The Singing Tradition of Child's Popular Ballads. (Abridgement)

The Singing Tradition of Child's Popular Ballads. (Abridgement)

by Bertrand Harris Bronson (Editor)

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Overview

The Singing Tradition of Child's Popular Ballads. (Abridgement) by Bertrand Harris Bronson

Francis James Child's English and Scottish Popular Ballads, published in ten parts from 1882 to 1898, contained the texts and variants of 305 extant themes written down between the thirteenth and nineteenth centuries. Unsurpassed in its presentation of texts, this exhaustive collection devoted little attention to the ballad music, a want that was filled by Bertrand Harris Bronson in his four volume Traditional Tunes of the Child Ballads.

The present book is an abridged, one-volume edition of that work, setting forth music and text for proven examples of oral tradition, with a new comprehensive introduction. Its convenient format makes readily available to students and scholars the materials for a study of the Child ballads as they have been preserved in the British-American singing tradition.

Originally published in 1977.

The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

Product Details

ISBN-13: 9780691616629
Publisher: Princeton University Press
Publication date: 03/08/2015
Series: Princeton Legacy Library Series
Edition description: Abridged
Pages: 578
Product dimensions: 8.40(w) x 10.70(h) x 1.30(d)

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The Singing Tradition of Child's Popular Ballads


By Bertrand Harris Bronson

PRINCETON UNIVERSITY PRESS

Copyright © 1976 Princeton University Press
All rights reserved.
ISBN: 978-0-691-09119-8


CHAPTER 1

Riddles Wisely Expounded


CHILD NO. 1


Restoration broadsides of this ballad are directed to be sung to the tune of "Lay the bent to the bonny broom," but no contemporary version of the tune has survived. We may, however, presume that the form of it appearing in D'Urfey's Pills is true in the main to its predecessors. But the words of the refrain, which give the tune its name, seem more appropriate to a pastoral subject, and may have come over, along with their tune, from a different, if not earlier, song. "Fa la" was a current Elizabethan name for a "ballet," such as Thomas Morley's "Now is the month of Maying."

The tune as D'Urfey has it, with its narrow compass, its avoidance of intervals wider than a step of the scale, and its suggestion of the Dorian mode, hints of an antiquity far higher than the verbal text as printed. Parallels can be found in Gregorian chant.

Probably also the presence in the broadside version (i.e., D'Urfey's text) of rival daughters belongs to a form of the ballad in which they played a more integral part. In Child's fifteenth-century text they are absent, and in late tradition they disappear. The knight was not originally of the marrying kind, and sounder tradition makes him a fiend, or the devil himself, to be checkmated, rather than confirmed in his choice, by the maid's ability to guess his riddles. It is worth notice that even the earliest text (Child's A*) is already confused, in that the fiend first offers the maid all the wisdom of the world if she will be his "leman," and then abruptly poses his riddles with the threat that unless she can answer them she shall be his. The contradiction implies a still earlier life for the ballad, and doubtless arises from homiletic rehandling, out of memories of Christ's temptation. Yet, though inappropriately, the element of amorous appeal enters thus early: it was later to refashion the plot as in the broadsides. This earliest text lacks a refrain, but is in rhyming couplets, which normally admit an interlaced refrain, thereby according with a four-phrased tune.

A slender connection may be made out between the English tunes from D'Urfey to the end of the nineteenth century, and perhaps even doubtfully carried across to the Appalachian examples. It is not strong enough to bind the refrain lines into verbal community, though the interlaced pattern persists.


TUNES WITH TEXTS

GROUP A

1. [A Riddle Wittily Expounded]

D'Urfey, 1719-20, IV, pp. 129-32 (emended),

a D if e[??] (but – VII)

1. There was a Lady in the North-Country,
Lay the Bent to the Bonny Broom,
And she had lovely Daughters three,
Fa, la la la, fa, la la ra re.

2. There was a Knight of Noble worth,
Lay the Bent, &c.
Which also lived in the North,
Fa, la, &c.

3. The Knight of Courage stout and brave,
Lay the Bent, &c.
A Wife he did desire to have,
Fa la, &c.

4. He knocked at the Lady's Gate,
Lay the Bent, &c.
One Evening when it was late,
Fa la, &c.

5. The youngest Sister let him in,
Lay the Bent, &c.
And pinn'd the Door with a Silver Pin,
Fa la, &c.

6. The second Sister she made his Bed,
Lay the Bent, &c.
And laid soft Pillows under his Head,
Fa la, &c.

7. The Youngest [Sister] that same Night,
Lay the Bent, &c.
She went to Bed to this young Knight,
Fa la, &c.

8. And in the Morning when it was Day,
Lay the Bent, &c.
These words unto him she did say,
Fa la, &c. &c.

9. Now you have had your will (quoth she)
Lay the Bent, &c.
I pray Sir Knight you Marry me,
Fa la, &c.

10. The young brave Knight to her reply'd,
Lay the Bent, &c.
Thy Suit, Fair Maid shall not be deny'd,
Fa la, &c.

11. If thou can'st answer me Questions three,
Lay the Bent, &c.
This very Day I will Marry thee,
Fa la, &c.

12. Kind Sir, in Love, O then quoth she,
Lay the Bent, &c.
Tell me what your three Questions be,
Fa la, &c.

13. O what is longer than the Way?
Lay the Bent, &c.
Or what is deeper than the Sea?
Fa la, &c.

14. Or what is louder than a Horn?
Lay the Bent, &c.
Or what is sharper than a Thorn?
Fa la, &c.

15. Or what is greener than the Grass?
Lay the Bent, &c.
Or what is worse than a Woman was?
Fa la, &c.


The Damsel's Answer to the Three Questions

16. O Love is longer than the way,
Lay the Bent, &c.
And Hell is deeper than the Sea,
Fa la, &c.

17. And Thunder's louder than the Horn,
Lay the Bent, &c.
And Hunger's sharper than a Thorn,
Fa la, &c.

18. And Poyson's greener than the Grass,
Lay the Bent, &c.
And the Devil's worse than the Woman was,
Fa la, &c.

19. When she these Questions answered had,
Lay the Bent, &c.
The Knight became exceeding glad,
Fa la, &c.

20. And having truly try'd her Wit,
Lay the Bent, &c.
He much commended her for it,
Fa la, &c.

21. And after as 'tis verifi'd,
Lay the Bent, &c.
He made of her his lovely Bride,
Fa la, &c.

22. So now fair Maidens all adieu,
Lay the Bent, &c.
This Song I dedicate to you,
Fa la, &c.

23. I wish that you may Constant prove,
Lay the Bent to the bonny Broom,
Unto the Man that you do love,
Fa, la la la, fa, la la ra re.


3. "There was a Lady in the West"

Mason, 1878, p. 31. Also in Broadwood and Maitland, 1893, pp. 6-7. Sung in Northumberland.

p I (but inflected IV)

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

2. There came a stranger to the gate,
Lay the bank with the bonny broom,
And he three days and nights did wait,
Fa Iang the dillo,
Fa lang- the dillo, dillo, dee.

3. The eldest daughter did ope the door,
Lay the bank, &c.
The second set him on the floor.
Fa lang, &c.

4. The third daughter she brought a chair,
Lay the bank, &c.
And placed it that he might sit there,
Fa lang, &c.


(To first daughter)

5. "Now answer me these questions three,"
Lay the bank, &c.
"Or you shall surely go with me."
Fa lang, &c.


(To second daughter)

6. "Now answer me these questions six,"
Lay the bank, &c.,
"Or you shall surely be Old Nick's."
Fa lang, &c.


(To all three)

7. "Now answer me these questions nine,"
Lay the bank, &c.,
"Or you shall surely all be mine."
Fa lang, &c.

8. "What is greener than the grass?"
Lay the bank, &c.
"What is smoother than crystal glass?"
Fa lang, &c.

9. "What is louder than a horn?"
Lay the bank, &c.
"What is sharper than a thorn?"
Fa lang, &c.

10. "What is brighter than the light?"
Lay the bank, &c.
"What is darker than the night?"
Fa lang, &c.

11. "What is keener than an axe?"
Lay the bank, &c.
"What is softer than melting wax?"
Fa lang, &c.

12. "What is rounder than a ring?"
Lay the bank, &c.
"To you we thus our answers bring."
Fa lang, &c.

13. "Envy is greener than the grass,"
Lay the bank, &c.,
"Flattery, smoother than crystal glass."
Fa lang, &c.

14. "Rumour is louder than a horn,"
Lay the bank, &c.
"Hunger is sharper than a thorn."
Fa lang, &c.

15. "Truth is brighter than the light,"
Lay the bank, &c.
"Falsehood is darker than the night."
Fa lang, &c.

16. "Revenge is keener than an axe,"
Lay the bank, &c.
"Love is softer than melting wax."
Fa lang, &c.

17. "The world is rounder than a ring,"
Lay the bank, &c.
"To you we thus our answers bring."
Fa lang, &c.

18. "Thus you have our answers nine,"
Lay the bank, &c.
"And we never shall be thine."
Fa lang, &c.

By permission of Messrs. J. B. Cramer & Co., Ltd., London.


4. [The Three Sisters]

Gilbert, 1823, pp. 65-67. From editor's recollection; Cornish tradition.

Also in Child, 1882-98,1, p. 4(B).

P 1

1. There were three Sisters fair and bright,
Jennifer gentle and Rosemaree,
And they three loved one valiant Knight,
As the dew flies over the Mulberry tree.

2. The eldest Sister let him in,
Jennifer gentle and Rosemaree,
And barred the door with a silver pin,
As the dew flies over the Mulberry tree.

3. The second Sister made his bed,
Jennifer gentle and Rosemaree,
And placed soft pillows under his head,
As the dew flies over the Mulberry tree.

4. The youngest Sister fair and bright,
Jennifer gentle and Rosemaree,
Was resolved for to wed with this valiant Knight,
As the dew flies over the Mulberry tree.

5. And if you can answer questions three,
Jennifer gentle and Rosemaree,
Oh! then, fair Maid, I will marry with thee,
As the dew flies over the Mulberry tree.

6. What is louder than an horn?
Jennifer gentle and Rosemaree,
And what is sharper than a thorn?
As the dew flies over the Mulberry tree.

7. Thunder is louder than an horn,
Jennifer gentle and Rosemaree,
And hunger is sharper than a thorn,
As the dew flies over the Mulberry tree.

8. What is broader than the way?
Jennifer gentle and Rosemaree,
And what is deeper than the sea?
As the dew flies over the Mulberry tree.

9. Love is broader than the way,
Jennifer gentle and Rosemaree,
And hell is deeper than the sea,
As the dew flies over the Mulberry tree.

10. Jennifer gentle and Rosemaree,
And now, fair Maid, I will marry with thee,
As the dew flies over the Mulberry tree.


GROUP B

5. "The Devil's Nine Questions"

Davis, 1929, p. 549; text, pp. 59-60. Sung by Mrs. Rill Martin, Giles County, Va., September 11, 1922; noted by Evelyn Rex. Collected by Alfreda M. Peel.

1. "If you don't answer me questions nine,
Sing ninety-nine and ninety,
I'll take you off to hell alive,
And you are the weaver's bonny.

2. "What is whiter than milk?
Sing ninety-nine and ninety;
What is softer than silk?
Say you're the weaver's bonny."

3. "Snow is whiter than milk,
Sing ninety-nine and ninety;
Down is softer than silk,
And I'm the weaver's bonny."

4. "What is louder than a horn?
Sing ninety-nine and ninety;
What is sharper than a thorn?
Sing I am the weaver's bonny."

5. "Thunder's louder than a horn,
Sing ninety-nine and ninety;
Death is sharper than a thorn,
Sing I'm the weaver's bonny."

6. "What is higher than a tree?
Sing ninety-nine and ninety;
What is deeper than the sea?
Sing I'm the weaver's bonny."

7. "Heaven's higher than a tree,
Sing ninety-nine and ninety;
And hell is deeper than the sea,
Sing I'm the weaver's bonny."

8. "What is innocenter than a lamb?
Sing ninety-nine and ninety;
What is worse than woman kind?
Say I'm the weaver's bonny."

9. "A babe is innocenter than a lamb,
Sing ninety-nine and ninety;
The devil's worse than woman kind,
Sing I'm the weaver's bonny."

10. "You have answered me questions nine,
Sing ninety-nine and ninety;
You are God's, you're not my own,
And you're the weaver's bonny."

CHAPTER 2

The Elfin Knight


CHILD NO. 2


The musical records of this ballad fall into three main groups, each with its own style of verbal refrain. The oldest, one surmises, of the groups is wedded to a broadside graft upon earlier tradition. The text of Child's A does not indicate a tune; but its relation to B is close, and B is directed to be sung "to its own proper tune." B's title — and hence the title of its "proper tune" — is "The Wind hath blawn my Plaid awa" — a form of its last refrain-line. This version has a four-line burden, which begins:

My Plaid awa, my plaid awa,
And owre the hills and far awa ...


The copy is altered from a black-letter broadside, perhaps A, which is nearly identical in these respects, and tentatively dated c. 1670. Tunes, therefore, called either "My plaid awa," or "Oure the hills and far awa," or "The Wind hath blawn my Plaid awa" would, we may suppose, be related to the tune sought; and in fact variants of one and the same tune are found under all three names, in MS. or print, about the turn of the seventeenth century to the early eighteenth. There is, however, no occurrence anywhere of this tune mated with the words of this ballad. The tune is familiar today as the setting of Gay's song in The Beggar's Opera, "Were I laid on Greenland's Coast (Air 16)." It is called by Stenhouse (Illustrations of the Lyric Poetry and Music of Scotland, 1853, p. 62) an old pipe tune, and it has surely very little of the character of a traditional ballad air. Possibly it was attached arbitrarily to the broadside version: its second strain accommodates the burden, which is lacking in all forms of the ballad picked up in later tradition. Yet the maker of the broadside was obviously close to tradition in this case, and may have had the traditional tune in mind.

Although the relationship of this tune with primary forms of the ballad is very dubious, we cannot dismiss the traditional connection of the interlaced refrain, irrelevant though its content now appears. At a comparatively early period, in Scotland, the ballad was being sung in a form in which the second and fourth phrases were some variation of "Ba, ba, lilly ba," and "The wind has blawn my plaid awa"; and this tradition has persisted into the present century, the tune appearing always in duple rhythm, not as elsewhere in triple. But in this duple-rhythm group, the refrain in America has tended to be supplanted by some kind of nonsense syllables — no sharp decline, after all, in meaningful statement.

At about the end of the eighteenth century a different form of the ballad becomes dominant, in which the interlaced refrainlines are "Parsley, sage, rosemary, and thyme" (or a similar jingle) and "Once she (he) was a true lover of mine." All variants of this group are in a triple rhythm (including 6/8). This is, so far as the record shows, the central and leading tradition for the ballad, and is still in comparatively vigorous life.

Before the middle of the last century, however, a third pattern makes its appearance, with a refrain on the order of "Ivy, sing Ivy," and "Holly, go whistle and Ivy" [query if "go whistle" came in when mistletoe departed?]. The text of this branch starts with the bequest of an acre of land, the riddle-exchange is altered into a straight catalogue of impossible things performed: the dramatic element descends into simple narrative. A common differentiating feature of the tunes, which in the main are not sharply distinguished from the central group, is that the shorter second verbal phrase forces a compensating lengthening of the accented notes, generally coinciding with the initial vowel of "Ivy."

Of our first group, variants have been recovered from Scotland, New England, and Texas. The Scottish form is darker, and a favorite type in Northern tradition, being found with a number of other texts, e.g., Child Nos. 10, 20, 209, 212, 235, 240. The other members of the group are all in a major tonality, all authentic, and all American. There is no consistency at the mid-pause, but the first phrase usually ends on V.


(Continues...)

Excerpted from The Singing Tradition of Child's Popular Ballads by Bertrand Harris Bronson. Copyright © 1976 Princeton University Press. Excerpted by permission of PRINCETON UNIVERSITY PRESS.
All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
Excerpts are provided by Dial-A-Book Inc. solely for the personal use of visitors to this web site.

Table of Contents

  • Frontmatter, pg. i
  • CONTENTS, pg. v
  • PREFACE, pg. xv
  • ACKNOWLEDGMENTS, pg. xvii
  • INTRODUCTION, pg. xxi
  • 1. Riddles Wisely Expounded, pg. 3
  • 2. The Elfin Knight, pg. 7
  • 3. The Fause Knight upon the Road, pg. 13
  • 4. Lady Isabel and the Elf Knight, pg. 15
  • 5. Gil Brenton, pg. 24
  • 7. Earl Brand, pg. 27
  • 9. The Fair Flower of Northumberland, pg. 32
  • 10. The Two Sisters, pg. 34
  • 11. The Cruel Brother, pg. 43
  • 12. Lord Randal, pg. 46
  • 12. Appendix Billie Boy, pg. 55
  • 13. Edward, pg. 58
  • 14. Babylon, pg. 61
  • 16. Sheath and Knife, pg. 64
  • 17. Hind Horn, pg. 65
  • 18. Sir Lionel, pg. 70
  • 19. King Orfeo, pg. 75
  • 20. The Cruel Mother, pg. 76
  • 21. The Maid and the Palmer, pg. 83
  • 24.Bonnie Annie, pg. 86
  • 25. Willie's Lyke-Wake, pg. 88
  • 26. The Three Ravens, pg. 90
  • 32. King Henry, pg. 94
  • 34. Kempion, pg. 96
  • 37. Thomas Rymer, pg. 97
  • 39. Tam Lin, pg. 99
  • 40. The Queen of Elfan's Nourice, pg. 103
  • 41. Hind Etin, pg. 104
  • 42. Clerk Colvill, pg. 107
  • 43. The Broomiield Hill, pg. 109
  • 44. The Twa Magicians, pg. 114
  • 45. King John and the Bishop, pg. 116
  • 46. Captain Wedderburn's Courtship, pg. 120
  • 46. Appendix Riddle Song, pg. 124
  • 47. Proud Lady Margaret, pg. 127
  • 49. The Two Brothers, pg. 129
  • 51. Lizie Wan, pg. 134
  • 52. The King's Dochter Lady Jean, pg. 136
  • 53. Young Beichan, pg. 138
  • 54. The Cherry-Tree Carol, pg. 151
  • 55. The Carnal and the Crane, pg. 154
  • 56. Dives and Lazarus, pg. 156
  • 58. Sir Patrick Spens, pg. 159
  • 61. Sir Cawline, pg. 162
  • 62. Fair Annie, pg. 164
  • 63. Child Waters, pg. 166
  • 64. Fair Janet, pg. 169
  • 65. Lady Maisry, pg. 171
  • 68. Young Hunting, pg. 174
  • 69. Clerk Saunders, pg. 179
  • 73. Lord Thomas and Fair Eleanor, pg. 181
  • 74. Fair Margaret and Sweet William, pg. 189
  • 75. Lord Lovel, pg. 193
  • 76. The Lass of Roch Royal, pg. 197
  • 77. Sweet William's Ghost, pg. 200
  • 78. The Unquiet Grave, pg. 203
  • 79. The Wife of Usher's Well, pg. 206
  • 81. Little Musgrave and Lady Barnard, pg. 210
  • 83. Child Maurice, pg. 216
  • 84. Bonny Barbara Allan, pg. 221
  • 85. George Collins (Lady Alice), pg. 229
  • 86. Young Benjie, pg. 232
  • 88. Young Johnstone, pg. 234
  • 92. Appendix The Lowlands of Holland, pg. 237
  • 93. Lamkin, pg. 240
  • 95. The Maid Freed from the Gallows, pg. 245
  • 99. Johnie Scot, pg. 250
  • 100. Willie ο Winsbury, pg. 253
  • 105. The Bailiff's Daughter of Islington, pg. 256
  • 106. The Famous Flower of Serving-Men, pg. 260
  • 110. The Knight and the Shepherd's Daughter, pg. 264
  • 112. The Baffled Knight, pg. 268
  • 113. The Great Silkie of Sule Skerry, pg. 271
  • 114. Johnie Cock, pg. 272
  • 120. Robin Hood's Death, pg. 275
  • 125. Robin Hood and Little John, pg. 277
  • 126. Robin Hood and the Tanner, pg. 279
  • 132. The Bold Pedlar and Robin Hood, pg. 283
  • 139. Robin Hood's Progress to Nottingham, pg. 287
  • 140. Robin Hood Rescuing Three Squires, pg. 288
  • 141. Robin Hood Rescuing Will Study, pg. 290
  • 144. Robin Hood and the Bishop of Hereford, pg. 292
  • 155. Sir Hugh, or, The Jew's Daughter, pg. 294
  • 156. Queen Eleanor's Confession, pg. 299
  • 157. Gude Wallace, pg. 301
  • 161. The Battle of Otterburn, pg. 303
  • 162. The Hunting of the Cheviot, pg. 305
  • 163. The Battle of Harlaw, pg. 308
  • 164. King Henry Fifth's Conquest of France, pg. 311
  • 167. Sir Andrew Barton, pg. 312
  • 169. Johnie Armstrong, pg. 315
  • 170. The Death of Queen Jane, pg. 318
  • 173. Mary Hamilton, pg. 320
  • 178. Captain Car, or, Edom ο Gordon, pg. 323
  • 181. The Bonny Earl of Murray, pg. 325
  • 182. The Laird ο Logie, pg. 327
  • 185. Dick ο the Cow, pg. 329
  • 187. Jock ο the Side, pg. 332
  • 188. Archie ο Cawfield, pg. 335
  • 191. Hughie Grame, pg. 337
  • 192. The Lochmaben Harper, pg. 340
  • 193. The Death of Parcy Reed, pg. 342
  • 196. The Fire of Frendraught, pg. 344
  • 199. The Bonnie House ο Airlie, pg. 346
  • 200. The Gypsy Laddie, pg. 349
  • 201. Bessy Bell and Mary Gray, pg. 356
  • 203. The Baron of Brackley, pg. 358
  • 204. Jamie Douglas, pg. 361
  • 206. Bothwell Bridge, pg. 363
  • 208. Lord Derwentwater, pg. 365
  • 209. Geordie, pg. 367
  • 210. Bonnie James Campbell, pg. 371
  • 211. Bewick and Graham, pg. 372
  • 212. The Duke of Athole's Nurse, pg. 375
  • 213. Sir James the Rose, pg. 377
  • 214. The Braes ο Yarrow, pg. 380
  • 215. Rare Willie Drowned in Yarrow, or, The Water ο Gamrie, pg. 384
  • 216. The Mother's Malison, or, Clyde's Water, pg. 386
  • 217. The Broom of Cowdenknows, pg. 388
  • 218. The False Lover Won Back, pg. 390
  • 219. The Gardener, pg. 392
  • 221. Katharine Jaffray, pg. 394
  • 222. Bonny Baby Livingston, pg. 398
  • 223. Eppie Morrie, pg. 400
  • 226. Lizie Lindsay, pg. 402
  • 227. Bonny Lizie Baillie, pg. 404
  • 228. Glasgow Peggie, pg. 405
  • 229. Earl Crawford, pg. 407
  • 231. The Earl of Errol, pg. 409
  • 232. Richie Story, pg. 410
  • 233. Andrew Lammie, pg. 412
  • 235. The Earl of Aboyne, pg. 415
  • 236. The Laird ο Drum, pg. 417
  • 237. The Duke of Gordon's Daughter, pg. 420
  • 238. Glenlogie, or, Jean ο Bethelnie, pg. 423
  • 240. The Rantin Laddie, pg. 424
  • 241. The Baron ο Leys, pg. 427
  • 243. The Dæmon Lover (The House Carpenter), pg. 429
  • 245. Young Allan, pg. 435
  • 248. The Grey Cock, or, Saw You My Father?, pg. 438
  • 250. Henry Martyn, pg. 442
  • 251. Lang Johnny More, pg. 446
  • 252. The Kitchie-Boy, pg. 449
  • 267. The Heir of Linne, pg. 450
  • 269. Lady Diamond, pg. 452
  • 272. The Suffolk Miracle, pg. 454
  • 273. King Edward the Fourth and a Tanner of Tamworth, pg. 457
  • 274. Our Goodman, pg. 459
  • 275. Get Up and Bar the Door, pg. 463
  • 276. The Friar in the Well, pg. 464
  • 277. The Wife Wrapt in Wether's Skin, pg. 466
  • 278. The Farmer's Curst Wife, pg. 471
  • 279. The Jolly Beggar, pg. 478
  • 279. Appendix The Gaberlunyie-Man, pg. 481
  • 280. The Beggar-Laddie, pg. 484
  • 281. The Keach in the Creel, pg. 486
  • 282. Jock the Leg and the Merry Merchant, pg. 490
  • 283. The Crafty Farmer, pg. 492
  • 284. John Dory, pg. 497
  • 285. The George Aloe and the Sweepstake, pg. 499
  • 286. The Sweet Trinity (The Golden Vanity), pg. 501
  • 287. Captain Ward and the Rainbow, pg. 506
  • 288. The Young Earl of Essex's Victory over the Emperor of Germany, pg. 508
  • 289. The Mermaid, pg. 509
  • 293. John of Hazelgreen, pg. 512
  • 295. The Brown Girl, pg. 514
  • 299. Trooper and Maid, pg. 517
  • BIBLIOGRAPHICAL LISTS, pg. 521
  • INDEX OF TUNES AND BALLADS QUOTED, pg. 527



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