And he is, of course, acquitted.

In Fone's version she appears in dream to her lover as a swan, and comforts him, but the sequel of the story he could not recall.

The ballad is found in a fragmentary condition in Kent—

And the apparition of the girl says—

This was heard in 1884, sung by a very old man at a harvest supper at Haverstall Doddington, near Faversham.

The transformation of the damsel into a swan stalking into the Court is an early feature, and possibly the ballad may be a degraded form of a very ancient piece.

This ballad, arranged as a song with accompaniment by Mr. Ferris Tozer, has been published by Messrs. Weeks.

Mr. Sharp has given the song to a different air in his "Folk-Songs from Somerset," No. 16.

63. All Jolly Fellows that follow the Plough. This song is very generally known. We have picked up four variants of the tune. Miss Broadwood gives one from Oxfordshire and one from Hampshire, but hers lack the chorus. Mr. C. Sharp has also gathered three. He says: "I find that almost every singer knows it, the bad singers often know but little else. Perhaps it is for this reason that the tune is very corrupt, the words are almost always the same."

In the second verse we have the breakfast described as consisting of bread and cheese and stingo. In Miss Broadwood's version the breakfast consists of cold beef and pork; the drink is not specified.

64. The Golden Vanity. Taken down, words and air, from James Oliver. The ballad was printed as "Sir Walter Raleigh sailing in the Lowlands, showing how the famous ship called the Sweet Trinity was taken by a false galley; and how it was recovered by the craft of a little sea-boy, who sunk the galley," by Coles, Wright, Vere, and Conyers (1648-80). In this it is said that the ballad is to be sung "to the tune of The Lowlands of Holland," and in it there is ingratitude shown to the poor sea-boy of a severe character. In this version there are fourteen verses. It begins—

It has been reprinted in Child, No. 286, as also the earliest form of the ballad from the Pepys Collection. By writing some of the words as "awa'" and "couldna'," it has been turned into a Scottish ballad. Under the form of "The Goulden Vanity," it is given with an air (of no value) in Mrs. Gordon's "Memoirs of Christopher North," 1862, ii. p. 317, as sung at a convivial meeting at Lord Robertson's, by Mr. P. Fraser of Edinburgh.

We obtained the same ballad at Chagford as "The Yellow Golden Tree." "Sir Walter Raleigh," says Mr. Ebsworth, in his introduction to the ballad in the "Roxburgh Ballads" (v. p. 418), "never secured the popularity, the natural affection which were frankly given to Robert Devereux, the Earl of Essex. Raleigh was deemed arrogant, selfish, with the airs of an upstart, insolent to superiors, unconciliating with equals, and heartlessly indifferent to those in a lower position. The subject of the ballad is fictitious—sheer invention, of course. The selfishness and ingratitude displayed by Raleigh agreed with the current estimate. He certainly had a daughter."

In the ballad in the Pepys Collection the Sweet Trinity, a ship built by Sir Walter Raleigh, has been taken by a galley of a nationality not specified. He asks whether any seaman will take the galley and redeem his ship: the reward shall be a golden fee and his daughter. A ship-boy volunteers and with his auger bores fifteen holes in the galley and sinks her, and releases the Sweet Trinity. Then he swims back to his ship and demands his pay. The master will give golden fee but not his daughter. The ship-boy says, Farewell, since you are not so good as your word.

In the stall copy of the ballad, the master refuses to take the boy on board after he had sunk the galley, and threatens to shoot him, and the boy is drowned. Then he is picked up, is sewed in a cow-hide and thrown overboard.

Mr. Kidson has obtained no less than four different versions from sailors.

A version from Sussex is in Folk-Song Journal, vol. i. p. 104. Another in Miss Broadwood's "English County Songs." It is also in Ferris Tozer's "Sailors' Songs and Chanties." The black letter ballad of "Sir Walter Raleigh Sailing in the Lowlands low ... or the Sweet Trinity" was priced in Russell Smith's catalogue, £1, 5s.

65. The Bold Dragoon. Words and melody taken down by W. Crossing, Esq., many years ago, from a labouring man on Dartmoor, now dead. The words were very corrupt. We took down the words and tune from Moses Cleve at Huckaby Bridge, Dartmoor. An early version of the words as "The Jolly Trooper," in "The Lover's Garland," N.D., but of the beginning of the 18th century. The original is too coarse for reproduction and is lengthy. I have condensed the ballad and softened it down. The press mark in the British Museum is 11,621, c 5.

66. Trinity Sunday. Melody noted down by T.S. Cayzer, Esq., in 1849, at Post Bridge, from a moor man. The original words were unsuitable, a Broadside ballad of a murder.[32] I have written fresh words.

In connection with this charming air, I will give Mr. Cayzer's account of taking it down in 1849, which he has kindly extracted for me from his diary:—"This air, together with 'As Johnny walked out' (No. 11), I got from Dartmoor; nor shall I soon forget the occasion. The scene was a lonely one (I think Two Bridges, but it may have been Post Bridge). It had been raining all day. There was not a book in the house, nor musical instrument of any kind, except two hungry pigs and a baby that was being weaned. Towards nightfall there dropped in several miners and shepherds, and I well remember how the appearance of these Gentiles cheered us. We soon got up a glorious fire—such a fire as peat only can make, and drew the benches and settles round. By the friendly aid of sundry quarts of cyder I, before long, gained the confidence of the whole circle, and got a song from each in turn; and noted down two that were quite new to me: no easy matter, considering that they were performed in a strange mixture of double bass and falsetto. The action with which they accompanied the singing was extremely appropriate. They always sing standing."

Many a similar evening have Mr. Sheppard, Mr. Bussell, and I spent in like manner over the peat fire with the burly, red-faced moor men and shepherds, standing to sing their quaint old songs, and very happy evenings they have been.

The same melody was taken down by Miss Wyatt Edgell from an old woman near Exeter, in 1891. The words sung to it related to the same Oxford Tragedy, but were a version different from the stall copy.

67. The Blue Flame. Melody taken down by Mr. W. Crossing, from an old moor man, to "Rosemary Lane." Roger Luxton and James Parsons also sang "Rosemary Lane" to the same air. The words are objectionable. Moreover, in other parts of England, this Broadside song is always sung to one particular air. We therefore thought it well to put to our melody entirely fresh words.

It was a common belief in the West of England that a soul after death appeared as a blue flame; and that a flame came from the churchyard to the house of one doomed to die, and hovered on the doorstep till the death-doomed expired, when the soul of the deceased was seen returning with the other flame, also as a flame, to the churchyard.

68. Strawberry Fair. Melody taken down from James Masters. This is a very old song. It is found with music in "Songs and Madrigals of the 15th Century," published by the Old English Plain-Song Society, 1891. The ballad was recast "Kytt has lost her Key," which is given by Dr. Rimbault in his "Little Book of Songs and Ballads gathered from Ancient Music Books," 1851, p. 49. We have been forced to re-write the words, which were very indelicate. The air was used, in or about 1835, by Beuler, a comic song writer, for "The Devil and the Hackney Coachman"—

I have never found a singer who had any knowledge of Beuler's song, but all have heard "Strawberry Fair," and some men of seventy or eighty years of age say they learned it from their fathers.

69. The Country Farmer's Son. Taken down from James Woolrich, a labourer, at Broadwood Widger. The original ballad, "The Constant Farmer's Son," is found on a Broadside by Ross of Newcastle. I have re-written the song. The fine, robust tune belongs to the end of the 18th century. See Folk-Song Journal, i. p. 160.

70. The Hostess' Daughter. Taken down from J. Masters, Bradstone. The coarseness of the original words obliged me to re-write the song.

71. The Jolly Goss-hawk. Melody taken down from H. Westaway to "The Nawden Song," which begins—

To the 2nd of May is "a two twitty bird," then "a dushy cock," a "four-legged pig," "five steers," "six boars," "seven cows calving," "eight bulls roaring," "nine cocks crowing," "ten carpenters yawing," "eleven shepherds sawing," "twelve old women scolding." Mr. C. Sharp has taken it down in Somersetshire. A Scottish version in Chambers' "Popular Rhymes of Scotland," 1842; as "The Yule Days," a Northumbrian version; "The XII. days of Christmas," with air not like ours, in "Northumbrian Minstrelsy," Newcastle, 1882, p. 129.

A Breton version, "Gousper ou ar Ranad" in "Chansons Populaires de la Basse Bretagne," by Luzel, 1890, p. 94. The West of England song has got mixed up with the "Goss Hawk," another song. See "The Fond Mother's Garland," B.M. (11,621, c 5). A companion song to this is "The Bonny Bird," given further on in this collection, No. 106. The song, in Devonshire, goes by the name of "The Nawden Song."

72. The Song of the Moor. The melody was taken down at Merrivale Bridge, Dartmoor, from a quarryman named Nankivel, commonly known as "Old Capul." To this air he sang a farcical ballad, "The Infant," quite unworthy of it. I have, accordingly, written fresh words to a really good swinging tune.

The original began as follows—

And so on through a string of absurdities. It is apparently a modernised version of "The Jovial Broomman," by R. Climsall, published by R. Harper, 1635-1642. "Roxburgh ballads," ed. Chappell, i. p. 500.

73. On a May Morning so Early. This melody belongs to the ballad "I'm Seventeen on Sunday." This begins—

For good reasons we could not give the words as taken down, so Mr. Sheppard wrote fresh words to the tune. The ballad was obtained from Roger Huggins, Lydford, and from William Bickle, Bridestowe, but it is known and sung throughout Devon and Cornwall. The original ballad was altered by Burns to "The Waukrife Mammy" for Johnson's "Museum," iv. p. 210, and Allan Cuningham also arranged a song on the same theme, as the original was objectionable. Lyle gives it in his "Ballads," 1827, saying: "This ballad, in its original dress, at one time, from my recollection, was not only extremely popular, but a great favourite among the young peasantry of the West of Scotland. To suit the times, however, we have been necessitated to throw out the intermediate stanzas, as their freedom would not bear transcription, whilst the second and third have been slightly altered from the recited copy." An Irish version (re-written) to the Irish air, by Joyce, "Ancient Irish Music," 1873, No. 17. He says: "I cannot tell when I learned the air and words of this song, for I have known them as long as my memory can reach back. For several reasons [the original words] could not be presented to the reader."

Burns, when forwarding the ditty to Johnson, said of it: "I picked up this old song and tune from a country girl in Nithsdale; I never met with it elsewhere in Scotland." The words may be found on Broadsheets, printed by Such and by Bebbington, Manchester. Mr. Kidson has recovered several versions in Yorkshire, and one is given in the Folk-Song Journal, vol. i. p. 92, as taken down in Sussex, and two were in vol. ii. p. 9 noted down by Mr. Sharp in Somerset. Our tune is in the Dorian mode.

74. The Spotted Cow. Words and air from James Parsons, J. Helmore, H. Smith, and J. Woodrich. Mr. Sharp has also taken it down in N. Devon and in Somerset.

The earliest form of the words is found in a garland printed by Angus of Newcastle, B.M. (11,621, c 4). There are later Broadside versions. The words also in Fairburne's "Everlasting Songster," circ. 1825. Mr. Kidson gives the song in his "Traditional Tunes," p. 70, but to a melody different from ours. About 1760 Dr. Berg set the song, recast in a Scotch form: "As Jamie gang'd blithe his way along the banks of Tweed," to be sung at Ranelagh. As sung, the ballad consists of four lines in a stanza, and the two last are repeated; and it is in seven stanzas. To shorten the ballad I have made each stanza consist of six lines. Our tune is not that of Dr. Berg. But it is redolent of the art-music of the 18th or early 19th century, and hardly possesses the character of folk-made song. Still, it is very freely sung by old people in Devon and Somerset.

75. Three Jovial Welshmen. Taken down from "Old Capul," Nankivel, Merrivale Bridge. The song is given in Halliwell's "Nursery Rhymes of England," 290. It is probably a very old ballad, for in a ballad, "Choice of Inventions," printed by F. Coles, 1646-74, in the Roxburgh Collection (ed. Chappell, i. p. 105), is given a pot-pourri of scraps, "several sorts of the figure three," and it begins—

The tune to which it was to be sung was "Rock the Cradle, sweet John," for which, see Chappell, i. p. 189.

Another, and more modern version, is that of "The Three Jovial Huntsmen"—

which has been illustrated by Caldecott.

The original ballad is in "The Woody Chorister," B.M. (1162, e 2).

This is one of the ballads Mr. Incledon Johns heard sung on the outskirts of Dartmoor in 1830, mentioned in his book, already noticed, published in 1832.

A version, "Six Jovial Welshmen," is given in vol. i. p. 128, Folk-Song Journal, from Sussex. It runs—

This is probably a re-edition of the older song.

76. Well met, well met, my own true Love. The words are a cento from the lengthy ballad of the "Carpenter's Wife," which, as we have taken it down, consists of twenty verses. The black letter Broadside, "The Carpenter's Wife," is a peculiarly interesting ballad. It is the story of one Jane Reynolds of Plymouth, who had plighted her troth to a seaman. As they were about to be married, he was pressed and carried off to sea. Three years later, news arrived that he was dead, and then she married a carpenter, and lived with him for five years, and bore him three children. At the end of seven years an evil spirit assumed the likeness of her dead lover, and appeared to her, and induced her to leave with him. He carried her off, and she was never seen again. The husband, in despair, hung himself. Such is the theme of a lengthy ballad in the Roxburgh Collection, ed. Chappell, iii. p. 200. There are copies as well in the Pepys and Ewing Collections. It was printed by F. Coles (1646-1674), Gilbertson (1654-1663), Vere (1640-1680), and W. Oney (1650-1702). It was a sorry composition.

Now, the traditional ballad, as compared with the printed ballad, is superior at every point. It begins abruptly with the address of the sailor to the carpenter's wife, without the long story that precedes his attempt to cajole her to elope. Moreover, there is in it no intimation that the tempter is an evil spirit in the form of the dead lover, and when she has eloped, she pines not for three, but for her one babe, whom she has deserted.

Thirteen of the verses of the traditional ballad are found in "The Rambler's Garland," B.M. (1162, c 2). A form closely resembling our Devon ballad is in Buchan's "Ballads of the North of Scotland," i. p. 214, but is longer, consisting of twenty-six stanzas. Kinloch, Motherwell, and Laidlaw have also portions of it. Laidlaw, in a letter to Scott, January 3, 1803, says of the ballad, as sung to him by Walter Grieve: "He likewise sung part of a very beautiful ballad which I think you will not have seen.... The tune is very solemn and melancholy, and the effect is mixed with a considerable proportion of horror." See Child, No. 243.

The printed ballad that is in the Roxburgh Collection is, I feel convinced, a clumsy re-writing of the earlier ballad, so as to convey a moral, as its title implies, "A Warning to Married Women." James Harris is the demon lover. In the traditional ballad, when the carpenter's wife has eloped, she falls into deep depression—

There is another ballad running on somewhat similar lines, "The Undutiful Daughter," who is in like manner enticed away; but the ship will not proceed, and lots are cast who is to be thrown overboard. The lot falls on the girl, and she is cast into the sea, but the body swims before the ship and reaches land first. This ballad we have taken down several times.

The last verse (six) I have added to make some sort of conclusion to the song.

What the air is to which the ballad is sung in Scotland I do not know.

77. Poor Old Horse. Words and melody from Matthew Baker. The song is given in Bell's "Ballads of the English Peasantry," p. 184, as sung by the mummers in the neighbourhood of Richmond, Yorkshire. He says: "The rustic actor who sings this song is dressed as an old horse, and at the end of every verse the jaws are snapped in chorus. It is a fine composition, and is now (1864) printed for the first time." This is not so; it has long existed on Broadside by Hodges of Seven Dials, and Such, etc. The Midland air of the song in Mason's "Nursery Rhymes and Country Songs," 1877. Mr. Kidston has obtained several versions of the song in Yorkshire and Lancashire. A fine setting was sung at the Folk-Song Competition at Kendal in 1903. It is given in Folk-Song Journal, vol. i. pp. 75 and 260.

In "Sailors' Songs and Chanties," Boosey & Co., the song is given under the title of "The Dead Horse." In Derbyshire, at Christmas, boys and young men were wont, and may be still are wont, to go about, one dressed as a horse, with a horse's skull in his hands or affixed to his head; then this song was sung by the attendants and money asked for the feeding of the beast, and the head was made to snap its jaws. The song is also given in Topcliff's "Melodies of the Tyne and Wear," N.D., but circ. 1815, and is also found on Broadsides by Such.

Mr. Sharp has given a version in his "Folk-Songs from Somerset," No. 27.

78. The Dilly Song. An almost endless number of versions of this song have been taken down, and have been sent to us. It is known throughout Cornwall, and is, indeed, still sung in the chapels. When a party of amateurs performed the "Songs of the West" in Cornwall, 1890, the Dilly Song always provoked laughter among the good folk at the back of the halls. This puzzled the performers, till they learned that folk laughed because this was their familiar chapel hymn. In the text I have given the version of the words with least of the religious element in them. Here are some of the other versions—

2. "God's own Son, or Christ's Natures"; or "The strangers o'er the wide world rangers"; or "The lily-white maids."

3. "Three is all eternity"; "Three are the Thrones." The strangers are probably the Wise Men from the East.

4. "The Gospel Preachers"; "The Evangelists."

5. "The Ferryman in the Boat"; "The Nimble Waiters."

6. "The Cherubim Watchers"; "The Crucifix"; "The Cherrybird Waiters."

7. "The Crown of Heaven"; "The Seven Stars."

8. "The Great Archangel"; "The Angels"; "The Daybreak."

9. "The Nine Delights," i.e. the Joys of Mary; "The Moonshine."

10. "The Commandments"; "Begin Again."

11. "The Eleven Disciples"; "They that go to Heaven."

There are similar verses in German and Flemish; a Scottish version in Chambers' "Popular Rhymes," 1842, p. 50. Also found in Brittany: Luzel, "Chansons Populaires," 1890, p. 88. There is a Mediæval Latin form, beginning "Unus est Deus." A Hebrew form is printed in Mendez: "Service for the First Night of the Passover," London, 1862; a Moravian form in Wenzig: "Slavischer Märchen-Schatz," 1857, p. 295. It is also sung in the Eifel, Schmitz: "Sitten u. Bräuche des Eifler Volkes," Trier, 1856, p. 113. A Greek form is in Sanders: "Volksleben der Neugriechen." See also: Coussemaker, "Chants populaires des Flamands," Gand, 1850; Villemarqué, Barzas Breis, 1846, and later editions.

The lily-white boys are probably the Gemini, or sign for Spring. In the "Queen-like Closet, or Rich Cabinet," 1681, are instructions for embroidering emblems of the months. "May is to be clothed in a robe of white and green, and his sign must be Gemini."

"The Ferryman in the Boat" is perhaps Charon. In other versions Five is the Dilly-bird, or the Dilly-hour, "when blooms the dilly-flower."

Some are obviously merely adopted as rhymes, as "six the crucifix."

In Cornwall and Devon the song goes by the name of "The Dilly Song." What the meaning of "Dilly" is must remain uncertain. Possibly it signifies the Festal Song (Welsh, dillyn, pretty, gay).

The song used to be sung by Eton boys. It was introduced by Sir Arthur Sullivan into "The Yeomen of the Guard"; he, I believe, heard it sung by a sailor. His melody bears a certain relationship to ours. The song requires to be sung by at least two persons, a questioner and the responder.

79. Country Dance. This dance tune, called "The Mallard," because of some silly words that go to it relative to the gobbling up of a mallard. It begins—

The singer proceeds to eat the foot, then the leg, the thigh, the rump, the wing, the back, the breast, the neck, the head; and then the dance was concluded. A Breton version in Luzel, p. 80. I have written fresh words to the tune.

This tune is in the Dorian mode. As sung by J. Masters, the E was sharpened in the 3rd bar but flattened on the repetition of the same phase in the penultimate bar. Mr. Sheppard, when arranging the song, flattened the E throughout. It must be one thing or the other. Flattened throughout, it makes a charming melody, but the last flattened E was probably due to the singer's memory failing him in the latter part of the air, but serving him at the beginning of the tune. Mr. Sharp has accordingly retained the E natural throughout. The opening phrase is similar to the Plain-Song Easter Carol, "O Filii et Filiæ." This was a melody used in French folk-song for the welcoming in of spring. In fact, a May song. It forced its way into the service of the Church, and was adopted and used for the Easter Sequence. See Tiersot, op. cit., pp. 361, 391. It is certainly curious finding the same in Devonshire folk-music. Neither Mr. Sheppard nor I observed it; it was pointed out by Mr. Sharp.

80. Constant Johnny. Words and melody taken down from Roger Luxton. It was a dialogue, and so Mr. Sheppard had arranged it. Such lover dialogues are and were very commonly sung in farmhouses. Ravenscroft gives one in broad Devonshire in his "Brief Discourse," 1614, entitled, "Hodge Trellindle and his Zweethart Malkyn." Our ballad seems to be based on "Doubtful Robin and Constant Nanny," circ. 1680, in the "Roxburgh Ballads."

These dialogue songs between a lover and his lass were very popular. Addison, in The Guardian of 1713, gives snatches of a West Country ballad of this kind, and shows how vastly superior it is to the pastorals of Dresden china shepherds and shepherdesses of Pope and Philips.

81. The Duke's Hunt. Words and melody taken from James Olver, again at Stoke Gabriel, again at Mary Tavy, again at Menheniot. This is a mere cento from a long ballad, entitled "The Fox Chase," narrating a hunt by Villiers, second Duke of Buckingham, in the reign of Charles II. It is in the Roxburgh Collection, and was printed by W. Oury, circ. 1650. The ballad is there said to be sung "to an excellent tune, much in request." We suspect that the melody we give is the original tune handed down traditionally, and never before published. Mr. Sharp has noted down the same song and melody from a singer at East Harptree, Somerset.

82. The Bell Ringing. Words and air from William George Kerswell, Two Bridges, Dartmoor; sung also by James Down, blacksmith, Broadwood Widger. Broadbury Down is the highest ridge of land between Dartmoor and the Atlantic.

83. A Nutting we will go. Taken down from J. Gerrard, an old man, nearly blind, at Cullyhole, near Chagford, from Robert Hard, and again at Menheniot, and also from James Parsons. Bunting, in his "Irish Melodies," 1840, gives the same tune to a fragment of the same words, and says that he took it down in 1792 from Duncan, a harper. Duncan remembered a portion of a tune he had heard, perhaps, from English soldiers, and eked it out with some other tune. Then came S. Lover, and he took this air from Bunting, and wrote to it "The Lowbacked Car." But the original melody is found, not only in Devon and Cornwall, but also in the North, and Mr. Kidson gives it in his "Traditional Tunes," as "With Henry Hunt we'll go," a song sung in Manchester in connection with the arrest of Hunt in 1819. To the same air was set "The Plains of Waterloo." "The Lowbacked Car" has become popular through its words, and the inartistic quality of a patchwork tune has been forgiven for their sake.

The words "The Nutgirl" occur on Broadsides by Fortey, Such, etc. See Ballads collected by Crampton, B.M. (11,621, h), and (1875, b 19); but these are without the chorus. The printed Broadside has lost somewhat. For Gerard's—

it gives—

The Broadside ballad consists of fourteen verses, and is very gross. I have had to considerably tone down the words.

An earlier Broadside by Pitts has the chorus.

The same air was employed for the ballads, "In January last, on Monday at Morn," for "The Brags of Washington," 1775, for "Calder Fair," and "To Rodney we will go." It is given in the third edition of "Scotch, Irish, and Foreign Airs," Glasgow, 1788.

A version is in Folk-Song Journal, vol. i. p. 127, as taken down in Sussex. This version begins—

84. Down by a River Side. Taken down from the singing of James Townsend, Holne. He had learned it from his grandfather, who had been parish clerk of Holne for fifty years and died in 1883, over eighty years old. A version, recovered in Surrey, is given in the Folk-Song Journal, vol. i. p. 204.

85. The Barley Rakings. Taken down from Roger Hannaford, Lower Widdecombe, Dartmoor. The words exist in Broadside versions by Such, Bingham of Lincoln, Robertson of Wigton, etc. Such's version consists of six verses, the others of four. Hannaford's verses 2 and 3 were unlike those of Bingham and Robertson, but resembled 3 and 4 of Such. He had not 2 and 6 of Such. He had a curious line in verse 2: "They had a mind to style and play" (the Anglo-Saxon styllan, to leap or dance), not found in the printed copies. As none of these versions would be tolerable to polite ears, Mr. Sheppard has modified the words considerably. The melody to which "Barley Rakings" is sung in other parts of England is wholly different. Ours is probably an early dance tune, originally in the Mixolydian Mode, which has undergone modification in oral transmission.

86. A Ship came Sailing over the Sea. This curious song was obtained by the late Rev. S.M. Walker of Saint Enoder, Cornwall, from a very old man in his parish, and it was sent me by Miss Octavia L. Hoare. We heard the same from old Sally Satterley at Huckaby Bridge, Dartmoor. She was the daughter of an old crippled singing man on the moor. I have told the story of the way in which she as a young bride with her husband took possession of a house built all in one day, in my Dartmoor Idylls, "Jolly Lane Cott." Sally is now dead, and her house has been rebuilt and vulgarised. One verse, running—

is found in "The Distressed Virgin," a ballad by Martin Parker, printed by J. Coles, 1646-74. Parker seems to have taken the lines into his ballad from one previously existing. Two of the stanzas, 3 and 6, occur in the Scottish song, "Wally, wally up the Bank," in "Orpheus Caledonicus," 1733, No. 34; the stanzas 4 and 5 in the song in "The Scot's Musical Museum," 1787-1803, vi. p. 582. In "The Wandering Lover's Garland," circ. 1730, are two of the verses worked into another ballad.

We took down the song a third time from William Nichols of Whitchurch, near Tavistock. It was a song of his grandmother's, who seventy years ago was hostess of the village inn.

87. The Rambling Sailor. Words and music from Roger Hannaford. A hornpipe tune. There are several versions of this on Broadsides. Originally the song was "The Rambling Soldier," and so appears at the middle and latter end of the 18th century. Then some poetaster of Catnach's re-wrote it as "The Rambling Sailor," destroying all the point and wit of the original, which wit and point were not very choice. But as in the West, the ditty is set to a hornpipe tune, we have retained the song as one of a sailor, only modifying the words where objectionable. The earliest copy of "The Rambling Soldier" that I have seen was in the possession of Dr. Barrett; a later copy, circ. 1820, by Whiting of Birmingham, Ballads, B.M. (1876, c 2). "The Rambling Sailor," by Disley, circ. 1830, in Ballads collected by Crampton, B.M. (11,621), vol. viii.

Mr. Sharp has taken this song and air down in N. Devon and Somerset four or five times, in every case with a flattened 7th in the Mixolydian mode. Our version is clearly a modernised edition of the older tune.

88. Willie Combe. This ballad is known throughout the length and breadth of Cornwall, but it is sometimes mixed up with another, "The Alternon Volunteer." We have taken it down at least a score of times. Some of those from whom we have had it are Thomas Morris, parish clerk of Fowey; J. Libby, coachman at Tredethy, Bodmin; Anthony Pascoe, Liskeard; and Anne Painter, East Looe.

The incident referred to in the ballad is the accidental shooting of William Combe or Coome of St. Agnes, at the Revel or Village Feast at Crantock in 1721. In the parish register at this date is the entry: "William Coome of St Agnes, a youth about 20 years of age, who att the ffeast att this Parish recd his death of a shot; buried May 17."

Crantock Feast is on May 16.

There are a good many more verses in the original than are here given. They have no poetic merit; and the tune is not very original, but has a certain plaintive sweetness.

89. Midsummer Carol. Words and tune from William Aggett of Chagford. A very early and curious melody of the same date as the "May Day Carol," No. 47; and the words belong to a similar custom. Compare with this "Lemonday" in our "Garland of Country Songs." Originally doubtless an Æolian, perhaps a Dorian tune, that has been corrupted and modernised.

90. The Blackbird. The melody and words taken down from James Parson, Roger Hannaford, and John Voysey, labourer, Lew Down.

I re-wrote the ballad for the first edition, but in this I have restored the original words, only slightly modifying them.

A Broadside version has nine stanzas, and ends—

The same ballad in Lyle's Collection, 1827, "From Recollection; air plaintive and pastoral." A Broadside version of this ballad in nine stanzas by Williamson of Newcastle. Song and air are given also in Kidson's "Traditional Tunes," 1891, as taken down in Yorkshire; but that version of the melody is inferior to ours. A Welsh version of the tune comes nearer to ours.

91. The Green Bed. Taken down from J. Masters. We heard "The Outlandish Knight" sung to the same melody by Richard Gregory on Dartmoor. "The Green Bed" exists as a Broadside ballad in six double verses. Mr. Sheppard has re-written the ballad, and has condensed the story. The air somewhat resembles "The Girl I left behind me." See "Philander's Garland," circ. 1780, B.M. (11,621, c 4). See Folk-Song Journal, vol. i. p. 48.

92. The Loyal Lover. Words and air from Sally Satterley, Huckaby Bridge, again from Anne Roberts, Scobbetor, Widdecombe. The words exist in part in "Collin and Phœbe's Garland," B.M. (11,621, c 5). But this has two verses only. See also The Lover's Magazine, London, 1740, B.M. (11,621, c 26). This air has been harmonised in the Dorian mode, though as the 6th of the scale is absent, it might have been treated as an Æolian tune.

93. The Streams of Nantsian. Properly "The Streams of Lovely Nancy." Taken down by Miss Templer from the singing of harvesters in 1834; also by us from Matthew Ford, Menheniot; Matthew Baker, Lew Down; and James Oliver, Launceston. Matthew Baker said that he learned it, when aged ten, in 1827.

The ballad was printed by Keys of Devonport, circ. 1830, with four verses, of which verse 3 was an importation from another ballad. In other Broadside versions, the short original, consisting of four verses only, has been swelled out with scraps from other ballads to fill available space. Broadsides by Catnach, Whiting of Birmingham, etc.

94. The Drunken Maidens. Taken down from Edmund Fry, Lydford. This old ballad is found in "Charming Phillis' Garland," circ. 1710. It is in a Broadside by Crashaw of York, reprinted in Logan's "Pedlar's Pack," 1869, p. 241. The last verse has had to be modified.

A Breton version, "Merc'hed Caudan," is given by Luzel, ii. 142.

95. Tobacco is an Indian Weed. This old and famous song was written, it is thought, by George Withers, as Mr. Collier found a copy of it in MS. of the date of James I., with his initials to it. It is found in "Merry Drollery Complete," 1670, and on a Broadside dated 1672. We give the tune to which it is sung around Dartmoor and in Cornwall; this is entirely distinct from that to which it is sung elsewhere, as printed by Chappell, ii. p. 564, which is the air given by D'Urfey in his "Pills to Purge Melancholy," 1719, iii. 292. A Somerset version was sung at the Folk-Song Competition at Frome, 1904. Snatches of the song are given in "Handy Andy," so that we may assume that it is also well known among the Irish peasantry; another instance of the way in which English songs have travelled into Ireland. We took down our tune from John Potter, Merripit, Postbridge, and from Anne Roberts, Scobbetor, and H. Westaway, Belstone; also one obtained from an old man at Newton Abbot, sent to me.

In the original ballad, reprinted in Bell's "Songs and Ballads of the English Peasantry," there are many more stanzas than we can give here.

96. Fair Susan Slumbered. Music taken down from George Cole, quarryman, Rundlestone, Dartmoor. The words were so utterly worthless that Mr. Sheppard wrote a fresh copy of verses to the melody. Cole's first verses ran—