny fee and let him gae.' I the braw nights sae early

11 He's gane home to her father's bower, . . . . . . . . . . . . . .

12 'Where is the lady o this ha?' 'She's out wi the young maids, playing at the ba.' I the braw nights so early

13 'No,' says another, 'she's riding oer the moor, And a' to be Earl Brand's whore.' I the braw nights so early

14 The king mounted fifteen weel armed men, A' to get Earl Brand taen. I the braw hills so early

15 The lady looked over her white horse mane: 'O Earl Brand, we will be taen.' In the braw hills so early

16 He says, If they come one by one, Ye'll no see me so soon taen. In the braw hills so early

17 So they came every one but one, And he has killd them a' but ane. In the braw hills so early

18 And that one came behind his back, And gave Earl Brand a deadly stroke. In the braw hills of Airly

19 For as sair wounded as he was, He lifted the lady on her horse. In the braw nights so early

20 'O Earl Brand, I see thy heart's bluid!' 'It's but the shadow of my scarlet robe.' I the braw nights so early

21 He came to his mother's home; . . . . . . . . . . . . . .

22 She looked out and cryd her son was gone, And a' for the sake [of] an English loon. . . . . . . .

23 'What will I do wi your lady fair?' 'Marry her to my eldest brother.' The brawest knight i Airly

21^1. to her.

21^1, 22 are written as one stanza.

I

A stall-copy lent me by Mrs Alexander Forbes, Liberton, Edinburgh.

1 'Rise up, rise up, Lord Douglas,' she said, 'And draw to your arms so bright; Let it never be said a daughter of yours Shall go with a lord or a knight.

2 'Rise up, rise up, my seven bold sons, And draw to your armour so bright; Let it never be said a sister of yours Shall go with a lord or a knight.'

3 He looked over his left shoulder, To see what he could see, And there he spy'd her seven brethren bold, And her father that lov'd her tenderly.

4 'Light down, light down, Lady Margret,' he said, 'And hold my steed in thy hand, That I may go fight with your seven brethren bold, And your father who's just at hand.'

5 O there she stood, and bitter she stood, And never did shed a tear, Till once she saw her seven brethren slain, And her father she lovd so dear.

6 'Hold, hold your hand, William,' she said, 'For thy strokes are wondrous sore; For sweethearts I may get many a one, But a father I neer will get more.'

7 She took out a handkerchief of holland so fine And wip'd her father's bloody wound, Which ran more clear than the red wine, And forked on the cold ground.

8 'O chuse you, chuse you, Margret,' he said, 'Whether you will go or bide!' 'I must go with you, Lord William,' she said, 'Since you've left me no other guide.'

9 He lifted her on a milk-white steed, And himself on a dapple grey, With a blue gilded horn hanging by his side, And they slowly both rode away.

10 Away they rode, and better they rode, Till they came to yonder sand, Till once they came to yon river side, And there they lighted down.

11 They lighted down to take a drink Of the spring that ran so clear, And there she spy'd his bonny heart's blood, A running down the stream.

12 'Hold up, hold up, Lord William,' she says, 'For I fear that you are slain;' ''T is nought but the shade of my scarlet clothes, That is sparkling down the stream.'

13 He lifted her on a milk-white steed, And himself on a dapple grey, With a blue gilded horn hanging by his side, And slowly they rode away.

14 Ay they rode, and better they rode, Till they came to his mother's bower; Till once they came to his mother's bower, And down they lighted there.

15 'O mother, mother, make my bed, And make it saft and fine, And lay my lady close at my back, That I may sleep most sound.'

16 Lord William he died eer middle o the night, Lady Margret long before the morrow; Lord William he died for pure true love, And Lady Margret died for sorrow.

17 Lord William was bury'd in Lady Mary's kirk, The other in Saint Mary's quire; Out of William's grave sprang a red rose, And out of Margret's a briar.

18 And ay they grew, and ay they threw, As they wad fain been near; And by this you may ken right well They were twa lovers dear.

105 b. #D.# 10. For Kinlock (twice) read Kinloch; and read I, 330.

The stanza cited is found in Kinloch MSS, VII, 95 and 255.

107 b. There is possibly a souvenir of Walter in Sušil, p. 105, No 107. A man and woman are riding on one horse in the mountains. He asks her to sing. Her song is heard by robbers, who come, intending to kill him and carry her off. He bids her go under a maple-tree, kills twelve, and spares one, to carry the booty home.

#9. The Fair Flower of Northumberland.#

P. 111 a. #B b#, as prepared by Kinloch for printing, is found in Kinloch MSS, VII, 105.

Add: #F.# 'The Fair Flower of Northumberland,' Gibb MS., No 8.

117.

F

Gibb MS., No 8: 'The Fair Flower o Northumberland,' from Jeannie Stirling, a young girl, as learned from her grandmother.

* * * * * * *

1 She stole the keys from her father's bed-head, O but her love it was easy won! She opened the gates, she opened them wide, She let him out o the prison strong.

2 She went into her father's stable, O but her love it was easy won! She stole a steed that was both stout and strong, To carry him hame frae Northumberland.

* * * * * * *

3 'I'll be cook in your kitchen, Noo sure my love has been easy won! I'll serve your own lady with hat an with hand, For I daurna gae back to Northumberland.'

4 'I need nae cook in my kitchin, O but your love it was easy won! Ye'll serve not my lady with hat or with hand, For ye maun gae back to Northumberland.'

5 When she gaed hame, how her father did ban! 'O but your love it was easy won! A fair Scottish girl, not sixteen years old, Was once the fair flower o Northumberland!'

10. The Twa Sisters.

Page 118 b. #K# is found in Kinloch MSS, VII, 256.

Add: #V.# 'Benorie,' Campbell MSS, II, 88.

#W.# 'Norham, down by Norham,' communicated by Mr Thomas Lugton, of Kelso.

#X.# 'Binnorie,' Dr Joseph Robertson's Note-Book, January 1, 1830, p. 7, one stanza.

#Y.# Communicated to Percy by Rev. P. Parsons, April 7, 1770.

119 a. Note [127], first line. Read: I, 315.

120 a, first paragraph. "A very rare but very stupid modern adaptation, founded on the tradition as told in Småland, appeared in Götheborg, 1836, small 8vo, pp 32: Antiquiteter i Thorskinge. Fornminnet eller Kummel-Runan, tolkande Systersveket Bröllopps-dagen." The author was C. G. Lindblom, a Swedish priest. The first line is:

"En Näskonung bodde på Illvedens fjäll."

Professor George Stephens.

120 a. Note [129], lines 3, 4. Read: and in 14, 15, calls the drowned girl "the bonnie miller's lass o Binorie," meaning the bonnie miller o Binorie's lass.

124 a, last paragraph. A drowned girl grows up on the sea-strand as a linden with nine branches: from the ninth her brother carves a harp. "Sweet the tone," he says, as he plays. The mother calls out through her tears, So sang my youngest daughter. G. Tillemann, in Livona, ein historisch-poetisches Taschenbuch, Riga u. Dorpat, 1812, p. 187, Ueber die Volkslieder der Letten. Dr R. Köhler points out to me a version of this ballad given with a translation by Bishop Carl Chr. Ulmann in the Dorpater Jahrbücher, II, 404, 1834, 'Die Lindenharfe,' and another by Pastor Karl Ulmann in his Lettische Volkslieder, übertragen, 1874, p. 199, No 18, 'Das Lied von der Jüngsten.' In the former of these the brother says, Sweet sounds my linden harp! The mother, weeping, It is not the linden harp; it is thy sister's soul that has swum through the water to us; it is the voice of my youngest daughter.

124 b, first paragraph. In Bohemian, 'Zakletá dcera,' 'The Daughter Cursed,' Erben, 1864, p. 466 (with other references); Moravian, Sušil, p. 143, No 146. Dr R. Köhler further refers to Peter, Volksthümliches aus Österreichisch-Schlesien, I, 209, 'Die drei Spielleute;' Meinert, p. 122, 'Die Erle;' Vernaleken, Alpensagen, p. 289, No 207, 'Der Ahornbaum.'

125 b. Add to the citations: 'Le Sifflet enchanté,' E. Cosquin, Contes populaires lorrains, No 26, Romania, VI, 565, with annotations, pp 567 f; Köhler's Nachträge in Zeitschrift für romanische Philologie, II, 350 f; Engelien u. Lahn, Der Volksmund in der Mark Brandenburg, I, 105, 'Diä 3 Brüöder;' Sébillot, Littérature orale de la Haute-Bretagne, p. 220, Les Trois Frères, p. 226, 'Le Sifflet qui parle.' (Köhler.)

132. #I.# 10^2. Read: for water.

#K.# Say: Kinloch MSS, VII, 256.

1^2. And I'll gie the hail o my father's land.

2. The first tune that the bonnie fiddle playd, 'Hang my sister Alison,' it said.

3. 'I wad gie you.'

136 a. #R b.# Read: Lanarkshire.

V

Campbell MS., II, 88.

1 There dwelt twa sisters in a bower, Benorie, O Benorie The youngest o them was the fairest flower. In the merry milldams o Benorie

2 There cam a wooer them to woo, . . . . . . . . . . . . . .

3 He's gien the eldest o them a broach and a real, Because that she loved her sister weel. At etc.

4 He's gien the eldest a gay penknife, He loved the youngest as dear as his life. At etc.

5 'O sister, O sister, will ye go oer yon glen, And see my father's ships coming in?' At etc.

6 'O sister dear, I darena gang, Because I'm feard ye throw me in.' The etc.

7 'O set your foot on yon sea stane, And was yeer hands in the sea foam.' At etc.

8 She set her foot on yon sea stane, To wash her hands in the sea foam. At etc.

9 . . . . . . . But the eldest has thrown the youngest in. The etc.

10 'O sister, O sister, lend me your hand, And ye'se get William and a' his land.' At etc.

11 The miller's daughter cam out clad in red, Seeking water to bake her bread. At etc.

12 'O father, O father, gae fish yeer mill-dam, There's either a lady or a milk-[white] swan.' In etc.

13 The miller cam out wi his lang cleek, And he cleekit the lady out by the feet. From the bonny milldam, etc.

14 Ye wadna kend her pretty feet, The American leather was sae neat. In etc.

15 Ye wadna kend her pretty legs, The silken stockings were so neat tied. In etc.

16 Ye wadna kend her pretty waist, The silken stays were sae neatly laced. In etc.

17 Ye wadna kend her pretty face, It was sae prettily preend oer wi lace. In etc.

18 Ye wadna kend her yellow hair, It was sae besmeared wi dust and glar. In etc.

19 By cam her father's fiddler fine, And that lady's spirit spake to him. From etc.

20 She bad him take three taits o her hair, And make them three strings to his fiddle sae rare. At etc.

21 'Take two of my fingers, sae lang and sae white, And make them pins to your fiddle sae neat.' At etc.

22 The ae first spring that the fiddle played Was, Cursed be Sir John, my ain true-love. At etc.

23 The next spring that the fiddle playd Was, Burn burd Hellen, she threw me in. The etc.

2, 3. In the MS. thus:

There came ... Benorie ... He's gien ... At the merry ... Because that ... At the merry ...

8, 9. In the MS. thus:

She set ... Benorie ... To wash ... At the ... But the eldest ... The bonny ...

From 18 on, the burden is

O Benorie, O Benorie.

W

Communicated by Mr Thomas Lugton, of Kelso, as sung by an old cotter-woman fifty years ago; learned by her from her grandfather.

1 Ther were three ladies playing at the ba, Norham, down by Norham And there cam a knight to view them a'. By the bonnie mill-dams o Norham

2 He courted the aldest wi diamonds and rings, But he loved the youngest abune a' things.

* * * * * * *

3 'Oh sister, oh sister, lend me your hand, And pull my poor body unto dry land.

4 'Oh sister, oh sister, lend me your glove, And you shall have my own true love!'

5 Oot cam the miller's daughter upon Tweed, To carry in water to bake her bread.

6 'Oh father, oh father, there's a fish in your dam; It either is a lady or a milk-white swan.'

7 Oot cam the miller's man upon Tweed, And there he spied a lady lying dead.

8 He could not catch her by the waist, For her silken stays they were tight laced.

9 But he did catch her by the hand, And pulled her poor body unto dry land.

10 He took three taets o her bonnie yellow hair, To make harp strings they were so rare.

11 The very first tune that the bonnie harp played Was The aldest has cuisten the youngest away.

X

Dr Joseph Robertson's Note-Book, January 1, 1830, p. 7.

I see a lady in the dam, Binnorie, oh Binnorie She shenes as sweet as ony swan. I the bonny milldams o Binnorie

Y

Communicated to Percy, April 7, 1770, and April 19, 1775, by the Rev. P. Parsons, of Wye, near Ashford, Kent: "taken down from the mouth of the spinning-wheel, if I may be allowed the expression."

1 There was a king lived in the North Country, Hey down down dery down There was a king lived in the North Country, And the bough it was bent to me There was a king lived in the North Country, And he had daughters one, two, three. I'll prove true to my love, If my love will prove true to me.

* * * * * * *

2 He gave the eldest a gay gold ring, But he gave the younger a better thing.

3 He bought the younger a beaver hat; The eldest she thought much of that.

4 'Oh sister, oh sister, let us go run, To see the ships come sailing along!'

5 And when they got to the sea-side brim, The eldest pushed the younger in.

6 'Oh sister, oh sister, lend me your hand, I'll make you heir of my house and land.'

7 'I'll neither lend you my hand nor my glove, Unless you grant me your true-love.'

8 Then down she sunk and away she swam, Untill she came to the miller's mill-dam.

9 The miller's daughter sat at the mill-door, As fair as never was seen before.

10 'Oh father, oh father, there swims a swan, Or else the body of a dead woman.'

11 The miller he ran with his fishing hook, To pull the fair maid out o the brook.

12 'Wee'll hang the miller upon the mill-gate, For drowning of my sister Kate.'

139a. #K.# ~I wad give you~, is the beginning of a new stanza (as seen above).

141b. #S.# Read: 1^3. MS., Orless.

11. The Cruel Brother.

P. 141. #B, I.# Insert the title,'The Cruel Brother.'

Add: #L.# 'The King of Fairies,' Campbell MSS, II, 19.

#M.# 'The Roses grow sweet aye,' Campbell MSS, II, 26.

#N.# 'The Bride's Testamen,' Dr Joseph Robertson's Note-Book, January 1, 1830, one stanza.

142 b, second paragraph, lines 5, 6. Say: on the way kisses her arm, neck, and mouth.

Add, as varieties of 'Rizzardo bello:'

#B.# 'Luggieri,' Contado aretino, communicated by Giulio Salvatori to the Rassegna Settimanale, Rome, 1879, June 22, No 77, p. 485; reprinted in Romania, XI, 391, note.

#C.# 'Rizzôl d'Amor,' Guerrini, Alcuni Canti p. romagnoli, p. 3, 1880.

#D.# 'La Canzóne de 'Nucénzie,' Pitré e Salomone-Marino, Archivio per Tradizioni popolari, I, 213, 1882.

143. Slavic ballads resembling 'Graf Friedrich.'

Moravian, Sušil, 'Nešt'astna svatba,' 'The Unhappy Wedding,' No 89, c, d, pp 85 f. A bridegroom is bringing home his bride; his sword slips from the sheath and wounds the bride in the side. He binds up the wound, and begs her to hold out till she comes to the house. The bride can eat nothing, and dies in the night. Her mother comes in the morning with loads of cloth and feathers, is put off when she asks for her daughter, reproaches the bridegroom for having killed her; he pleads his innocence.

Servian. Karadshitch, I, 309, No 421, 'Jani and Milenko,' belongs to this class, though mixed with portions of at least one other ballad ('Earl Brand'). Milenko wooes the fair Jani, and is favored by her mother and by all her brothers but the youngest. This brother goes hunting, and bids Jani open to nobody while he is away, but Milenko carries her off on his horse. As they are riding over a green hill, a branch of a tree catches in Jani's dress. Milenko attempts to cut the branch off with his knife, but in so doing wounds Jani in the head. Jani binds up the wound, and they go on, and presently meet the youngest brother, who hails Milenko, asks where he got the fair maid, discovers the maid to be his sister, but bids her Godspeed. On reaching his mother's house, Milenko asks that a bed may be prepared for Jani, who is in need of repose. Jani dies in the night, Milenko in the morning. They are buried in one grave; a rose is planted over her, a grape-vine over him, and these intertwine, "as it were Jani with Milenko."

143 b, after the first paragraph. A pallikar, who is bringing home his bride, is detained on the way in consequence of his whole train leaving him to go after a stag. The young man, who has never seen his bride's face, reaches over his horse to give her a kiss; his knife disengages itself and wounds her. She begs him to staunch the blood with his handkerchief, praying only to live to see her bridegroom's house. This wish is allowed her; she withdraws the handkerchief from the wound and expires. Dozon, Chansons p. bulgares, 'Le baiser fatal,' p. 270, No 49.

143 b, sixth line of the third paragraph. Read: 'Lord Randal.'

144 a, line 4. 'Catarina de Lió;' in Milá, Romancerillo Catalan, 2d ed., No 307, p. 291, 'Trato feroz,' seven versions.

Line 15. Cf. Bladé, Poésies p. de la Gascogne, II, 51.

144 b, first paragraph. A mother, not liking her son's wife, puts before him a glass of mead, and poison before the wife. God exchanges them, and the son drinks the poison. The son makes his will. To his brother he leaves four black horses, to his sister four cows and four calves, to his wife a house. "And to me?" the mother asks. "To you that big stone and the deep Danube, because you have poisoned me and parted me from my beloved." Sušil,' Matka travička,' pp 154, 155, No 157, two versions.

144 b, second paragraph. 'El testamento de Amelia,' No 220, p. 185, of the second edition of Romancerillo Catalan, with readings of eleven other copies, #A-F#, #A_{1}-F_{1}#. In #B_{1}# only have we an ill bequest to the mother. After leaving her mother a rosary, upon the mother's asking again, What for me? the dying lady says, I will leave you my chopines, clogs, so that when you come downstairs they may break your neck.

There are testaments in good will also in 'Elveskud,' Grundtvig, No 47, IV, 836 ff, #L# 14, 15, #M# 17, #O# 17-19.

151.

L

Campbell MSS, II, 19.

1 There were three ladies playing at the ba, With a hey and a lilly gay When the King o Fairies rode by them a'. And the roses they grow sweetlie

2 The foremost one was clad in blue; He askd at her if she'd be his doo.

3 The second of them was clad in red; He askd at her if she'd be his bride.

4 The next of them was clad in green; He askd at her if she'd be his queen.

5 'Go you ask at my father then, And you may ask at my mother then.

6 'You may ask at my sister Ann, And not forget my brother John.'

7 'O I have askd at your father then, And I have askd at your mother then.

8 'And I have askd at your sister Ann, But I've quite forgot your brother John.'

9 Her father led her down the stair, Her mother combd down her yellow hair.

10 Her sister Ann led her to the cross, And her brother John set her on her horse.

11 'Now you are high and I am low, Give me a kiss before ye go.'

12 She's lootit down to gie him a kiss, He gave her a deep wound and didna miss.

13 And with a penknife as sharp as a dart, And he has stabbit her to the heart.

14 'Ride up, ride up,' says the foremost man, 'I think our bride looks pale an wan.'

15 'Ride up, ride up,' says the middle man, 'I see her heart's blude trinkling down.'

16 'Ride on, ride,' says the Fairy King, 'She will be dead lang ere we win hame.'

17 'O I wish I was at yonder cross, Where my brother John put me on my horse.

18 'I wish I was at yonder thorn, I wad curse the day that ere I was born.

19 'I wish I was at yon green hill, Then I wad sit and bleed my fill.'

20 'What will you leave your father then? ' 'The milk-white steed that I ride on.'

21 'What will you leave your mother then?' 'My silver Bible and my golden fan.'

22 'What will ye leave your sister Ann?' 'My good lord, to be married on.'

23 'What will ye leave your sister Pegg?' 'The world wide to go and beg.'

24 'What will you leave your brother John? ' 'The gallows-tree to hang him on.'

25 'What will you leave your brother's wife?' 'Grief and sorrow to end her life.'

Burden in all but 1, 2, 13, ~lilly hey~; in 16, 17, 18, ~spring sweetlie~; in 22, ~smell sweetlie~.

M

Campbell MSS, II, 26.

1 There was three ladies playing at the ba, With a hay and a lilly gay A gentleman cam amang them a'. And the roses grow sweet aye

2 The first of them was clad in yellow, And he askd at her gin she'd be his marrow.

3 The next o them was clad in green; He askd at her gin she'd be his queen.

4 The last o them [was] clad in red; He askd at her gin she'd be his bride.

5 'Have ye asked at my father dear? Or have ye asked my mother dear?

6 'Have ye asked my sister Ann? Or have ye asked my brother John?'

7 'I have asked yer father dear, And I have asked yer mother dear.

8 'I have asked yer sister Ann, But I've quite forgot your brother John.'

9 Her father dear led her thro them a', Her mother dear led her thro the ha.

10 Her sister Ann led her thro the closs, And her brother John stabbed her on her horse.

11 'Ride up, ride up,' says the foremost man, 'I think our bride looks pale and wan.'

12 'Ride up,' cries the bonny bridegroom, 'I think the bride be bleeding.'

13 'This is the bludy month of May, Me and my horse bleeds night and day.

14 'O an I were at yon green hill, I wad ly down and bleed a while.

15 'O gin I was at yon red cross, I wad light down and corn my horse.

16 'O an I were at yon kirk-style, I wad lye down and soon be weel.'

17 When she cam to yon green hill, Then she lay down and bled a while.

18 And when she cam to yon red cross, Then she lighted and corned her horse.

19 'What will ye leave your father dear?' 'My milk-white steed, which cost me dear.'

20 'What will ye leave your mother dear?' 'The bludy clothes that I do wear.'

21 'What will ye leave your sister Ann?' 'My silver bridle and my golden fan.'

22 'What will ye leave your brother John?' 'The gallows-tree to hang him on.'

23 'What will ye leave to your sister Pegg?' 'The wide world for to go and beg.'

24 When she came to yon kirk-style, Then she lay down, and soon was weel.

15^1. green cross.

17^2. bleed.

N

Dr Joseph Robertson's Note-Book, January 1, 1830, No 4.

Then out bespak the foremost priest: Wi a heigh ho and a lilly gay I think she's bleedin at the breast. The flowers they spring so sweetly

12. Lord Randal.

P. 151.

#B.# Add: Kinloch MSS, VII, 89.

#D.# Read: #a.# 'Lord Randal,' Minstrelsy, etc. #b.# 'Lord Rannal,' Campbell MSS, II, 269.

#I.# Add: #h.# Communicated by Mr George M. Richardson. #i.# Communicated by Mr George L. Kittredge.

#K. b.# Insert after Popular Rhymes: 1826, p. 295. Add: #d.# 'The Crowdin Dou,' Kinloch MSS, I, 184.

Add: #P.# 'Lord Ronald, my son,' communicated by Mr Macmath, of Edinburgh.

#Q.# 'Lord Randal,' Pitcairn's MSS, III, 19.

#R.# 'Little wee toorin dow,' Pitcairn's MSS, III, 13, from tradition.

153 a. I failed to mention, though I had duly noted them, three versions of 'L'Avvelenato,' which are cited by Professor D'Ancona in his Poesia popolare Italiana, pp 106 ff.

#D.# The Canon Lorenzo Panciatichi refers to the ballad in a 'Cicalata in lode della Padella e della Frittura,' recited at the Crusca, September 24, 1656, and in such manner as shows that it was well known. He quotes the first question of the mother, "Dove andastù a cena," etc. To this the son answered, he says, that he had been poisoned with a roast eel: and the mother asking what the lady had cooked it in, the reply was, In the oil pot.

#E.# A version obtained by D'Ancona from the singing of a young fellow from near Pisa, of which the first four stanzas are given. Some verses after these are lost, for the testament is said to supervene immediately.

#F.# A version from Lecco, which has the title, derived from its burden, 'De lu cavalieri e figliu de re,' A. Trifone Nutricati Briganti, Intorno ai Canti e Racconti popolari del Leccese p. 17. The first four stanzas are cited, and it appears from these that the prince had cooked the eel himself, and, appropriately, in a gold pan.

154 a, first paragraph. #F# is given by Meltzl, Acta Comparationis, 1880, columns 143 f, in another dialect.

154 b. #Magyar.# The original of this ballad, 'A megétett János,' 'Poisoned John' (as would appear, in the Szekler idiom), was discovered by the Unitarian bishop Kriza, of Klausenburg, and was published by him in J. Arany's 'Koszoru,' in 1864. It is more exactly translated by Meltzl in the Acta Comparationis Litterarum Universarum, 1880, VII, columns 30 f, the original immediately preceding. Aigner has omitted the second stanza, and made the third into two, in his translation. The Szekler has ten two-line stanzas, with the burden, Ah, my bowels are on fire! Ah, make ready my bed! In the second stanza John says he has eaten a four-footed crab; in the sixth he leaves his elder brother his yoke of oxen; in the seventh he leaves his team of four horses to his younger brother. Also translated in Ungarische Revue, 1883, p. 139, by G. Heinrich.

#B#, another Szekler version, taken down by Meltzl from the mouth of a girl, is in seven two-line stanzas, with the burden, Make my bed, sweet mother! 'János,' Acta, cols 140 f, with a German translation. John has been at his sister-in-law's, and had a stuffed chicken and a big cake. At his elder sister's they gave him the back of the axe, bloody stripes. He bequeaths to his elder sister remorse and sickness; to his sister-in-law six oxen and his wagon; to his father illness and poverty; to his mother kindness and beggary.

156 b, second paragraph. Polish: add Roger, p. 66, No 119. Add further: Little Russian, Golovatsky, Part I, pp 206, 207, 209, Nos 32, 33, 35. Masovian, Kozlowski, No 14, p. 52, p. 53. (Sacharof, IV, 7==Čelakovský, III, 108.)

157 a, second paragraph. Kaden translates Nannarelli, p. 52. (Köhler.)

157 b. Italian #A# is translated by Evelyn Carrington in The Antiquary, III, 156 f. #D# also by Freiligrath, II, 226, ed. Stuttgart, 1877.

158 a. #B.# Found in Kinloch MSS, VII, 89. The sixth stanza is not there, and was probably taken from Scott, #D#.

160 a. #D.# Read: #a.# Minstrelsy, etc. #b.# Campbell MSS, II, 269.

163 a. #I.# Add: #h.# By Mr George M. Richardson, as learned by a lady in Southern New Hampshire, about fifty years ago, from an aged aunt. #i.# By Mr George L. Kittredge, obtained from a lady in Exeter, N. H.

164 a. #K.# Insert under #b#, after Scotland: 1826, p. 295. Add: #d.# Kinloch MSS, I, 184.

164 b. #K# 6^2. Read: head and his feet.

165.

P

Communicated by Mr Macmath, of Edinburgh, as derived from his aunt, Miss Jane Webster, formerly of Airds of Kells, now (January, 1883) of Dalry, Kirkcudbrightshire, who learned it more than fifty years ago from Mary Williamson, then a nurse-maid at Airds.

1 'Where hae ye been a' day, Lord Ronald, my son? Where hae ye been a' day, my handsome young one?' 'I've been in the wood hunting; mother, make my bed soon, For I am weary, weary hunting, and fain would lie doun.'

2 'O where did you dine, Lord Ronald, my son? O where did you dine, my handsome young one?' 'I dined with my sweetheart; mother, make my bed soon, For I am weary, weary hunting, and fain would lie doun.'

3 'What got you to dine on, Lord Ronald, my son? What got you to dine on, my handsome young one?' 'I got eels boiled in water that in heather doth run, And I am weary, weary hunting, and fain would lie doun.'

4 'What did she wi the broo o them, Lord Ronald, my son? What did she wi the broo o them, my handsome young one?' 'She gave it to my hounds for to live upon, And I am weary, weary hunting, and fain would lie doun.'

5 'Where are your hounds now, Lord Ronald, my son? Where are your hounds now, my handsome young one?' 'They are a' swelled and bursted, and sae will I soon, And I am weary, weary hunting, and fain would lie doun.'

6 'What will you leave your father, Lord Ronald, my son? What will you leave your father, my handsome young one?' 'I'll leave him my lands for to live upon, And I am weary, weary hunting, and fain would lie doun.'

7 'What will you leave your brother, Lord Ronald, my son? What will you leave your brother, my handsome young one?' 'I'll leave him my gallant steed for to ride upon, And I am weary, weary hunting, and fain would lie doun.'

8 'What will you leave your sister, Lord Ronald, my son? What will you leave your sister, my handsome young one?' 'I'll leave her my gold watch for to look upon, And I am weary, weary hunting, and fain would lie doun.'

9 'What will you leave your mother, Lord Ronald, my son? What will you leave your mother, my handsome young one?' 'I'll leave her my Bible for to read upon, And I am weary, weary hunting, and fain would lie doun.'

10 'What will you leave your sweetheart, Lord Ronald, my son? What will you leave your sweetheart, my handsome young one?' 'I'll leave her the gallows-tree for to hang upon, It was her that poisoned me;' and so he fell doun.

Q

Pitcairn's MSS, III, 19. "This was communicated to me by my friend Patrick Robertson, Esq., Advocate,[427] who heard it sung by an old lady in the North Country; and though by no means enthusiastic about popular poetry, it struck him so forcibly that he requested her to repeat it slowly, so as he might write it down." Stanzas 2-5 "were very much similar to the set in Scott's Minstrelsy," and were not taken down.

1 'O whare hae ye been, Lord Randal, my son? O whare hae ye been, my handsome young man?' 'Oer the peat moss mang the heather, mother, mak my bed soon, For I'm weary, weary hunting, and fain wad lie down.'

6 'What leave ye to your father, Lord Randal, my son? What leave ye to your father, my handsome young man?' 'I leave my houses and land, mother, mak my bed soon, For I'm weary, weary hunting, and fain wad lie down.'

7 'What leave ye to your brother, Lord Randal, my son? What leave ye to your brother, my handsome young man?' 'O the guid milk-white steed that I rode upon, For I'm weary, weary hunting, and fain wad lie down.'

8 'What leave ye to your true-love, Lord Randal, my son? What leave ye to your true-love, my handsome young man?' 'O a high, high gallows, to hang her upon, For I'm weary, weary hunting, and fain wad lie down.'

R

Pitcairn's MSS, III, 11. "From tradition: widow Stevenson."

1 'Whare hae ye been a' day, my little wee toorin dow?' 'It's I've been at my grandmammy's; mak my bed, mammy, now.'

2 'And what did ye get frae your grandmammy, my little wee toorin dow?' 'It's I got a wee bit fishy to eat; mak my bed, mammy, now.'

3 'An what did ye do wi the banes o it, my little wee toorin dow?' 'I gied it to my black doggy to eat; mak my bed, mammy, now.'

4 'An what did your little black doggy do syne, my little wee toorin dow?' 'He shot out his head, and his feet, and he died; as I do, mammy, now.'

S

Communicated to Percy by Rev. P. Parsons, of Wye, near Ashford, Kent, April 19, 1775: taken down by a friend of Mr Parsons "from the spinning-wheel, in Suffolk."

1 'Where have you been today, Randall, my son? Where have you been today, my only man?' 'I have been a hunting, mother, make my bed soon, For I'm sick at the heart, fain woud lie down. Dear sister, hold my head, dear mother, make my bed, I am sick at the heart, fain woud lie down.'

2 'What have you eat today, Randal, my son? What have you eat today, my only man?' 'I have eat an eel; mother, make,' etc.

3 'What was the colour of it, Randal, my son? What was the colour of it, my only man?' 'It was neither green, grey, blue nor black, But speckled on the back; make,' etc.

4 'Who gave you eels today, Randal, my son? Who gave you eels today, my only man?' 'My own sweetheart; mother, make,' etc.

5 'Where shall I make your bed, Randal, my son? Where shall I make your bed, my only man?' 'In the churchyard; mother, make,' etc.

6 'What will you leave her then, Randall, my son? What will you leave her then, my only man?' 'A halter to hang herself; make,' etc.

166 #a.# Insert after #C#:

#D. b.# Disordered: #b# 1==#a# 1; #b# 2==#a# 4; #b# 3==#a# 5^{1,2} + #a# 2^{3,4}; #b# 4==#a# 3; #a# 2^{1,2}, 5^{3,4}, are wanting.

#b.# 1^3, been at the hunting.

3^2. I fear ye've drunk poison.

3^3==#a# 2^3. I supd wi my auntie.

4^{1,2}==#a# 3^{1,2}. your supper.

This copy may be an imperfect recollection of #a.#

166 b.

#I. h.# Four stanzas only, 1, 2, 6, 7.

1^2. my own little one.

1^4. at the heart ... and fain.

6^1. will you leave mother.

7^1. will you leave grandma.

7^3. a rope.

#k.# Seven stanzas.

1^3. to see grandmother.

1^4. sick at heart, and fain.

2^3. Stripëd eels fried.

3==#a# 6, #d# 5, #h# 3.

3^{1,2}. Your grandmother has poisoned you.

3^3. I know it, I know it.

4==#a# 6. 4^{1,2}. would you leave mother.

5==#a# 8, #b# 9, #h# 7.

5^{1,2}. would you leave sister.

5^3. A box full of jewels.

6==#a# 7; 7==#a# 8.

6^{1,2}. would you leave grandmother.

6^3. A rope for to hang her.

7^{1,2}. O where shall I make it.

#K.# Add after #c#:

#d.# 1^1, my bonnie wee crowdin, and always.

2^1. frae your stepmither.

2^2. She gied me a bonnie wee fish, it was baith black and blue.

5^1. my ain wee dog.

6^1. And whare is your ain wee dog.

6^2. It laid down its wee headie and deed, And sae maun I do nou.

#Q.# "The second, third, fourth, and fifth stanzas were very much similar to the set Lord Ronald, in Scott's Border Minstrelsy, and as Mr Robertson was hurried he did not take down the precise words." MS., p. 21.

~Ronald~ is changed to ~Randal~ in 6, 7, but is left in 8.

#R.# Written in four-line stanzas.

13. Edward.

P. 168 a, first paragraph. Add: Swedish #E#, Aminson, Bidrag till Södermanlands Kulturhistoria, III, 37, eight stanzas. Nine stanzas of Finnish #B# are translated by Schott, Acta Comparationis, 1878, IV, cols 132, 133. The murder here is for wife-seduction, a peculiar and assuredly not original variation.

168 b. #B# is translated by Adolph von Marées, p. 27; by Graf von Platen, II, 329, Stuttgart, 1847; after Herder into Magyar, by Dr Karl von Szász.

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

P. 172 a. #Swedish.# Professor George Stephens points me to two localized prose outlines of the story, one from Småland, the other from Skåne; 'Truls och hans barn,' in the Svenska Fornminnesföreningens Tidskrift, II, 77 f.

15. Leesome Brand.

P. 179 #a.# Swedish. II. Add: #I#, 'Risa lill,' Wigström, Folkdiktning, II, 28.

180 a, lines 25, 26. Read: #A#, #G#, #M#, #X#.

181 a. #German.# Add: #D#, 'Der Ritter und seine Geliebte,' Ditfurth, Deutsche Volks- und Gesellschaftslieder des 17. und 18. Jahrhunderts, p. 14, No 13. (Köhler.)

181 b. #French.# #C.# A still more corrupted copy in Poésies populaires de la France, III, fol. 143, 'La fausse morte.' #D.# Fol. 215 of the same volume, a very pretty ballad from Périgord, which has lost most of the characteristic incidents, but not the tragic conclusion.

182 b, first paragraph. A similar scene, ending happily, in I Complementi della Chanson d'Huon de Bordeaux, pubblicati da A. Graf, pp 26 ff. (Köhler.)

183 b, stanzas 27, 28. Compare:

Modhreu lärde sonnenn sinn: 'Skiuter tu diur och skiuter tu råå;

'Skiuter tu diur och skiuter tu råå, Then salige hindenn lätt tu gå!'

'Den förtrollade Jungfrun,' Arwidsson, II, 260, No 136, #A# I, 2.

17. Hind Horn.

P. 187. #F.# Insert the title 'Young Hyndhorn.'

#G.# Insert: Kinloch MSS, VII, 117.

192. Dr Davidson informs me that many years ago he heard a version of 'Hind Horn,' in four-line stanzas, in which, as in 'Horn et Rymenhild' and 'Horn Childe and Maiden Rimnild,' Horn took part in a joust at the king's court,

An young Hind Horn was abune them a'.

He remembers further only these stanzas:

'O got ye this o the sea sailin, Or got ye 't o the lan? Or got ye 't o the bloody shores o Spain, On a droont man's han?'

'I got na 't o the sea sailin, I got na 't o the lan, Nor yet upo the bloody shores o Spain, On a droont man's han.'

193 b (2). Add: 'Herr Lovmand,' Kristensen, I, 136, No 52.

194. A corrupt fragment of a ballad, 'Der Bettler,' in Schröer's Ausflug nach Gottschee, p. 210 f (Köhler), retains features like 'Hind Horn.' The beggar comes to a wedding, and sits by the stove. The bride kindly says, Nobody is thinking of the beggar, and hands him a glass of wine. He says, Thanks, fair bride; thou wast my first wife. Upon this the bridegroom jumps over the table, crying, Bachelor I came, and bachelor will go.

The Epirots and Albanians have a custom of betrothing or marrying, commonly in early youth, and of then parting for a long period. A woman was lately (1875) buried at Iannina who, as the archbishop boasted in the funeral discourse, had preserved her fidelity to a husband who had been separated from her thirty years. This unhappy usage has given rise to a distinct class of songs. Dozon, Chansons populaires bulgares, p. 294, note.

195 b (5). The German popular rhymed tale of Henry the Lion is now known to have been composed by the painter Heinrich Götting, Dresden, 1585. Germania, XXVI, 453, No 527.

198 a, to first paragraph. For the marvellous transportation in these stories, see a note by Liebrecht in Jahrbücher für rom. u. eng. Literatur, III, 147. In the same, IV, 110, Liebrecht refers to the legend of Hugh of Halton, recounted by Dugdale in his Antiquities of Warwickshire, II, 646, ed. of 1730, and Monasticon Anglicanum, IV, 90 f, ed. 1823 (and perhaps in Dugdale's Baronage of England, but I have not found it there). Hugo is another Gerard: the two half-rings miraculously unite. (Köhler.) See, also, Landau on Torello, 'Der Wunderritt,' Quellen des Dekameron 1884, pp 193-218.

198 b, third paragraph. Other versions of 'Le Retour du Mari:' Fleury, Littérature Orale de la Basse-Normandie, p. 268; E. Legrand, Romania, X, 374, also from Normandy.

A ballad of the nature of 'Le Retour du Mari' is very popular in Poland: Kolberg, No 22, pp 224 ff, some dozen copies; Wojcicki, I, 287; Wojcicki, II, 311==Kolberg's #c#; Lipinski, p. 159==Kolberg's i; Konopka, p. 121, No 20; Kozłowski, No 5, p. 35, p. 36, two copies. In Moravian, 'První milejší,' 'The First Love,' Sušil, No 135, p. 131. The general course of the story is that a young man has to go to the war the day of his wedding or the day after. He commits his bride to her mother, saying, Keep her for me seven years; and if I do not then come back, give her to whom you please. He is gone seven years, and, returning then, asks for his wife. She has just been given to another. He asks for a fiddle [pipe], and says he will go to the wedding. They advise him to stay away, for there will be a disturbance. No, he will only stand at the door and play. The bride jumps over four tables, and makes a courtesy to him on a fifth, welcomes him and dismisses the new bridegroom.

199 a, end of the first paragraph. I forgot to mention the version of Costantino, agreeing closely with Camarda's, in De Rada, Rapsodie d'un poema albanese raccolte nelle colonie del Napoletano, pp 61-64.

200. A maid, parting from her lover for three years, divides her ring with him. He forgets, and prepares to marry another woman. She comes to the nuptials, and is not known. She throws the half ring into a cup, drinks, and hands the cup to him. He sees the half ring, and joins it to his own. This is my wife, he says. She delivered me from death. He annuls his marriage, and espouses the right woman. Miklosisch, Ueber die Mundarten der Zigeuner, IV, Märchen u. Lieder, 15th Tale, pp 52-55, at the end of a story of the class referred to at p. 401 f. (Köhler.)

A personage appeared at Magdeburg in 1348 in the disguise of a pilgrim, asked for a cup of wine from the archbishop's table, and, in drinking, dropped into the cup from his mouth the seal ring of the margrave Waldemar, supposed to have been long dead, but whom he confessed or avowed himself to be. Klöden, Diplomatische Geschichte des für falsch erklärten Markgrafen Waldemar, p. 189 f. (Köhler.)

A wife who long pursues her husband, lost to her through spells, drops a ring into his broth at the feast for his second marriage, is recognized, and they are happily reunited: The Tale of the Hoodie, Campbell, West Highland Tales, I, 63-66.

In a pretty Portuguese ballad, which has numerous parallels in other languages, a long-absent husband, after tormenting his wife by telling her that she is a widow, legitimates himself by saying, Where is your half of the ring which we parted? Here is mine: 'Bella Infanta,' Almeida-Garrett, II, 11, 14, Braga, Cantos p. do Archipelago Açoriano, p. 300; 'Dona Infanta,' 'Dona Catherina,' Braga, Romanceiro Geral, pp 3 f, 7.

See, further, for ring stories, Wesselofsky, Neue Beiträge zur Geschichte der Salomonsage, in Archiv für Slavische Philologie, VI, 397 f; Hahn, Neugriechische Märchen, No 25.

The cases in which a simple ring is the means of recognition or confirmation need, of course, not be multiplied.

200 a, line twenty-four. For Alesha read Alyosha.

205. #G.# In Kinloch MSS, VII, 117. After "from the recitation of my niece, M. Kinnear, 23 August, 1826," is written in pencil "Christy Smith," who may have been the person from whom Miss Kinnear derived the ballad, or another reciter. Changes are made in pencil, some of which are written over in ink, some not. The printed copy, as usual with Kinloch, differs in some slight respects from the manuscript.

I

#a.# From the recitation of Miss Jane Webster, formerly of Airds of Kells, now of Dalry, both in the Stewartry of Kirkcudbright, December 12, 1882. #b.# From Miss Jessie Jane Macmath and Miss Agnes Macmath, nieces of Miss Webster, December 11, 1882: originally derived from an old nurse. Communicated by Mr Macmath, of Edinburgh.

* * * * * * *

1 She gave him a gay gold ring, Hey lillelu and how lo lan But he gave her a far better thing. With my hey down and a hey diddle downie

2 He gave her a silver wan, With nine bright laverocks thereupon.

* * * * * * *

3 Young Hynd Horn is come to the lan, There he met a beggar man.

4 'What news, what news do ye betide?' 'Na news but Jeanie's the prince's bride.'

5 'Wilt thou give me thy begging weed? And I'll give thee my good grey steed.

6 'Wilt thou give me thy auld grey hair? And I'll give ye mine that is thrice as fair.'

7 The beggar he got on for to ride, But young Hynd Horn is bound for the bride.

8 First the news came to the ha, Then to the room mang the gentles a'.

9 'There stands a beggar at our gate, Asking a drink for young Hynd Horn's sake.'

10 'I'll ga through nine fires hot To give him a drink for young Hynd Horn's sake.'

11 She gave him the drink, and he dropt in the ring; The lady turned baith pale an wan.

12 'Oh got ye it by sea, or got ye it by lan? Or got ye it off some dead man's han?'

13 'I got it not by sea, nor I got it not by lan, But I got it off thy milk-white han.'

14 'I'll cast off my dress of red, And I'll go with thee and beg my bread.

15 I'll cast off my dress of brown, And follow you from city to town.

16 'I'll cast off my dress of green, For I am not ashamed with you to be seen.'

17 'You need not cast off your dress of red, For I can support thee on both wine and bread.

18 'You need not cast off your dress of brown, For I can keep you a lady in any town.

19 'You need not cast off your dress of green, For I can maintain you as gay as a queen.'

207 b. Add: #F#. 1^3, 7^1, 9^1, 13^2, Hyndhorn.

208. #I.# b. 1-3, 6, 8, 10, 14, 16-19, wanting.

Burden 2: Wi my hey-dey an my hey deedle downie.

5^1. O gie to me your aul beggar weed.

11. She gave him the cup, and he dropped in the ring: O but she turned pale an wan!

Between 11 and 12:

O whaur got e that gay gold ring? . . . . . . .

13^2. your ain fair han.

15. O bring to me my dress o broun, An I'll beg wi you frae toun tae toun.

216 a. Sir Orfeo has been lately edited by Dr Oscar Zielke: Sir Orfeo, ein englisches Feenmärchen aus dem Mittelalter, mit Einleitung und Anmerkungen, Breslau, 1880.

20. The Cruel Mother.

P. 218. #D. b.# Kinloch MSS, VII, 23. Insert again at p. 221.

#F. a.# Also in Motherwell's MS., p. 514. Insert again at p. 222.

#I. a.# Also in Motherwell's MS., p. 475. Insert again at p. 223.

Add: #N.# 'The Loch o the Loanie,' Campbell MSS, II, 264.

219 b. Add to the German versions of 'The Cruel Mother:' #M.# Pater Amand Baumgarten, Aus der volksmässigen Ueberlieferung der Heimat: IX, Geburt, Heirat, Tod, mit einem Anhang von Liedern, p. 140. ['Das ausgesetzte Kind.'] #N.# A. Schlosser, Deutsche Volkslieder aus Steiermark, p. 336, No 306, 'Der alte Halter und das Kind' (not yet seen by me). (Köhler.)

220 a. A ballad of Slavic origin in Nesselmann's Littauische Volkslieder, No 380, p. 322, resembles the German and Wendish versions of 'The Cruel Mother,' with a touch of 'The Maid and the Palmer.' (G. L. Kittredge.)

220 b, line 7. Read: Hausschatz.

225.

N

Campbell MSS, II, 264.

1 As I lookit oer my father's castle wa, All alone and alone O I saw two pretty babes playing at the ba. Down by yon green-wood sidie

2 'O pretty babes, gin ye were mine,' Hey the loch o the Loanie 'I would clead ye o the silk sae fine.' Down by that green-wood sidie

3 'O sweet darlings, gin ye were mine,' Hey the loch o the Loanie 'I would feed ye on the morning's milk.' Down by that green-wood sidie

4 'O mither dear, when we were thine,' By the loch o the Loanie 'Ye neither dressd us wi silk nor twine.' Down by this green-wood sidie

5 'But ye tuke out your little pen-knife,' By, etc. 'And there ye tuke yer little babes' life.' Down by the, etc.

6 'O mither dear, when this ye had done,' Alone by, etc. 'Ye unkirtled yersel, and ye wrapt us in 't.' Down by the, etc.

7 'Neist ye houkit a hole fornent the seen.' All alone and alone O 'And tearless ye stappit your little babes in' Down by the, etc.

8 'But we are in the heavens high,' And far frae the loch o the Loanie 'But ye hae the pains o hell to d[r]ie.' Before ye leave the green-wood sidie

226 a. #C.# Cunningham, as Mr Macmath has reminded me, has made this stanza a part of another ballad, in Cromek's Remains, p. 223.

231. #Catalan.# The Romancerillo Catalan, in the new edition, p. 10, No 12, 'Magdalena,' gives another version, with the variations of eight more copies, that of the Observaciones being now #C#.

232. Add: #Italian.# Ive, Canti popolari istriani, p. 366, No 14, 'S. Maria Maddalena.' Mary's father, dying, left her a castle of gold and silver, from which one day she saw Jesus pass. She wept a fountain of tears to wash his feet, and dried his feet with her tresses. Then she asked for a penance. She wished to go into a cave without door or windows, sleep on the bare ground, eat raw herbs, and drink a little salt water; and this she did. In 'La Maddalena,' Guerrini, Alcuni C. p. romagnoli, p. 7, there is no penance.

22. St Stephen and Herod.

P. 236 a. #Spanish.# Milá's new edition, Romancerillo Catalan, No 31, 'El romero acusado de robo,' pp 36-38, adds six copies, not differing in anything important. In #C#, the youth, un estudiant, n'era ros com un fil d'or, blanch com Santa Catarina.

I may note that Thomas Becket stands by his votaries when brought to the gallows as effectually as St James. See Robertson, Materials, etc., I, 369, 471, 515, 524.

238. Note [195] should have been credited to R. Köhler.

238 b, second paragraph. Professor George Stephens informs me that the miracle of the cock is depicted, among scenes from the life of Jesus, on an antependium of an altar, derived from an old church in Slesvig, and now in the Danish Museum. Behind a large table sits a crowned woman, and at her left stands a crowned man, who points to a dish from which a cock has started up, with beak wide open. At the queen's right stands an old woman, simply clad and leaning on a staff. This picture comes between the Magi announcing Christ's Birth and the Massacre of the Innocents, and the crowned figures are judged by Professor Stephens to be Herod and Herodias. Who the old woman should be it is not easy to say, but there can be no connection with St James. The work is assigned to the last part of the fourteenth century.

239. Most of the literature on the topic of the restoration of the roasted cock to life is collected by Dr R. Köhler and by Ferdinand Wolf, in Jahrbücher für romanische u. englische Literatur, III, 58 ff, 67 f. Dr Köhler now adds these notes: The miracle of St James, in Hermann von Fritslar's Heiligenleben, Pfeiffer's Deutsche Mystiker des vierzehnten Jahrhunderts, I, 168 f; Hahn, Das alte Passional (from the Golden Legend), p. 223, v. 47-p. 225, v. 85; Lütolf, Sagen, Bräuche und Legenden aus Lucern, u. s. w., p. 367, No 334; von Alpenburg, Deutsche Alpensagen, p. 137, No 135; Sepp, Altbayerischer Sagenschatz, pp 652 ff, 656 f.

239 b. Three stone partridges on a buttress of a church at Mühlhausen are thus accounted for. In the early days of the Reformation a couple of orthodox divines, while waiting dinner, were discussing the prospect of the infection spreading to their good city. One of them, growing warm, declared that there was as much chance of that as of the three partridges that were roasting in the kitchen taking flight from the spit. Immediately there was heard a fluttering and a cooing in the region of the kitchen, the three birds winged their way from the house, and, lighting on the buttress of Mary Kirk, were instantly turned to stone, and there they are. Thüringen und der Harz, mit ihren Merkwürdigkeiten, u. s. w., VI, 20 f. (Köhler.)

240 a. The monk Andrius has the scene between Judas and his mother as in Cursor Mundi, and attributes to Greek writers the opinion that the roasted cock was the same that caused Peter's compunction. Mussafia, Sulla legenda del legno della Croce, Sitz. Ber. der phil.-hist. Classe der Wiener Akad., LXIII, 206, note. (Köhler.)

"About the year 1850 I was on a visit to the rector of Kilmeen, near Clonakilty, in the county of Cork. My friend brought me to visit the ruins of an old castle. Over the open fireplace, in the great hall there was a stone, about two or three feet square, carved in the rudest fashion, and evidently representing our Lord's sufferings. There were the cross, the nails, the hammer, the scourge; but there was one piece of sculpture which I could not understand. It was a sort of rude semi-circle, the curve below and the diameter above, and at the junction a figure intended to represent a bird. My friend asked me what it meant. I confessed my ignorance. 'That,' said he, 'is the cock. The servants were boiling him for supper, but when the moment came to convict the apostle he started up, perched on the side of the pot, and astonished the assembly by his salutation of the morning.'" Notes and Queries, 5th series, IX, 412 a. (Köhler.)

A heathen in West Gothland (Vestrogothia) had killed his herdsman, Torsten, a Christian, and was reproached for it by Torsten's wife. Pointing to an ox that had been slaughtered, the heathen answered: Tam Torstenum tuum, quem sanctum et in cœlis vivere existimas, plane ita vivum credo prout hunc bovem quem in frusta cædendum conspicis. Mirum dictu, vix verba finiverat, cum e vestigio bos in pedes se erexit vivus, stupore omnibus qui adstabant attonitis. Quare sacellum in loco eodem erectum, multaque miracula, præsertim in pecorum curatione, patrata. Ioannis Vastovii Vitis Aquilonia, sive Vitæ Sanctorum regni Sveo-gothici, emend. et illustr. Er. Benzelius filius, Upsaliæ, 1708, p. 59. (Köhler.)

240 b. Man begegnet auf alten Holzschnitten einer Abbildung von Christi Geburt, welche durch die dabei stehenden Thiere erklärt werden soll. Der Hahn auf der Stange krähet da: Christus natus est! der Ochse brüllt mit überschnappender Stimme drein: Ubi? und das Lammlein bläheret die Antwort: Bethlehem! Rochholz, Alemannisches Kinderlied und Kinderspiel aus der Schweiz, p. 69 f. (Köhler.)

241 a. Wer sind die ersten Vorbothen Gottes? Der Hahn, weil er kräht, "Christ ist geboren." Der Tauber, weil er ruft, "Wo?" Und der Ziegenbock, weil er schreit, "Z' Bethlehem." Pater Amand Baumgarten, Aus der volksmässigen Ueberlieferung der Heimat, I, Zur volksthümlichen Naturkunde, p. 94. (Köhler.)

Hahn: Kikeriki! Gott der Herr lebt!

Ochs: Wo? Wo?

Geiss: Mäh! zu Bethlehem!

Simrock, Das deutsche Kinderbuch, 2d ed., p. 173, No 719; 3d ed., p. 192, No 787. (Köhler.)

Quando Christo nasceu disse o gallo: Jesus-Christo e ná ... á ... á ... do (nádo). J. Leite de Vasconcellos, Tradiçôes populares de Portugal, p. 148, No 285 b.

242. Note. Add: W. Creizenach, Judas Ischarioth in Legende und Sage des Mittelalters, in Paul and Braune's Beiträge, II, 177 ff.

25. Willie's Lyke-Wake.

P. 247 b. Add: #E.# 'Willie's Lyke-Wake.' #a.# Buchan's Ballads of the North of Scotland, II, 51. #b.# Christie, Traditional Ballad Airs, I, 122.

249 b. #Swedish.# Add: #D.# Aminson, Bidrag till Södermanlands Kulturhistoria, II, 18.

#French.# 'Le Soldat au Convent,' Victor Smith, Vielles Chansons recueillies en Velay et en Forez, p. 24, No 21, or Romania, VII, 73; Fleury, Littérature Orale de la Basse Normandie, p. 310, 'La Religieuse;' Poésies populaires de la France, III, fol. 289, fol. 297. A soldier who has been absent some years in the wars returns to find his mistress in a convent; obtains permission to see her for a last time, puts a ring on her finger, and then "falls dead." His love insists on conducting his funeral; the lover returns to life and carries her off.

249 b. #A. Magyar#. The ballad of 'Handsome Tony' is also translated by G. Heinrich, in Ungarische Revue, 1883, p. 155.

The same story, perverted to tragedy at the end, in Golovatsky, II, 710, No 13, a ballad of the Carpathian Russians in Hungary.

250. Dr R. Köhler points out to me a German copy of #A#, #B#, #C#, which I had overlooked, in Schröer, Ein Ausflug nach Gottschee, p. 266 ff, 'Hansel june.' The mother builds a mill and a church, and then the young man feigns death, as before. But a very cheap tragic turn is given to the conclusion when the young man springs up and kisses his love. She falls dead with fright, and he declares that since she has died for him he will die for her. So they are buried severally at one and the other side of the church, and two lily stocks are planted, which embrace "like two real married people;" or, a vine grows from one and a flower from the other.

252. This is the other form referred to at p. 247 a.

E

#a.# Buchan's Ballads of the North of Scotland, II, 51. #b.# Christie, Traditional Ballad Airs, I, 122.

1 'If my love loves me, she lets me not know, That is a dowie chance; I wish that I the same could do, Tho my love were in France, France, Tho my love were in France.

2 'O lang think I, and very lang, And lang think I, I true; But lang and langer will I think Or my love o me rue.

3 'I will write a broad letter, And write it sae perfite, That an she winna o me rue, I'll bid her come to my lyke.'

4 Then he has written a broad letter, And seald it wi his hand, And sent it on to his true love, As fast as boy could gang.

5 When she looked the letter upon, A light laugh then gae she; But ere she read it to an end, The tear blinded her ee.

6 'O saddle to me a steed, father, O saddle to me a steed; For word is come to me this night, That my true love is dead.'

7 'The steeds are in the stable, daughter, The keys are casten by; Ye cannot won to-night, daughter, To-morrow ye'se won away.'

8 She has cut aff her yellow locks, A little aboon her ee, And she is on to Willie's lyke, As fast as gang could she.

9 As she gaed ower yon high hill head, She saw a dowie light; It was the candles at Willie's lyke, And torches burning bright.

10 Three o Willie's eldest brothers Were making for him a bier; One half o it was gude red gowd, The other siller clear.

11 Three o Willie's eldest sisters Were making for him a sark; The one half o it was cambric fine, The other needle wark.

12 Out spake the youngest o his sisters, As she stood on the fleer: How happy would our brother been, If ye'd been sooner here!

13 She lifted up the green covering, And gae him kisses three; Then he lookd up into her face, The blythe blink in his ee.

14 O then he started to his feet, And thus to her said he: Fair Annie, since we're met again, Parted nae mair we'se be.

#b.# "Given with some changes from the way the editor has heard it sung."

2^2. I trow.

3^1. But I.

3^3. That gin.

7^3. the night.

28. Burd Ellen and Young Tamlane.

P. 256. This ballad is in Pitcairn's MSS, III, 49. It was from the tradition of Mrs Gammel. The last word of the burden is Machey, not May-hay, as in Maidment.

29. The Boy and the Mantle.

P. 270 b. If a girl takes a pot of boiling water off the fire, and the pot ceases to boil, this is a sign of lost modesty. Lammert, Volksmedizin und medizinischer Aberglaube in Bayern, u.s.w., p. 146.

30. King Arthur and King Cornwall.

P. 274. A Galien in verse has been found in the library of Sir Thomas Phillipps, at Cheltenham. Romania, XII, 5.

31. The Marriage of Sir Gawain.

P. 292 b, last paragraph but one. Add: 'Gorvömb,' Arnason, II, 375, Powell, Icelandic Legends, Second Series, 366, 'The Paunch.' Gorvömb, a monstrous creature, in reward for great services, asks to have the king's brother for husband, and in bed turns into a beautiful princess. She had been suffering under the spells of a step-mother.

39. Tam Lin.

P. 335. Add: #J.# 'Young Tamlane,' Kinloch MSS, V, 391.

335 a. The stanzas introduced into #I a# were from "Mr Beattie of Meikledale's Tamlane," as appears from a letter of Scott to Laidlaw, January 21, 1803. (W. Macmath.)

336 b, third paragraph. Add: Aminson, Bidrag, etc., IV, 6, No 27.

Fourth paragraph, line 9. Read: in it which.

338 a. An old woman is rejuvenated by being burnt to bones, and the bones being thrown into a tub of milk: Ralston, Russian Folk-Tales, p. 59, 'The Smith and the Demon;' Afanasief, Legendui, No 31, from Dahl's manuscript collection.

356. The following is perhaps the version referred to by Dr Joseph Robertson: see p. 335.

J

"A fragment of Young Tamlane," Kinloch MSS, V, 391. In Dr John Hill Burton's handwriting, and perhaps from the recitation of Mrs Robertson (Christian Leslie), mother of Dr Joseph Robertson.

* * * * * * *

1 'The night, the night is Halloween, Tomorrow's Hallowday, . . . . . . . . . . . . . .

2 'The night, the night is Halloween, Our seely court maun ride, Thro England and thro Ireland both, And a' the warld wide.

* * * * * * *

3 'The firsten court that comes ye bye, You'll lout, and let them gae; The seconden court that comes you bye, You'll hail them reverently.

4 'The thirden court that comes you by, Sae weel's ye will me ken, For some will be on a black, a black, And some will be on a brown, But I will be on a bluid-red steed, And will ride neist the queen.

5 'The thirden court that comes you bye, Sae weel's ye will me ken, For I'll be on a bluid-red steed, Wi three stars on his crown.

6 'Ye'll tak the horse head in yer hand, And grip the bridle fast; The Queen o Elfin will gie a cry, "True Tamas is stown awa!"

7 'And I will grow in your twa hands An adder and an eel; But the grip ye get ye'll hold it fast, I'll be father to yer chiel.

8 'I will wax in your twa hans As hot as any coal; But if you love me as you say, You'll think of me and thole.

9 'O I will grow in your twa hands An adder and a snake; The grip ye get now hold it fast, And I'll be your world's mait.

10 'O I'll gae in at your gown sleeve, And out at your gown hem, And I'll stand up before thee then A freely naked man.

11 'O I'll gae in at your gown sleeve, And out at your gown hem, And I'll stand before you then, But claithing I'll hae nane.

12 'Ye'll do you down to Carden's Ha, And down to Carden's stream, And there you'll see our seely court, As they come riding hame.'

* * * * * * *

13 'It's nae wonder, my daughter Janet, True Tammas ye thought on; An he were a woman as he's a man, My bedfellow he should be.'

* * * * *

1 The night, the night is Halloween, Tomorrow's Hallowday, our seely court maun ride, Thro England and thro Ireland both, And a' the warld wide.

Cf. #A# 25, 26; #D# 16; #G# 30; #I# 33, 34.

8^4. think and of me thole.

41. Hind Etin.

P. 363, note. Compare, for style, the beginning of 'Hind Horn' #G#, #H#, pp 205, 206.

43. The Broomfield Hill.

P. 393 a, first paragraph. In Gongu-Rólvs kvæði, Hammershaimb, Færöiske Kvæder, No 16, p. 140, sts 99-105, Lindin remains a maid for two nights, and loses the name the third, but the sleep-rune or thorn which should explain this does not occur.

393 b, third paragraph. Add: 'Kurz gefasst,' Alfred Müller, Volkslieder aus dem Erzgebirge, p. 90.

45. King John and the Bishop.

P. 410. Translated after Percy's Reliques also by von Marées, p. 7, No 2.

503 a, fifth paragraph (ring stories). Add: W. Freiherr von Tettau, Ueber einige bis jetzt unbekannte Erfurter Drucke, u. s. w., Jahrbücher der königlichen Akademie zu Erfurt, Neue Folge, Heft VI, S. 291, at the end of an excellent article on Ritter Morgeners Wallfahrt. (Köhler.)

[426] "Cette action, si peu séante pour nous, est accomplie dans maint conte grec, allemand, etc., par des jeunes filles sur leurs amants, sur des dragons par les princesses qu'ils ont enlevées, et, même dans une légende bulgare en vers, saint Georges reçoit le même service de la demoiselle exposée au dragon, dont il va la délivrer." Dozon, Contes albanais, p. 27, note. In the Bulgarian legend referred to, Bulgarski narodni pěsni, by the brothers Miladinov, p. 31, the saint having dozed off during the operation, the young maid sheds tears, and a burning drop falls on the face of George, and wakes him. This recalls the Magyar ballad, Molnár Anna, see p. 46. A Cretan legend of St George has the same trait: Jeannaraki, p. 2, v. 41. Even a dead lover recalled to the earth by his mistress, in ballads of the Lenore class, asks the same service: Golovatsky, II, 708, No 12; Sušil, p. 111, No 112, 'Umrlec,' 'The Dead Man.'

[427] Afterwards a judge, with the name of Lord Robertson, but universally known as Peter Robertson, celebrated for his wit and good fellowship as well as his law, friend of Scott, Christopher North, and Lockhart; "the Paper Lord, Lord Peter, who broke the laws of God, of man, and metre." Mr Macmath's note.

* * * * *

Transcriber's Notes

This section lists changes that have been made to the text. Minor changes to format and punctuation have not been listed.

Page xi, Contents: changed volume reference "I" to "II" under Additions and Corrections to Ballad 11 "THE CRUEL BROTHER" (Additions and Corrections: I, 496; II, 498; III, 499;...)

Page xi, Contents: deleted erroneous page reference "170," under Additions and Corrections to Ballad 14 "BABYLON".

Page 4, version B, stanza 6: added missing close single quotation mark (And what is sharper than a thorn?')

Page 16, stanza 20: added missing close single quotation mark (Let the elphin knight do what he will.')

Page 18, version G, stanza 3: added missing close single quotation mark (Which never bore blossom since Adam was born?')

Page 37: changed "Bokendorf" to "Bökendorf" (Reifferscheid, No 18, p. 36, from Bökendorf.)

Page 39, first paragraph: "cod by ffman" interpreted as "co[llecte]d by [Ho]ffman".

Page 84: changed "Fornminnesforeningens" to "Fornminnesföreningens" (Svenska Fornminnesföreningens Tidskrift)

Page 98: changed "Busching" to "Büsching" (Büsching u. von der Hagen, Buch der Liebe, c. 60)

Page 99: changed comma to semi-colon (Wolff, Halle, I, 76; Hausschatz)

Page 102, stanza 11, line 2: removed trailing single quote mark ('I am afraid ye are slain;)

Page 103, version E, stanza 2, line 2: added missing opening single quote mark ('O hold my horse by the bonnie bridle rein,)

Page 138, note on version B: bracketed vertical alignment of words "it" and "he" presented in line (in Plain Text versions) ("~he did it play, {it/he} playd~;")

Page 188: "Hyn-horn" (hyphenated at line break) changed to "Hynhorn", in

But I'll give him a drink for Young Hynhorn's sake,' #B# 16,

but note that in version B, stanza 16, the name appears as two words "Hyn Horn". that

Page 211, stanzas 19 and 39: a line of stars following the first line of each stanza has been interpreted as a missing line and rendered as the more usual line of dots.

Page 226: added missing closing quotation mark

"At this moment a hunter came-- ...

The cradle will rock alone.'"

Page 265, footnote [236]: added missing letter "c" (but no one can drink s'il n'est preudom)

Page 318: changed ("gyff ... sayes,) to ('gyff ... sayes,') in ('gyff it be als the storye sayes', v. 83)

Page 374: changed "Islenzk" to "Íslenzk" (These in Íslenzk fornkvæði, pp 4-10, ...)

Page 392: changed "esterley" to "Oesterley" (Iohannis de Alta Silva Dolopathos, ed. Oesterley)

Page 400: changed "Čelakovsky" to "Čelakovský" (Čelakovský, p. 75, No 6, Wenzig, Slawische Volkslieder)

Page 425, footnote [390]: changed "he" to "the" (Where is the sky but three spans broad?)

Pae 422, stanza 13: changed "a" to "a'" (and ye shall get them a'.)

Page 451, ballad version A: two stanzas were numbered 18; changed second "18" to "19" and changed "19" to "20".

Page 488, footnote [426]: added missing closing quotation mark ("Cette action, ... dont il va la délivrer.")

Page 487: substituted reference to footnote [61] for double dagger symbol (40, note [61]. In a Ruthenian ballad ...)

Page 488: changed stanza number "18" to "16"

Page 489: changed "Hjalmters" to "Hjálmtèrs" (Hjálmtèrs ok Ölvers Saga)

16. As fause Sir John did turn him round, To see the leaf flee owre the [tree], ...

Page 489: substituted reference to footnote [99] for asterisk symbol (67 a, note [99], line 37. Read: a Scotch name.)

Page 493: substituted reference to footnote [127] for asterisk symbol (119 a. Note [127], ...)

Page 505: substituted reference to footnote [195] for double dagger symbol (238. Note [195] should have been credited to ...)