Title: Reliques of Ancient English Poetry, Volume 3 (of 3)
Editor: Thomas Percy
Henry B. Wheatley
Release date: June 11, 2014 [eBook #45941]
Most recently updated: October 24, 2024
Language: English
Credits: Produced by Richard Tonsing, Jonathan Ingram and the Online
Distributed Proofreading Team at http://www.pgdp.net
PERCY'S RELIQUES.
BY
THOMAS PERCY, D.D.
BISHOP OF DROMORE
EDITED, WITH A GENERAL INTRODUCTION, ADDITIONAL
PREFACES, NOTES, GLOSSARY, ETC.
BY
HENRY B. WHEATLEY, F.S.A.
IN THREE VOLUMES
VOL. III
LONDON: GEORGE ALLEN & UNWIN LTD.
RUSKIN HOUSE 40 MUSEUM STREET, W.C.1
| First Published by Swan Sonnenschein | April | 1885 |
| Reprinted | August | 1891 |
| " | August | 1899 |
| " | December | 1909 |
| " | January | 1927 |
Printed by the Riverside Press Limited, Edinburgh
Great Britain
| BOOK THE FIRST. | ||
|---|---|---|
| (Poems on King Arthur, &c.) | ||
| Page | ||
| 1. | 
The Boy and the Mantle |
3 |
| 2. | The Marriage of Sir Gawaine | 13 |
| 3. | King Ryence's Challenge | 24 |
| 4. | King Arthur's Death. A Fragment | 27 |
| Copy from the Folio MS. | 35 | |
| 5. | The Legend of King Arthur | 39 |
| 6. | A Dyttie to Hey Downe | 44 |
| 7. | Glasgerion | 45 |
| 8. | Old Robin of Portingale | 50 |
| 9. | Child Waters | 58 |
| 10. | Phillida and Corydon. By Nicholas Breton | 66 |
| 11. | Little Musgrave and Lady Barnard | 68 |
| 12. | The Ew-bughts, Marion. A Scottish Song | 74 |
| 13. | The Knight, and Shepherd's Daughter | 76 |
| 14. | The Shepherd's Address to his Muse. By N Breton | 80 |
| 15. | Lord Thomas and Fair Ellinor | 82 |
| 16. | Cupid and Campaspe. By John Lilye | 85 |
| 17. | The Lady turned Serving-man | 86 |
| 18. | Gil [Child] Morrice. A Scottish Ballad | 91 |
| Copy from the Folio MS. | 100 | |
| BOOK THE SECOND. | ||
| 1. | The Legend of Sir Guy | 107 |
| 2. | Guy and Amarant. By Samuel Rowlands | 114 |
| 3. | The Auld Good-Man. A Scottish Song[Pg vi] | 122 |
| 4. | Fair Margaret and Sweet William | 124 |
| 5. | Barbara Allen's Cruelty | 128 |
| 6. | Sweet William's Ghost. A Scottish Ballad | 130 |
| 7. | Sir John Grehme and Barbara Allen. A Scottish Ballad | 133 |
| 8. | The Bailiff's Daughter of Islington | 135 |
| 9. | The Willow Tree. A Pastoral Dialogue | 137 |
| 10. | The Lady's Fall | 139 |
| 11. | Waly, Waly, Love be bonny. A Scottish Song | 145 |
| 12. | The Bride's Burial | 148 |
| 13. | Dulcina | 153 |
| 14. | The Lady Isabella's Tragedy | 155 |
| 15. | A Hue and Cry after Cupid. By Ben. Jonson | 159 |
| 16. | The King of France's Daughter | 161 |
| 17. | The Sweet Neglect. By Ben. Jonson | 169 |
| 18. | The Children in the Wood | 169 |
| 19. | A Lover of late was I | 177 |
| 20. | The King and the Miller of Mansfield | 178 |
| 21. | The Shepherd's Resolution. By George Wither | 188 |
| 22. | Queen Dido (or the Wandering Prince of Troy) | 191 |
| 23. | The Witches' Song. By Ben. Jonson | 196 |
| 24. | Robin Good-fellow | 199 |
| 25. | The Fairy Queen | 204 |
| 26. | The Fairies Farewell. By Bishop Corbet | 207 |
| BOOK THE THIRD. | ||
| 1. | The Birth of St. George | 215 |
| 2. | St. George and the Dragon | 224 |
| 3. | Love will find out the Way | 232 |
| 4. | Lord Thomas and Fair Annet. A Scottish Ballad | 234 |
| 5. | Unfading Beauty. By Thomas Carew | 239 |
| 6. | George Barnwell | 240 |
| 7. | The Stedfast Shepherd. By George Wither | 253 |
| 8. | The Spanish Virgin, or Effects of Jealousy | 255 |
| 9. | Jealousy Tyrant of the Mind. By Dryden | 260 |
| 10. | Constant Penelope | 261 |
| 11. | To Lucasta, on going to the Wars. By Col. Lovelace. | 264 |
| 12. | Valentine and Ursine | 265 |
| 13. | The Dragon of Wantley | 279 |
| 14. | St. George for England. The First Part | 288 |
| 15. | St. George for England. The Second Part. By John Grubb | 293 |
| 16. | Margaret's Ghost. By David Mallet | 308 |
| 17. | Lucy and Colin. By Thomas Tickel[Pg vii] | 312 |
| 18. | The Boy and the Mantle, as revised and altered by a modern hand | 315 |
| 19. | The ancient Fragment of the Marriage of Sir Gawaine | 323 |
| APPENDIX. | ||
| I. | The Wanton Wife of Bath | 333 |
| II. | Essay on the Ancient Metrical Romances, &c. | 339 |
| Glossary | 377 | |
| Index | 411 | |
RELIQUES OF ANCIENT POETRY, ETC.
SERIES THE THIRD.
"An ordinary song or ballad, that is the delight of the common people, cannot fail to please all such readers, as are not unqualified for the entertainment by their affectation or their ignorance; and the reason is plain, because the same paintings of nature which recommend it to the most ordinary reader, will appear beautiful to the most refined."—Addison, in Spectator, No. 70.
The third volume being chiefly devoted to romantic subjects, may not be improperly introduced with a few slight strictures on the old metrical romances: a subject the more worthy attention, as it seems not to have been known to such as have written on the nature and origin of books of chivalry, that the first compositions of this kind were in verse, and usually sung to the harp.[1]
[1] [See Appendix.]
Is printed verbatim from the old MS. described in the Preface.[2] The Editor believes it more ancient than it will appear to be at first sight; the transcriber of that manuscript having reduced the orthography and style in many instances to the standard of his own times.
The incidents of the Mantle and the Knife have not, that I can recollect, been borrowed from any other writer. The former of these evidently suggested to Spenser his conceit of Florimel's Girdle, b. iv. c. 5, st. 3.
So it happened to the false Florimel, st. 16, when
As for the trial of the Horne, it is not peculiar to our poet: it occurs in the old romance, intitled Morte Arthur, which was translated out of French in the time of K. Edw. IV., and first printed anno 1484. From that romance Ariosto is thought to have borrowed his tale of the Enchanted Cup, c. 42, &c. See Mr. Warton's Observations on the Faerie Queen, &c.
The story of the Horn in Morte Arthur varies a good deal from this of our poet, as the reader will judge from the following extract:—"By the way they met with a knight that was sent from Morgan la Faye to king Arthur, and this knight had a fair horne all garnished with gold, and the horne had such a virtue, that there might no ladye or gentlewoman drinke of that horne, but if she were true to her husband: and if shee were false she should spill all the drinke, and if shee were true unto her lorde, shee might drink peaceably: and because of queene Guenever and in despite of Sir Launcelot du Lake, this horne was sent unto king Arthur."[Pg 5] This horn is intercepted and brought unto another king named Marke, who is not a whit more fortunate than the British hero, for he makes "his qeene drinke thereof and an hundred ladies moe, and there were but foure ladies of all those that drank cleane," of which number the said queen proves not to be one (book ii. chap. 22, ed. 1632).
In other respects the two stories are so different, that we have just reason to suppose this ballad was written before that romance was translated into English.
As for queen Guenever, she is here represented no otherwise than in the old histories and romances. Holinshed observes, that "she was evil reported of, as noted of incontinence and breach of faith to hir husband" (vol. i. p. 93).
Such readers, as have no relish for pure antiquity, will find a more modern copy of this ballad at the end of the volume.
[For Percy's further notes on this ballad see the modernized version (book iii. No. 18). Professor Child prints the ballad in his English and Scottish Ballads (vol. i. p. 1) with a full notice of the various forms of the story by way of introduction. He writes:—"No incident is more common in romantic fiction than the employment of some magical contrivance as a test of conjugal fidelity, or of constancy in love. In some romances of the Round Table, and tales founded upon them, this experiment is performed by means either of an enchanted horn, of such properties that no dishonoured husband or unfaithful wife can drink from it without spilling, or of a mantle which will fit none but chaste women. The earliest known instances of the use of these ordeals are afforded by the Lai du Corn, by Robert Bikez, a French minstrel of the twelfth or thirteenth century, and the Fabliau du Mantel Mautaillé, which, in the opinion of a competent critic, dates from the second half of the thirteenth century, and is only the older lay worked up into a new shape (Wolf, Ueber die Lais, 327, sq., 342, sq.). We are not to suppose, however, that either of these pieces presents us with the primitive form of this humorous invention. Robert Bikez tells us that he learned his story from an abbot, and that 'noble ecclesiast' stood but one further back in a line of tradition which curiosity will never follow to its source."
Here follows a list of "the most remarkable cases of the use of these and similar talismans in imaginative literature." To these may be added the garland described in the curious old story of the Wright's Wife, which has been printed since the publication of Mr. Child's work.
The Wright's Chaste Wife (E. E. Text Soc. 1865, 1. 55-66).]
[2] [Percy folio MS. ed. Hales and Furnivall, vol. ii. pp. 301-311.]
[3] [knew.]
[4] Ver. 7. branches, MS.
[5] [ornamented.]
[6] [bid.]
[7] V. 18. heate, MS.
[8] [probably a pouch or bag, but there is no authority for the word.]
[9] Ver. 21. potewer, MS.
[10] V. 32. his wiffe, MS.
[11] V. 34. biled, MS.
[12] [red.]
[13] V. 41. gaule, MS.
[14] [light blue or woad coloured.]
[15] [colour.]
[16] [ruddy.]
[17] [began.]
[18] [fuller.]
[19] [Ver. 72. all above the buttockes, MS.]
[20] V. 75. lauged, MS.
[21] [began.]
[22] [draw close together, another form of crowd.]
[23] Ver. 134. wright, MS.
[24] V. 136. cleare, MS.
[25] [forthwith.]
[26] Ver. 140. by deene, MS.
[27] [V. 151. a little boy, MS.]
[28] [V. 152. looking over.]
[29] [V. 155-6. these two lines belong to the former stanza.]
[30] Ver. 170. them upon, MS.
[31] [carved.]
[32] V. 175. or birtled, MS.
[33] [shed.]
Is chiefly taken from the fragment of an old ballad in the Editor's MS., which he has reason to believe more ancient than the time of Chaucer, and what furnished that bard with his Wife of Bath's Tale. The original was so extremely mutilated, half of every leaf being torn away, that without large supplements, &c. it was deemed improper for this collection: these it has therefore received, such as they are. They are not here particularly pointed out, because the Fragment itself will now be found printed at the end of this volume.
[Sir Frederic Madden supposed this ballad to be founded upon the Weddynge of Syr Gawen and Dame Ragnell, which he printed from the Rawlinson MS. c. 86, fol. 128 b, in his Syr Gawaine.
Mr. Hales writes as follows respecting the various forms in which the story appears in literature. "The wonderful 'metamorphosis' on which this story turns is narrated in Gower's Confessio Amantis, as the story of Florent and the King of Sicily's Daughter, taken by him, as Tyrwhitt conjectures, from the Gesta Romanorum, or some such collection. It appears again, as the reader will remember, in Chaucer's Wyf of Bathes Tale. 'Worked over,' says Prof. Child, 'by some ballad-monger of the sixteenth century, and of course reduced to ditch-water, this tale has found its way into the Crown Garland of Golden Roses, part i. p. 68 (Percy Society, vol. vi.), 'Of a Knight and a Faire Virgin.' On a similar transformation depends the story of 'King Henrie' in Scott's Minstrelsy, edited from Mrs. Brown's MS., with corrections from a recited fragment, and modernized as 'Courteous King Jamie' in Lewis's Tales of Wonder. 'The prime original,' says Scott, 'is to be found in an Icelandic Saga.'"[34]
Mr. Child prints (English and Scottish Ballads, vol. viii. p. 139) two versions of a Scotch ballad entitled Kempy Kaye, which he supposes to be an extravagant parody of The Marriage of Sir Gawaine.]
⁂
[34] [Percy folio MS. ed. Hales and Furnivall, vol. i. p. 104.]
[35] [complexion.]
[36] [strong.]
[37] [abused.]
[38] Tearne-Wadling is the name of a small lake [in Inglewood Forest] near Hesketh in Cumberland, on the road from Penrith to Carlisle. There is a tradition, that an old castle once stood near the lake, the remains of which were not long since visible. Tarn, in the dialect of that country, signifies a small lake, and is still in use. ["Tarn-Wadling ... has been for the last ten years a wide meadow grazed by hundreds of sheep."—J. S. Glennie, in Macmillan's Mag. Dec. 1867, p. 167, col. 2.]
[39] churlish.
[40] faith.
[41] This was a common phrase in our old writers; so Chaucer, in his prologue to the Cant. Tales, says of the wife of Bath:—
[42] Sir F. Madden remarks that Sir Stephen does not appear in the Round Table Romances.
[43] [Perhaps intended for Bedver, the King's Constable, Tennyson's Bedivere, but more probably Ban of Benoyk, the brother of Bors.]
[44] [Bors de Gauves, or Gaunes.]
[45] [Gareth, or Gaheret, Sir Gawain's younger brother.]
[46] [neck.]
This song is more modern than many of those which follow it, but is placed here for the sake of the subject. It was sung before queene Elizabeth at the grand entertainment at Kenelworth-castle in 1575, and was probably composed for that occasion. In a letter describing those festivities, it is thus mentioned: "A Minstral came forth with a sollem song, warranted for story out of K. Arthur's acts, whereof I gat a copy, and is this:
After the song the narrative proceeds: "At this the Minstrell made a pause and a curtezy for Primus Passus. More of the song is thear, but I gatt it not."
The story in Morte Arthur, whence it is taken, runs as follows: "Came a messenger hastely from king Ryence of North-Wales,—saying, that king Ryence had discomfited and overcomen eleaven kings, and everiche of them did him homage, and that was this: they gave him their beards cleane flayne off.—wherefore the messenger came for king Arthur's beard, for king Ryence had purfeled a mantell with kings beards, and there lacked for one a place of the mantell, wherefore he sent for his beard, or else he would enter into his lands, and brenn and slay, and never leave till he have thy head and thy beard. Well, said king Arthur, thou hast said thy message, which is the most villainous and lewdest message that ever man heard sent to a king. Also thou mayest see my beard is full young yet for to make a purfell of, but tell thou the king that—or it be long he shall do to me homage on both his knees, or else he shall leese his head." [B. i. c. 24. See also the same Romance, b. i. c. 92.]
The thought seems to be originally taken from Jeff. Monmouth's Hist. b. x. c. 3. which is alluded to by Drayton in his Poly-Olb. Song. 4 and by Spenser in Faer. Qu. 6. 1. 13. 15. See the Observations on Spenser, vol. ii. p. 223.
The following text is composed of the best readings selected from three different copies. The first in Enderbie's Cambria Triumphans, p. 197. The second in the Letter abovementioned. And the third inserted in MS. in a copy of Morte Arthur, 1632, in the Bodleian Library.
Stow tells us, that king Arthur kept his round table at "diverse places, but especially at Carlion, Winchester, and Camalet in Somersetshire." This Camalet, sometimes a famous towne or castle, is situate on a very high tor or hill, &c. (See an exact description in Stowe's Annals, ed. 1631, p. 55.)
†‡† Strada, in his Prolusions, has ridiculed the story of the Giant's Mantle, made of the Beards of Kings.
[47] [party-coloured coats.]
[48] Largesse, Largesse. The heralds resounded these words as oft as they received of the bounty of the knights. See Memoires de la Chevalerie, tom. i. p. 99.—The expression is still used in the form of installing knights of the garter.
[49] [dais or upper table.]
[50] [voice.]
[51] [press.]
[52] [North Wales.]
[53] i.e. set round the border, as furs are now round the gowns of Magistrates.
[54] [corner.]
[55] [in spite of.]
[56] [that moment the tumult.]
[57] [decked.]
A Fragment.
The subject of this ballad is evidently taken from the old romance Morte Arthur, but with some variations, especially in the concluding stanzas; in which the author seems rather to follow the traditions of the old Welsh Bards, who believed that King Arthur was not dead, "but conveied awaie by the Fairies into some pleasant place, where he should remaine for a time, and then returne againe and reign in as great [Pg 28]authority as ever." Holinshed, b. 5, c. 14, or as it is expressed in an old Chronicle printed at Antwerp 1493, by Ger. de Leew, "The Bretons supposen, that he [K. Arthur]—shall come yet and conquere all Bretaigne, for certes this is the prophicye of Merlyn: He sayd, that his deth shall be doubteous; and sayd soth, for men thereof yet have doubte, and shullen for ever more,—for men wyt not whether that he lyveth or is dede." See more ancient testimonies in Selden's Notes on Polyolbion, Song III.
This fragment being very incorrect and imperfect in the original MS. hath received some conjectural emendations, and even a supplement of three or four stanzas composed from the romance of Morte Arthur.
[The two ballads here entitled King Arthur's Death and The Legend of King Arthur are united in the Folio MS. (ed. Hales and Furnivall, vol. i. p. 497), but they are evidently two distinct songs. The first ballad forms part ii. of the MS. copy, which has fourteen verses at the end not printed here. The last four verses are printed at the end of the next ballad. Percy has taken great liberties with his original, and has not left a single line unaltered, as will be seen by comparing it with the original printed at the end. Additional lines are also interpolated which are now enclosed within brackets, and it will be seen that these unnecessary amplifications do not improve the effect of the poem. It will also be seen that in vv. 41-44 the father and son of the original are changed into uncle and nephew.
This last scene in the life of King Arthur is the most beautiful and touching portion of his history, and the romancers and minstrels were never tired of telling it in every form.
According to one tradition Arthur still sleeps under St. Michael's Mount ("the guarded Mount" of Milton's Lycidas), and according to another beneath Richmond Castle, Yorkshire.
Mr. Willmott, in his edition of the Reliques, writes, "according to popular superstition in Sicily, Arthur is preserved alive by his sister la Fata Morgana, whose fairy palace is occasionally seen from Reggio in the opposite sea of Messina."]
⁂
[The following forms Part II. of a ballad entitled King Arthur's Death, in the folio MS. ed. Hales and Furnivall, vol. i. p. 501.
ffins.]
[58] Sir Gawaine had been killed at Arthur's landing on his return from abroad. See the next ballad, ver. 73.
[59] [Ver. 41, 42, the folio MS. reads father ... sonne.]
[60] [serpent.]
[61] [pay for or expiate.]
[62] More commonly called, Caliburn. In the folio MS. Escallberd. [Percy notes in the MS. that "Caliburn was presented A.D. 1191 to Tancred, King of Sicily, by our King Richard I. See Rapin, vol. i."]
[63] [Cologne steel.]
[64] Ver. 178, see MS.
[65] Not unlike that passage in Virgil.
Ladies was the word our old English writers used for Nymphs: As in the following lines of an old song in the Editor's folio MS.
We have here a short summary of K. Arthur's History as given by Jeff. of Monmouth and the old chronicles, with the addition of a few circumstances from the romance Morte Arthur.—The ancient chronicle of Ger. de Leew (quoted above in p. 28), seems to have been chiefly followed: upon the authority of which we have restored some of the names which were corrupted in the MS. and have transposed one stanza, which appeared to be misplaced, (viz. that beginning at ver. 49, which in the MS. followed ver. 36.)
Printed from the Editor's ancient folio Manuscript.
[This ballad as previously stated is the first part of the poem in the MS. and precedes the one here printed before it. Percy made comparatively few alterations in this part and all of them are now noted at the foot of the page.]
[66] Ver. 1. Bruite his, MS.
[67] [heathendom.]
[68] [born.]
[69] [V. 6. borne, MS.]
[70] V. 9. He began his reign A.D. 515, according to the Chronicles.
[71] [V. 16. sit, MS.]
[72] [V. 19. all nations, MS.]
[73] [pronounced "Tintadgell;" the remains of the castle still exist on the north coast of Cornwall.]
[74] V. 23. She is named Igerna in the old Chronicles.
[75] V. 24. his, MS.
[76] [Ver. 31-2.
[77] V. 39. Froland feild, MS. Froll, according to the Chronicles, was a Roman knight governor of Gaul.
[78] V. 41. Danibus, MS.
[79] [Pagans.]
[80] V. 49. of Pavye, MS.
[81] [V. 49-52. this stanza occurs after v. 36 in the MS.]
[82] [Ver. 69. and when at Sandwich I did land.]
[83] [V. 74. on that.]
[84] [V. 75. that Sir Lancelott.]
[85] [V. 80. he tooke. MS.]
[86] [Ver. 83. Wherby appointed.]
[87] [V. 84. was agreed.]
[88] [V. 85-6.
[89] [V. 92. upon.]
[90] V. 92. perhaps fates.
[91] [V. 96 is the end of the first part in the MS., the stanza
ends the second part, which is printed by Percy as King Arthur's death, see previous ballad.]
Copied from an old MS. in the Cotton Library [British Museum] (Vesp. A. xxv. fol. 170), intitled, "Divers things of Hen. viij's time."
[92] Ver. 4. causse, MS.
An ingenious Friend thinks that the following old Ditty (which is printed from the Editor's folio MS.) may possibly have given birth to the Tragedy of the Orphan, in which Polidore intercepts Monimia's intended favours to Castalio.
See what is said concerning the hero of this song, (who is celebrated by Chaucer under the name of Glaskyrion) in the Essay affixed to vol. i. note H. pt. iv. (2).
[The hero of this ballad is the same as "gret Glascurion," placed by Chaucer in the House of Fame by the side of Orpheus, and also associated with Orpheus by Gawain Douglas in the Palice of Honour. Percy's note in the Folio MS. is "It was not necessary to correct this much for the press;" (ed. Hales and Furnivall, vol. i. p. 246). It will be seen, however, by the collations at the foot of the page that several corrections were made, not always for the better. Thus ver. 96, "who did his ladye grieve," is certainly weaker than the original,—
Jamieson (Popular Ballads, 1806, vol. i. p. 91) prints an inferior version under the name of Glenkindie. Mr. Hale points out, however, that "the Scotch version is more perfect in one point—in the test question put to the page before the assignation is disclosed to him:—
Some such question perhaps would give more force to vv. 85-88 of our version." He also very justly observes, "perhaps there is no ballad that represents more keenly the great gulf fixed between churl and noble—a profounder horror at the crossing over it."]
[93] [Ver. 4. where cappe and candle yoode, MS.]
[94] V. 6. wood, MS.
[95] [V. 8. sayd shee, MS.]
[96] [V. 9. saide, strike.]
[97] [cease.]
[98] [V. 11. over this.]
[99] [well may be thine.]
[100] [V. 13. you fall.]
[101] [V. 15. 7 yeere.]
[102] [V. 16. my hart I durst neere breake.]
[103] [V. 21. but whom then.]
[104] [V. 24. her love is granted mee.]
[105] [Ver. 29. but come you hither Master, quoth he.]
[106] [wicked.]
[107] [V. 34. and did on hose and shoone.]
[108] This is elsewhere expressed "twirled the pin," or "tirled at the pin" (see b. ii. s. vi. v. 3.) and seems to refer to the turning round the button on the outside of a door, by which the latch rises, still used in cottages.
[The explanation given by Percy in this note is an unfounded guess. The Risp or tirling pin was very generally used in the north to do the duty afterwards performed by the knocker. There are several of these curious contrivances in the Antiquarian Museum at Edinburgh, and they are described by D. Wilson in his Memorials of Edinburgh in the Olden Time, as follows,—"These antique precursors of the knocker and bell are still frequently to be met with in the steep turnpikes of the Old Town, notwithstanding the cupidity of the Antiquarian collectors. The ring is drawn up and down the notched iron rod and makes a very audible noise within." (1848, vol. i. p. 97).]
[109] [V. 42. nor noe bed.]
[110] [V. 43-4.
[111] [Ver. 45. that lady gay.]
[112] [went.]
[113] [Ver. 46. when he came nor when he youd.]
[114] [V. 51. that coller from about.]
[115] [V. 53. awaken quoth hee my master deere.]
[116] [V. 54-5. not in MS.]
[117] [V. 59. have not I served a.]
[118] [V. 60. when times comes I have need.]
[119] [V. 61. but up.]
[120] [V. 64. he was a kinges sonne.]
[121] [V. 65. that ladies.]
[122] [V. 66. upon a.]
[123] [V. 68. rose up and.]
[124] [V. 71. you are. MS]
[125] Ver. 77. litle, MS.
[126] [V. 78. falsly hath.]
[127] [V. 79. and then.]
[128] [V. 82. spring within my body.]
[129] [V. 83-4. not in MS.]
[130] [V. 85. but home then.]
[131] [V. 86. a woe man good was hee.]
[132] [V. 87. come hither thou.]
[133] [V. 88. come thou.]
[134] [V. 89. ffor if.]
[135] [V. 96. and asked noe man noe leave.]
[136] [V. 98. till a. MS.]
From an ancient copy in the Editor's folio MS. which was judged to require considerable corrections.
In the former edition the hero of this piece had been called Sir Robin, but that title not being in the MS. is now omitted.
Giles, steward to a rich old merchant trading to Portugal, is qualified with the title of Sir, not as being a knight, but rather, I conceive, as having received an inferior order of priesthood.
[Percy's note in the MS. is as follows, "When I first set to examine this I had not yet learnt to hold this old MS. in much regard." Every line is altered, so that it has been necessary to add a copy of the original, although the interest of the ballad itself is not very great. Percy's most notable correction is the introduction of 20 good knights to help Robin against his wife's twenty-four traitors.]
[The following is the original ballad from the Folio MS. ed. Hales and Furnivall, vol. i. p. 235.
ffins.]
[137] Ver. 19. unbethought, (properly onbethought) this word is still used in the Midland counties in the same sense as bethought.
[138] [spoil or kill.]
[139] [knock.]
[140] V. 32. blend, MS.
[141] [clerk.]
[142] Ver. 47. or to-morrow, MS.
[143] [doomed.]
[144] V. 56. bee, MS.
[145] Ver. 72. make the, MS.
[146] V. 75. first, MS.
[147] [snare.]
[148] [alive.]
[149] Ver. 118. fleshe, MS.
[150] [shaped.]
[151] Every person who went on a Croisade to the Holy Land, usually wore a cross on his upper garment, on the right shoulder, as a badge of his profession. Different nations were distinguished by crosses of different colours: The English wore white; the French red; &c. This circumstance seems to be confounded in the ballad. (V. Spelman, Gloss.)
Child is frequently used by our old writers, as a Title. It is repeatedly given to Prince Arthur in the Fairie Queen: and the son of a king is in the same poem called "Child Tristram." (B. 5. c. 11. st. 8. 13.—B. 6. c. 2. st. 36.—Ibid. c. 8. st. 15.) In an old ballad quoted in Shakespeare's K. Lear, the hero of Ariosto is called Child Roland. Mr. Theobald supposes this use of the word was received along with their romances from the Spaniards, with whom Infante signifies a "Prince." A more eminent critic tells us, that "in the old times of chivalry, the noble youth, who were candidates for knighthood, during the time of their probation were called Infans, Varlets, Damoysels, Bacheliers. The most noble of the youth were particularly called Infans." (Vid. Warb. Shakesp.) A late commentator on Spenser observes, that the Saxon word cniht, knight, signifies also a "child." (See Upton's gloss to the F. Q.)
The Editor's folio MS. whence the following piece is taken (with some corrections), affords several other ballads, wherein the word Child occurs as a title: but in none of these it signifies "Prince." See the song intitled Gil Morrice, in this volume.
It ought to be observed, that the Word Child or Chield is still used in North Britain to denominate a Man, commonly with some contemptuous character affixed to him, but sometimes to denote Man in general.
[This ballad gives us a curious insight into ancient manners, and shows what were our forefathers' notions of the perfection of female character. They would have agreed with the propounder of the question—What is woman's mission? answer, sub-mission. Like patient Grissel, Ellen bears worse sufferings than the Nut-Brown Maid has to hear of, and in spite of the worst usage she[Pg 59] never swerves from her devotion. This English version was the first published, but the story is the same as Lai le Frêne, preserved in English in the Auchinleck MS. and in Norman in the Lais of Marie, which were written about the year 1250.
Jamieson (Popular Ballads and Songs, 1806, vol. i. p. 113) published his Scottish version under the more appropriate name of Burd Ellen, who is the real heroine rather than the ruffian Waters is the hero. Adopting the idea of Mrs. Hampden Pye, who wrote a ballad on the same subject, he changes the character of the catastrophe by adding three concluding stanzas to wind up the story in an unhappy manner. Another version of the ballad, which ends happily, is given in Kinloch's Ancient Scottish Ballads under the title of Lady Margaret. A German version of this ballad was made by the poet Bürger.]
[152] [Ver. 3. to him came, MS.]
[153] [V. 4. as ere did weare, MS.]
[154] [V. 7. which was. MS.]
[155] V. 15. then not in MS.
[156] [V. 24. that lyes.]
[157] [V. 25. have a.]
[158] [V. 26. of your eye.]
[159] [V. 30. soe ffarr.]
[160] [V. 38. tell itt mee.]
[161] [V. 42. another inch above your eye. MS.]
[162] [Ver. 45. all this long. Shee not in MS.]
[163] [V. 46. shee ran.]
[164] [V. 49. but all this day.]
[165] [V. 50. shee ran.]
[166] [V. 52. as to say.]
[167] [V. 53. O not in MS.]
[168] [V. 55. but yours.]
[169] [V. 56. burst.]
[170] [V. 57. he sayes, sees.]
[171] [V. 59. Child Waters, shee said.]
[172] i.e. permit, suffer, &c.
[173] [V. 65. Ellen's clothes.]
[174] [V. 67. and Child Waters.]
[175] [V. 71. thou not in MS.]
[176] [Ver. 74. shine the yates. MS.]
[177] [V. 75. theres 24 ffayre ladyes.]
[178] [V. 76. the ffairest is my worldlye make.]
[179] [V. 78. Shineth.]
[180] [V. 79. there is 24 ffaire ladyes.]
[181] [V. 81, 85. I doe see.]
[182] [V. 82, 86. that of redd gold shineth the yates.]
[183] [V. 83, 87. God give good then.]
[184] [V. 84. worldlye make.]
[185] [V. 89. there were 24 ladyes.]
[186] [V. 90. were playing.]
[187] [V. 91. Ellen was the fairest ladye.]
[188] [V. 93. there were.]
[189] [V. 94. was playing.]
[190] [V. 95. shee was the ffairest ladye.]
[191] [V. 96. grasse.]
[192] [V. 98. and these.]
[193] [V. 100. eye. MS.]
[194] [Ver. 103. and ever I pray. MS.]
[195] [V. 104. let him goe.]
[196] [After V. 112 the two lines
occur in the MS.]
[197] [V. 114. they waye.]
[198] [V. 116. hearken what I doe say.]
[199] [V. 117. and goe thy.]
[200] [V. 121. armes 2. MS.]
[201] i.e. defiling. See Warton's Observ. vol. ii. p. 158.
[202] [V. 127. and tooke her in her armes 2.]
[203] [V. 130. that I may creape in att.]
[204] Ver. 132. i.e. essay, attempt
[205] [V. 135-6.
[206] [V. 138. and give.]
[207] [V. 140. that he may carry me the better away.]
[208] [V. 141. and up then rose the.]
[209] [V. 143. did on.]
[210] [V. 144. that he might carry him.]
[211] [V. 145. she layned.]
[212] [V. 150. and heard her make her moane.]
[213] [V. 152. I think thou art a. MS.]
[214] [Ver. 153. for yonder is a ghost in thy stable.]
[215] [V. 157. but up then rose Childe Waters.]
[216] [V. 159. and not in MS.]
[217] [V. 162. full still that.]
[218] [V. 163. heare now faire.]
[219] sic in MS., i.e. moaning, bemoaning, &c.
[220] [V. 165. my owne.]
[221] [V. 170. and be of good cheere I thee pray.]
[222] [V. 172. they shall, MS.]
This Sonnet is given from a small quarto MS. in the Editor's possession, written in the time of Q. Elizabeth. Another Copy of it containing some variations, is reprinted in the Muses' Library, p. 295, from an ancient miscellany, intitled England's Helicon, 1600, 4to. The author was Nicholas Breton, a writer of some fame in the reign of Elizabeth; who also published an interlude intitled An old man's lesson and a young man's love, 4to., and many other little pieces in prose and verse, the titles of which may be seen in Winstanley, Ames' Typog. and Osborne's Harl. Catalog. &c.—He is mentioned with great respect by Meres, in his 2d pt. of Wit's Common-wealth, 1598, f. 283, and is alluded to in Beaumont and Fletcher's Scornful Lady, act ii., and again in Wit without Money, act iii.—See Whalley's Ben Jonson, vol. iii. p. 103.
The present Edition is improved by a copy in England's Helicon, edit. 1614, 8vo.
This little Pastoral is one of the Songs in "The Honourable Entertainment gieven to the Queenes Majestie in Progresse at Elvetham in Hampshire, by the R. H. the Earle of Hertford, 1591, 4to." (Printed by Wolfe. No name of author.) See in that pamphlet,
"The thirde daies Entertainment.
"On Wednesday morning about 9 o'clock, as her Majestie opened a casement of her gallerie window, ther were 3 excellent musitians, who being disguised in auncient country attire, did greet her with a pleasant song of Corydon and Phillida, made in 3 parts of purpose. The song, as well for the worth of the dittie as the aptnesse of the note thereto applied, it pleased her Highnesse after it had been once sung to command it againe, and highly to grace it with her cheerefull acceptance and commendation.
The Plowman's Song.
The splendour and magnificence of Elizabeth's reign is nowhere more strongly painted than in these little diaries of some of her summer excursions to the houses of her nobility; nor could a[Pg 67] more acceptable present be given to the world, than a republication of a select number of such details as this of the entertainment at Elvetham, that at Killingworth, &c., &c., which so strongly mark the spirit of the times, and present us with scenes so very remote from modern manners.
Since the above was written, the public hath been gratified with a most compleat work on the foregoing subject, intitled, The Progresses and Public Processions of Queen Elizabeth, &c. By John Nichols, F.A.S., Edinb. and Perth, 1788, 2 vols. 4to.
[The author of this elegant little poem was a most voluminous author, and "is supposed to be the same Capt. Nicholas Breton, who was of Norton in Northamptonshire, and dying there June 22, 1624, has a monument in that church."[223] Dr. Rimbault (Musical Illustrations of Percy's Reliques) writes as follows of the music:—"We have here two settings of this beautiful pastoral, the first as it was sung by the 'three excellent musitians' before Queen Elizabeth in 1591; the second as it was reset in the following century. The first is extracted from Madrigals to 3, 4, and 5 parts, apt for viols and voices, newly composed by Michael Este, 1604; the second from Cheerfull Ayres or Ballads, set for three voyces, by Dr. John Wilson, Oxford, 1660. The latter became extremely popular, and is included in D'Urfey's Pills to Purge Melancholy, 1719, and several other musical miscellanies of subsequent date."]
[223] [England's Helicon (Brydges' British Bibliographer, vol. iii.)]
[224] Ver. 4. the wode, MS.
This ballad is ancient, and has been popular; we find it quoted in many old plays. See Beaum. and Fletcher's Knight of the Burning Pestle, 4to. 1613, act v. sc. iii. The Varietie, a comedy, 12mo. 1649, act iv. &c. In Sir William Davenant's play, The Witts, a. iii. a gallant thus boasts of himself:
In the Pepys Collection, vol. iii. p. 314, is an imitation of this old song, in 33 stanzas, by a more modern pen, with many alterations, but evidently for the worse.
This is given from an old printed copy in the British Museum,[Pg 69] with corrections; some of which are from a fragment in the Editor's folio MS. It is also printed in Dryden's Collection of Miscellaneous Poems.
[The copy of this ballad in the Folio MS. (ed. Hales and Furnivall, vol. i. p. 119) is a mutilated fragment consisting of only ten complete stanzas and three half ones. The oldest entire copy is to be found in Wit Restor'd, 1658, where it is called the old ballad of little Musgrave, which is given by Professor Child (English and Scottish Ballads, vol. ii. p. 15) in preference to Percy's. This version, not very exactly transcribed, is printed in Dryden's Miscellany Poems (1716, vol. iii. 312), and Ritson (Ancient Songs and Ballads, vol. ii. p. 116) copied it from thence. Ritson writes of one of Percy's statements above: "Dr. Percy indeed, by some mistake, gives it as from an old printed copy in the British Museum; observing that 'In the Pepys collection is an imitation of this old song in a different measure, by a more modern pen, with many alterations, but evidently for the worse.' It is very true, and not less so that the only copies in the museum (for there are two) are more recent impressions of this identical imitation."
It is the 14th stanza slightly altered which is quoted in the Knight of the Burning Pestle.
There are several Scottish versions, in which the reciters have altered the locality. Jamieson has printed one which he calls Lord Barnaby (Popular Ballads and Songs, i. 170). He states that he had heard it repeated both in Morayshire and in the southern counties.
Motherwell gives the air in his Minstrelsy which he noted down from oral communication, and this verse—
Mr. J. H. Dixon includes a version entitled Lord Burnett and Little Munsgrove in his Scottish Traditional Versions of Ancient Ballads (Percy Society, vol. xvii.)
Home adopted the name of Lady Barnard in his Douglas before he took that of Lady Randolph, see No. 18, Gil Morrice.
There is another ballad called The Bonny Birdy, with a similar story. Jamieson (i. 162) prints it and alters the title to Lord Randal.]
†‡† That the more modern copy is to be dated about the middle of the last century, will be readily conceived from the tenor of the concluding stanza, viz.
[225] Bucklefield-berry, fol. MS.
[226] Ver. 64. Is whistling sheepe ore the mold, fol. MS.
[227] [wildly angry.]
[228] [See the last stanza of Childe Maurice from Folio MS., book i. No. 18, which is almost identical with this.]
A Scottish Song.
This sonnet appears to be ancient: that and its simplicity of sentiment have recommended it to a place here.
[This is marked in Ramsay's Tea Table Miscellany as an old song with additions. It is not known who wrote the song or who composed the air belonging to it. They are both old.]
[229] [the pens in which the ewes are milked.]
[230] [gather in.]
[231] [joy sparkles.]
[232] Hauss bane, i.e. The neck-bone. Marion had probably a silver locket on, tied close to her neck with a ribband, an usual ornament in Scotland; where a sore throat is called "a sair hause," properly halse.
[233] [loves.]
[234] [young heifer.]
[235] [woollen cloth.]
[236] [a kind of lace made of thread or silk.]
[237] [crimson.]
This ballad (given from an old black-letter copy, with some corrections) was popular in the time of Q. Elizabeth, being usually printed with her picture before it, as Hearne informs us in his preface to Gul. Neubrig. Hist. Oxon. 1719, 8vo. vol. i. p. lxx. It is quoted in Fletcher's comedy of the Pilgrim, act iv. sc. 2.
[It is also quoted in The Knight of the Burning Pestle:
There are several Scottish versions given by Buchan, Kinloch, and Motherwell. The latter claims greater antiquity for his over Percy's. It appears, however, to be a southern ballad adapted by the Scotch and improved in its humour. The heroine practices various artifices to maintain the character of a "beggar's brat" when riding back with Earl Richard.]
*
[238] [Jill is sometimes used as a woman's name and at other times as a man's.]
[239] [Ver. 50. His bodye Ile give to thee.] This was agreeable to the feudal customs: The Lord had a right to give a wife to his vassals. See Shakespeare's All's well that ends well.
This poem, originally printed from the small MS. volume, mentioned above in No. X., has been improved by a more perfect copy in England's Helicon, where the author is discovered to be N. Breton.
Is given (with corrections) from an ancient copy in black letter, in the Pepys collection, intitled, A tragical ballad on the unfortunate love of lord Thomas and fair Ellinor, together with the downfall of the browne girl.—In the same collection may be seen an attempt to modernize this old song, and reduce it to a different measure: A proof of its popularity.
The reader will find a Scottish song on a similar subject to this, towards the end of this volume, intitled, Lord Thomas and Lady Annet.
[This is one of the ballads still kept in print in Seven Dials, and Ritson describes it as having "every appearance of being originally a minstrel song."
There is a series of ballads on the same subject—
1. Lord Thomas and Fair Annet, (see book iii. No. 4.)
2. Fair Margaret and Sweet William, (see book ii. No. 4.)
3. Sweet Willie and Fair Annie, (Jamieson's Popular Ballads, l. 22.)
The last named ballad is a combination of the first two, the first part being similar to Lord Thomas, and the second part to Fair Margaret.]
[240] Ver. 29. It should probably be, Read me, read, &c., i.e. Advise me, advise.
This elegant little sonnet is found in the third act of an old play intitled Alexander and Campaspe, written by John Lilye, a celebrated writer in the time of queen Elizabeth. That play was first printed in 1591; but this copy is given from a later edition.
[These pretty epigrammatic verses occur in act iii. sc. 5. of Lilly's play as a song by Apelles. The first edition of Campaspe was printed in 1584, and that of 1591, mentioned above, is the second edition. This song, however, was omitted in all the editions printed before that of E. Blount (Six Court Comedies, 1632.)]
Is given from a written copy, containing some improvements (perhaps modern ones), upon the popular ballad, intitled, The famous flower of Serving-men: or the Lady turned Serving-man.
[It is printed in the Collection of Old Ballads (i. 216) without the improvements. After verse 56 the first person is changed to the third in the original, but Percy altered this and made the first person run on throughout. Kinloch (Ancient Scottish Ballads, p. 95) gives a very mutilated and varied version of this ballad in the Scottish dress under the title of Sweet Willie, which was taken down from the recitation of an old woman in Lanark. There is a similar story in Swedish and Danish.]
A Scottish Ballad.
The following piece hath run thro' two editions in Scotland: the second was printed at Glasgow in 1755, 8vo. Prefixed to them both is an advertisement, setting forth that the preservation of this poem was owing "to a lady, who favoured the printers with a copy, as it was carefully collected from the mouths of old women and nurses;" and "any reader that can render it more correct or complete," is desired to oblige the public with such improvements. In consequence of this advertisement sixteen additional verses have been produced and handed about in manuscript, which are here inserted in their proper places: (these are from ver. 109, to ver. 121, and from ver. 124, to ver. 129, but are perhaps, after all, only an ingenious interpolation.)
As this poem lays claim to a pretty high antiquity, we have assigned it a place among our early pieces: though, after all, there is reason to believe it has received very considerable modern improvements: for in the Editor's ancient MS. collection is a very old imperfect copy of the same ballad: wherein though the leading features of the story are the same, yet the colouring here is so much improved and heightened, and so many additional strokes are thrown in, that it is evident the whole has undergone a revisal.
This little pathetic tale suggested the plot of the tragedy of Douglas.
Since it was first printed, the Editor has been assured that the foregoing ballad is still current in many parts of Scotland, where the hero is universally known by the name of Child Maurice, pronounced by the common people Cheild or Cheeld; which occasioned the mistake.
It may be proper to mention that other copies read ver. 110, thus:
And ver. 116, as follows:
N.B. The Editor's MS. instead of "lord Barnard," has "John Stewart;" and instead of "Gil Morrice," Child Maurice, which last is probably the original title. See above, p. 58.
[Gil Maurice is one of the most popular of the old ballads and it is also one of the most corrupt. The present copy is so tinkered that it is not surprising Burns regarded the ballad as a modern composition and classed it with Hardyknute, a position afterwards taken up by Robert Chambers in his pamphlet The Romantic Scottish Ballads, their epoch and authorship. The fact however that the story is preserved in the Folio MS. and also in several other forms obtained from tradition prove it to be an authentic ballad. Jamieson thinks it has all the appearance of being a true narrative of some incident that had really taken place. Motherwell devotes several pages of his Minstrelsy (pp. 257-286) to an account of the various versions. He says that tradition points out the "green wood" of the ballad in the ancient forest of Dundaff in Stirlingshire.
The request for additions mentioned above by Percy was a tempting bait eagerly caught at, and the edition of 1755 was a made up text with additional verses. Besides vv. 109-120, 125-128, which are known to be interpolations, Professor Child (English and Scottish Ballads, vol. ii. p. 38) also degrades to the foot of the page the verses from 177 to the end, on the authority of Jamieson, who says, that "having been attentive to all the proceedings in most of the trials at the bar of ballad criticism I may venture to hazard an opinion that the genuine text ends with 'ver. 176.'" Ritson and Motherwell are of the same opinion. Sir Walter Scott notes on the interpolated verses, "In the beautiful and simple ballad of Gil Morris some affected person has stuck in one or two factitious verses which, like vulgar persons in a drawing room, betray themselves by their over-finery."
The fine copy in the Folio MS. (ed. Hales and Furnivall, vol. ii. p. 500), which Jamieson thought debased and totally unworthy of the subject, which Chambers calls "a poor, bald imperfect composition," and Mr. Hales more accurately designates as "a noble specimen of our ballad poetry in all its strength," was first printed by Jamieson (Popular Ballads and Songs, 1806, vol. i. p. 8), and is now added to the present version. The last stanza of the Folio MS. copy is identical with the last stanza but one of Little Musgrave and Lady Barnard, with which it seems to have some connection both in subject and name.
Prof. Aytoun points out that vv. 51-58 of Percy's copy, which are now placed within brackets, are taken from Lady Maisry, a ballad obtained from recitation and printed by Jamieson (vol. i. p. 73).
It is however only fair to Percy to say that he printed Gil Morice before Lady Maisry was published.
Gray wrote to a friend, "I have got the old Scotch ballad on which Douglas was founded; it is divine, and as long as from hence [Cambridge] to Aston."
Jamieson says, on the authority of Sir Walter Scott, that after the appearance of Home's Douglas six additional stanzas, beginning—
were written to complete the ballad, and in accordance with the final catastrophe of the tragedy Lord Barnard rushes into the thickest of the fight—
When the play was produced in Edinburgh in 1756 the heroine was named Lady Barnard, and the alteration to Lady Randolph was made on its appearance in England in the following year.
Jamieson gives three stanzas of a traditional version of the ballad, the whole of which neither he nor Motherwell could recover, although Mr. Sharpe told the latter that they were incorporated in an Annandale version which contained a novel feature in the story.
Motherwell prints a version called Chield Morice, which he took down from the recitation of an old woman of 70 in 1827, and which she had learned in infancy from her grandmother. She told Motherwell "that at a later period of her life she also committed to memory Gill Morice, which began with young lasses like her to be a greater favourite, and more fashionable than the set which her grandmother and other old folks used to sing under the title of Chield Morice." He also prints Child Moryce, taken down from the singing of widow M'Cormick of Paisley in 1825, and adds his opinion that Morice and Maurice are evident corruptions of Norice—a foster child. The story of Langhorne's Owen of Carron is also taken from this ballad.]
[The following is copied from the Folio MS. (ed. H. & F. vol. 2. pp. 502-506.)
ffins]
[241] Ver. 11. something seems wanting here.
[242] [alone by yourself.]
[243] [advise.]
[244] Ver. 32, and 68, perhaps, 'bout the hem.
[245] [knock.]
[246] V. 58. Could this be the wall of the castle?
[247] Ver. 88. Perhaps, loud say I heire.
[248] i.e. a drinking cup of maple: other edit. read ezar.
[249] [in splinters he made fly.]
[250] [clothing.]
[251] [blame.]
[252] [blamed.]
[253] Ver. 128. So Milton,—
B. iv. v. 155.
[254] [and wiped it on the grass.]
[255] [as the berry is of the stone.]
[256] leash, thong, cord?—F.
THE END OF THE FIRST BOOK.
RELIQUES OF ANCIENT POETRY, ETC.
SERIES THE THIRD.
Contains a short summary of the exploits of this famous champion, as recorded in the old story books; and is commonly intitled, "A pleasant song of the valiant deeds of chivalry atchieved by that noble knight sir Guy of Warwick, who, for the love of fair Phelis, became a hermit, and dyed in a cave of craggy rocke, a mile distant from Warwick."
The history of Sir Guy, tho' now very properly resigned to children, was once admired by all readers of wit and taste: for taste and wit had once their childhood. Although of English growth, it was early a favourite with other nations: it appeared in French in 1525; and is alluded to in the old Spanish romance Tirante el Blanco, which, it is believed, was written not long after the year 1430. See advertisement to the French translation, 2 vols. 12mo.
The original whence all these stories are extracted is a very ancient romance in old English verse, which is quoted by Chaucer as a celebrated piece even in his time (viz.:—
and was usually sung to the harp at Christmas dinners and brideales, as we learn from Puttenham's Art of Poetry, 4to. 1589.
This ancient romance is not wholly lost. An imperfect copy in black letter, "Imprynted at London——for Wylliam Copland," in 34 sheets 4to. without date, is still preserved among Mr. Garrick's collection of old plays. As a specimen of the poetry of this antique rhymer, take his description of the dragon mentioned in v. 105 of the following ballad:—
Sir William Dugdale is of opinion that the story of Guy is not wholly apocryphal, tho' he acknowledges the monks have sounded out his praises too hyperbolically. In particular, he gives the duel fought with the Danish champion as a real historical truth, and fixes the date of it in the year 926, Ætat. Guy, 67. See his Warwickshire.
The following is written upon the same plan as ballad v. book i., but which is the original and which the copy cannot be decided. This song is ancient, as may be inferred from the idiom preserved in the margin, v. 94, 102: and was once popular, as appears from Fletcher's Knight of the Burning Pestle, act 2, sc. ult.
It is here published from an ancient MS. copy in the editor's old folio volume, collated with two printed ones, one of which is in black letter in the Pepys collection.
[Guy was one of the most popular of the heroes of romance, and the Folio MS. contains three pieces upon his history, viz., the two printed here and Guy and Colbrand.
The original of the present ballad in the Folio MS., entitled Guy and Phillis (ed. Hales and Furnivall, vol. ii. p. 201), is a mere fragment beginning with verse 89. Percy tore out certain leaves to send to the printer, and in consequence the whole of[Pg 109] King Estmere and the beginning of this ballad are lost. Alterations have been made in nearly every verse by the help of the printed copies. Guy and Phillis was entered on the Stationers' books, 5th January, 1591-2.
We are told by Dugdale that an English traveller, about the year 1410, was hospitably received at Jerusalem by the Soldan's lieutenant, who, hearing that Lord Beauchamp "was descended from the famous Guy of Warwick, whose story they had in books of their own language, invited him to his palace; and royally feasting him, presented him with three precious stones of great value, besides divers cloaths of silk and gold given to his servants." Dugdale's authority for this story was John Rous, a priest of the chapel at Guy's Cliff, near Warwick, who compiled a biography of the hero, in which all the incidents of the romance are narrated as sober fact. The constant praises of the hero bored some people, and Corbet, in his Iter Boreale, expressed the hope that he should hear no more of him—
Much valuable information on this subject will be found in Mr. Hale's interesting introduction to the Guy poems in the Folio MS.]
[257] Ver. 9. The proud Sir Guy, PC.
[258] Ver. 17. Two hundred, MS. and P.
[259] Ver. 94, 102, doth lye, MS.
The Editor found this Poem in his ancient folio manuscript among the old ballads; he was desirous therefore that it should still accompany them; and as it is not altogether devoid of merit, its insertion here will be pardoned.
Although this piece seems not imperfect, there is reason to believe that it is only part of a much larger poem, which contained the whole history of sir Guy: for upon comparing it with the common story book 12mo. we find the latter to be nothing more than this poem reduced to prose: which is only effected by now and then altering the rhyme, and throwing out some few of the poetical ornaments. The disguise is so slight, that it is an easy matter to pick complete stanzas in any page of that book.
The author of this poem has shown some invention. Though he took the subject from the old romance quoted before, he has adorned it afresh, and made the story intirely his own.
This poem has been discovered to be a fragment of, "The famous historie of Guy earl of Warwicke, by Samuel Rowlands, London, printed by J. Bell, 1649, 4to." in xii cantos, beginning thus:
Whether the edition in 1649, was the first, is not known, but the author Sam. Rowlands was one of the minor poets who lived in the reigns of Q. Elizabeth and James I. and perhaps later. His other poems are chiefly of the religious kind, which makes it probable that the hist. of Guy was one of his earliest performances.—There are extant of his (1.) "The betraying of Christ, Judas in dispaire, the seven words of our Saviour on the crosse, with other poems on the passion, &c. 1598, 4to. (Ames Typ. p. 428.)—(2.) A Theatre of delightful Recreation. Lond. printed for A. Johnson, 1605," 4to. (Penes editor.) This is a book of poems on subjects chiefly taken from the old Testament. (3.) "Memory of Christ's miracles, in verse. Lond. 1618, 4to." (4.) "Heaven's glory, earth's vanity, and hell's horror. Lond. 1638, 8vo." (These two in Bod. Cat.)
In the present edition the following poem has been much improved from the printed copy.
[This poem is a very poor thing and looks very like a joke in some parts. In the Folio MS. Percy has written "By the elegance of language and easy flow of the versification this poem should be more modern than the rest."
Mr. Furnivall adds to this expression of opinion the following note, "the first bombastic rhodomontade affair in the book. Certainly modern and certainly bad" (Folio MS. ed. Hales and Furnivall, vol. ii. p. 136.) Collations from the MS. are added at the foot of the page.]
[260] [Ver. 1. journeyed ore the.]
[261] Erle Jonas, mentioned in the foregoing ballad.
[262] [V. 20. he sayes that must. MS.]
[263] [Ver. 21. the gyant, he was neere soe.]
[264] [V. 25. sais hee.]
[265] [V. 26. my crowes about the walls.]
[266] [V. 27. cold him.]
[267] [V. 31. saies Guy your quarrelsome.]
[268] [V. 32. are something neere.]
[269] [V. 33. most not in MS., a club.]
[270] [V. 36. heere is the wepon that must doe.]
[271] [V. 37. Soe takes.]
[272] [V. 38. sides.]
[273] [V. 45. and ere he cold recovers clubb againe.]
[274] [V. 46. did beate.]
[275] [V. 48. to beate.]
[276] [Ver. 49. att last through strength, Amarant feeble grew.]
[277] [V. 51. nature wants her.]
[278] [V. 54. then to grant.]
[279] [V. 55. I give.]
[280] Which Guy had slain before
[281] [V. 56. to pledge, beare.]
[282] [V. 58. to drinke cold.]
[283] [V. 59. and after that carrouse.]
[284] [V. 63. on some rocke.]
[285] [V. 64. bulke doe stryke.]
[286] [V. 66. behold him.]
[287] [V. 67. lets to one.]
[288] [V. 76. has deathes.]
[289] [Ver. 79. att this bold pagans bostes.]
[290] [V. 86. soe heavy and soe weaghtye.]
[291] [V. 88. his fall.]
[292] [V. 89. in his fist.]
[293] [V. 90. and stroke a blow.]
[294] [V. 96. I wold destroy.]
[295] [V. 102. hurtfull.]
[296] [Ver. 120. space to thee I will not.]
[297] [strut.]
[298] [V. 128. that not in MS.]
[299] [V. 133. Guy said.]
[300] [V. 134. seemes.]
[301] [V. 135. ingratefull monster since thou hast denyd.]
[302] [Ver. 140. doe weapon prove.]
[303] [V. 142. behoves.]
[304] [V. 145. Hold, tyrant.]
[305] [V. 160. miserye.]
[306] [V. 163. dungeon.]
[307] [V. 166. then flesh.]
[308] [Ver. 178. Will were.]
[309] [V. 181. walls.]
[310] [V. 183. the father.]
[311] [V. 186. promise you.]
[312] [V. 190. pittye sake.]
[313] [V. 191. men may easilye revenge the deeds men doe.]
[314] [V. 192. no strength. MS.]
A Scottish Song.
I have not been able to meet with a more ancient copy of this humourous old song, than that printed in the Tea-Table miscellany, &c. which seems to have admitted some corruptions.
[This song is printed in Ramsay's Tea-Table Miscellany as old, and it is also given in the Orpheus Caledonius, 1725. "Auld goodman" means a first husband.]
He.
She.
He.
She.
This seems to be the old song quoted in Fletcher's Knight of the burning pestle, acts 2d and 3d; altho' the six lines there preserved are somewhat different from those in the ballad, as it stands at present. The reader will not wonder at this, when he is informed that this is only given from a modern printed copy picked up on a stall. It's full title is Fair Margaret's Misfortunes; or Sweet William's frightful dreams on his wedding night, with the sudden death and burial of those noble lovers.—
The lines preserved in the play are this distich,
And the following stanza,
These lines have acquired an importance by giving birth to one of the most beautiful ballads in our own or any language. See the song intitled Margaret's Ghost, at the end of this volume.
Since the first edition some improvements have been inserted, which were communicated by a lady of the first distinction, as she had heard this song repeated in her infancy.
[The ballads on the two lovers Margaret and William are numerous, culminating as they do in Mallet's William and Mar[Pg 125]garet. See Sweet William's Ghost (No. 6 in this book) and Mallet's ballad (No. 16 of book iii). The present ballad is also in the Douce Collection and in that of the late Mr. George Daniel. Jamieson prints (Popular Ballads and Songs, 1806, vol. i. p. 22) a ballad entitled Sweet Willie and Fair Annie, which may be divided into two parts, the first resembling Lord Thomas and Fair Elinor, and the second, Fair Annie's Ghost, is still more like the following ballad.
Mr. Chappell remarks, "Another point deserving notice in the old ballad is that one part of it has furnished the principal subject of the modern burlesque ballad Lord Lovel, and another that of T. Hood's song, Mary's Ghost."]
Given, with some corrections, from an old black letter copy, intitled, Barbara Allen's cruelty, or the young man's tragedy.
[It is not clear why Percy separated this English version of Barbara Allen from the Scottish version entitled Sir John Grehme and Barbara Allan (No. 7).
Goldsmith in his third Essay says, "the music of the finest singer is dissonance to what I felt when our dairy maid sung me into tears with Johnny Armstrong's Last Good Night, or the Cruelty of Barbara Allen."
It has been suggested that for "Scarlet towne" in the first verse should be read Carlisle town, but as some printed copies have Reading town we may suppose that a pun is intended.]
A SCOTTISH BALLAD.
From Allan Ramsay's Tea-Table Miscellany. The concluding stanza of this piece seems modern.
[In the previous ballad (No. 4) and in Mallet's William and Margaret it is Margaret who appears to William, but in the present one and in some other versions William is made to die first. In Clerk Saunders (Minstrelsy of the Scottish Border) Scott has joined two distinct stories, and the second part, in which the spirit of Clerk Saunders appears to May Margaret, closely resembles the present ballad. Besides these there are two other versions. Kinloch's, entitled [Pg 131]Sweet William and May Margaret, and Motherwell's William and Marjorie. Dr. Rimbault points out that the chief incidents in Bürger's Leonora resemble those in this ballad.
The last two stanzas are probably Ramsay's own.]
A SCOTTISH BALLAD.
Printed, with a few conjectural emendations, from a written copy.
[Pepys, in Jan. 1665-1666, heard Mrs. Knipp, the actress, sing "her little Scotch song of Barbery Allen" at Lord Brouncker's, and he was "in perfect pleasure to hear her sing" it. It was first printed in Ramsay's Tea-Table Miscellany (ii. 171).
"I remember," says Mr. C. Kirkpatrick Sharpe, "that the peasantry of Annandale sang many more verses of this ballad than have appeared in print, but they were of no merit, containing numerous magnificent offers from the lover to his mistress, and amongst others some ships in sight, which may strengthen the belief that this song was composed near the shores of the Solway."—Addit. Illustrations to Stenhouse.]
⁂
[322] An ingenious friend thinks the rhymes Dyand and Lyand ought to be transposed; as the taunt Young man, I think ye're yand, would be very characteristical.
From an ancient black-letter copy in the Pepys Collection, with some improvements communicated by a lady as she had heard the same recited in her youth. The full title is, True love requited: Or, the Bailiff's daughter of Islington.
Islington in Norfolk is probably the place here meant.
[Copies of this charming old ballad are found in all the large collections, and two tunes are associated with it.
Percy's suggestion that Islington in Norfolk is referred to is not a probable one, and there seems to be no reason for depriving the better known Islington of the south of the honour of having given birth to the bailiff's daughter. Islington at the time when this ballad was written was a country village quite unconnected with London, and a person who represented "a squier minstrel of Middlesex" made a speech before Queen Elizabeth at Kenilworth in 1575, in which he declared "how the worshipful village of Islington [was] well knooen too bee one of the most auncient and best tounz in England, next to London."]
A Pastoral Dialogue.
From the small black-letter collection, intitled, The Golden Garland of princely delights; collated with two other copies, and corrected by conjecture.
[Dr. Rimbault gives the melody of this pretty little pastoral on the favourite subject of wearing the willow from a MS. dated 1639 in the Advocate's Library, Edinburgh. It is also to be found in the celebrated Skene MS. in the same library, and again in all the editions of Forbes's Cantus.]
Willy.
Cuddy.
Willy.
Cuddy.
Willy.
Cuddy.
Willy.
Cuddy.
Is given (with corrections) from the Editor's ancient folio MS.[323] collated with two printed copies in black-letter; one in the British Museum, the other in the Pepys Collection. Its old title is, A lamentable ballad of the Lady's fall. To the tune of, In Pescod time, &c.—The ballad here referred to is preserved in the Muses Library, 8vo. p. 281. It is an allegory or vision, intitled, The Shepherd's Slumber, and opens with some pretty rural images, viz.
[Mr. Hales thinks it possible that this ballad was written by the same author as The Children in the Wood—"the same facility of [Pg 140]language and of rhyme, the same power of pathos, the same extreme simplicity characterise both ballads."
Mr. Chappell says that Chevy Chace was sometimes sung to the tune of In Pescod time, as were the Bride's burial (No. 12), and Lady Isabella's Tragedy (No. 14). The various readings from the original MS. are noted at the foot of the page.]
[323] [Ed. Hales and Furnivall, vol. ii. p. 246.]
[324] [Ver. 15. her faire red cheekes changed color quite.]
[325] [V. 17. and soe with.]
[326] [V. 20. to be conceived.]
[327] [V. 24. none shold. MS.]
[328] [Ver. 29. a ladyes distress.]
[329] [V. 30. your bowe.]
[330] [V. 31. See how I goe with chyld with thee.]
[331] [V. 33. my litle.]
[332] [V. 35. O lett.]
[333] [V. 37-40. not in MS.]
[334] [V. 42. thy wordes.]
[335] [V. 48. lest further.]
[336] [V. 49. my derest.]
[337] [V. 50. my greatest joy on earthe.]
[338] [V. 51. shold I convay you.]
[339] [V. 52. to scape a sudden death.]
[340] [Ver. 53. your friends.]
[341] [V. 55. gett you.]
[342] [V. 56. your ffathers.]
[343] [V. 57. your liffe ... your fame.]
[344] [V. 58. you.]
[345] [V. 59. sword.]
[346] [V. 60. to take ... of thee.]
[347] [V. 61. soe may you.]
[348] [V. 62. if soe you.]
[349] [V. 64. ladyes paine.]
[350] [V. 67. I will safely ryd with thee.]
[351] [V. 76. Ile make the then.]
[352] [V. 77. and with.]
[353] [Ver. 81. wherin this lovely maid.]
[354] [V. 85. if any person shee had spyed.]
[355] [V. 86. came.]
[356] [V. 87. shee thought.]
[357] [V. 92. when succourles.]
[358] [V. 93. and not in MS.]
[359] [V. 99. in heavinesse.]
[360] [V. 100. which well thou might.]
[361] [V. 101. I did beleeve.]
[362] [V. 105. soe that with many a grievous groane.]
[363] [V. 106. amaine.]
[364] [V. 108. shee found.]
[365] [Ver. 110. thraw.]
[366] [V. 111. shee felt that night.]
[367] [V. 113. mayd.]
[368] [V. 114. who lay.]
[369] [V. 115. and musing at her great woe.]
[370] [V. 117. shee sayth.]
[371] [V. 118. all about.]
[372] [V. 123. and to some.]
[373] [V. 124. the better.]
[374] [V. 130. being by.]
[375] [V. 132. gallant dame.]
[376] [V. 133. litle lovely.]
[377] [V. 134. the pretty smiling babe.]
[378] [Ver. 138. with this newes.]
[379] [V. 144. no joy that they.]
[380] [V. 148. have you a specyall care.]
[381] [V. 149-152. not in MS.]
A Scottish Song.
This is a very ancient song, but we could only give it from a modern copy. Some editions instead of the four last lines in the second stanza have these, which have too much merit to be wholly suppressed:
See the Orpheus Caledonius, &c.
Arthur's-seat mentioned in ver. 17, is a hill near Edinborough; near the bottom of which is St. Anthony's well.
[There has been considerable difference of opinion among ballad collectors relative to this beautiful song. Some suppose it to be a portion of the ballad entitled Lord Jamie Douglas, which relates to James Douglas, second Marquis of Douglas, who married Lady Barbara Erskine, eldest daughter of John, ninth Earl of Mar, on the seventh of September, 1670, and afterwards repudiated her on account of a false accusation of adultery made against her by Lowrie, laird of Blackwood. Prof. Aytoun, however, believes that certain verses of Waly Waly have wrongly been mixed up with Lord Jamie Douglas. There is very little doubt that the song was in existence long before 1670, and it also appears to be the lamentation of a forsaken girl rather than of a wife. Mr. Stenhouse and others considered it to belong to the age of Queen Mary and to refer to some affair at Court. Aytoun writes, "there is also evidence that it was composed before 1566, for there is extant a MS. of that year in which some of the lines are transcribed," but Mr. Maidment gives the following opinion—"that the ballad is of ancient date is undoubted, but we are not quite prepared to admit that it goes back as far as 1566, the date of the manuscript transcribed by Thomas Wode from an ancient church music book compiled by Dean John Angus, Andrew Blackhall, and others, in which it said the first [second] stanza is thus parodied:—
Never having had access to the MS., we may be permitted to remark that the phraseology of the burlesque is not exactly that of the reign of Queen Mary" (Scottish Ballads and Songs, 1868, vol. ii. p. 49.)
Allan Ramsay was the first to publish the song, and he marked it as ancient.
is the fourth stanza of Jamie Douglas, printed by John Finlay, in his Scottish Historical and Romantic Ballads (vol. ii.)]
From two ancient copies in black-letter: one in the Pepys Collection; the other in the British Museum.
To the tune of The Lady's Fall.
[385] ["It was an ancient and pleasing custom to place a garland made of white flowers and white riband upon the coffin of a maiden; it was afterwards hung up over her customary seat in church. Sometimes a pair of white gloves, or paper cut to the shape of gloves, was hung beneath the garland. Chaplets of the kind still hang in some of the Derbyshire churches, and at Hathersage in that county the custom is still retained."—(Transactions of the Essex Archælogical Society, vol. i. 1858, p. 118.) See Corydon's Doleful Knell, vol. ii. book ii. No. 27, p. 275. Ophelia is "allowed her virgin crants" (or garland)—Hamlet, act v. sc. 1. See also an interesting article on Funeral Garlands by Llewellyn Jewitt in the Reliquary, vol. i. (1860), p. 5.]
Given from two ancient copies, one in black-print, in the Pepys Collection: the other in the Editor's folio MS. Each of these contained a stanza not found in the other. What seemed the best readings were selected from both.
This song is quoted as very popular in Walton's Compleat Angler, chap. ii. It is more ancient than the ballad of Robin Good-Fellow printed below, which yet is supposed to have been written by Ben. Jonson.
[The Milk-woman in Walton's Angler says, "What song was it, I pray you? Was it Come shepherds deck your heads, or As at noon Dulcina rested?"
In the Registers of the Stationers' Company, under date of May 22, 1615, there is an entry transferring the right of publication from one printer to another of A Ballett of Dulcina to the tune of Forgoe me nowe, come to me sone. Mr. Chappell also tells us that Dulcina was one of the tunes to the "Psalms and Songs of Sion, turned into the language and set to the tunes of a strange land," 1642.
The editors of the Folio MS., more scrupulous than the bishop, have not printed this song in its proper place, but have turned it into the Supplement of Loose and Humourous Songs (p. 32). The third stanza of the MS. beginning
is not printed in the present copy. The third stanza here is the fourth of the MS., and the fourth stanza is not in the MS. at all.
Cayley and Ellis attribute this song to Raleigh, but without sufficient authority.]
This ballad is given from an old black-letter copy in the Pepys Collection, collated with another in the British Museum, H. 263, folio. It is there intitled, "The Lady Isabella's Tragedy, or the Step-Mother's Cruelty: being a relation of a lamentable and cruel murther, committed on the body of the lady Isabella, the only daughter of a noble duke, &c. To the tune of, The Lady's Fall." To some copies are annexed eight more modern stanzas, intitled, The Dutchess's and Cook's Lamentation.
This song is a kind of translation of a pretty poem of Tasso's, called Amore fuggitivo, generally printed with his Aminta, and originally imitated from the first Idyllium of Moschus.
It is extracted from Ben Jonson's Masque at the marriage of lord viscount Hadington, on Shrove-Tuesday, 1608. One stanza full of dry mythology is here omitted, as it had been dropped in a copy of this song printed in a small volume called Le Prince d'Amour. Lond. 1660, 8vo.
[The stanza of the first Grace which Percy left out is as follows:—
The story of this ballad seems to be taken from an incident in the domestic history of Charles the Bald, king of France. His daughter Judith was betrothed to Ethelwulph king of England: but before the marriage was consummated, Ethelwulph died, and she returned to France: whence she was carried off by Baldwyn, Forester of Flanders; who, after many crosses and difficulties, at length obtained the king's consent to their marriage, and was made Earl of Flanders. This happened about A.D. 863.—See Rapin, Henault, and the French historians.
The following copy is given from the Editor's ancient folio MS. collated with another in black-letter in the Pepys Collection, intitled, An excellent Ballad of a prince of England's courtship to the king of France's daughter, &c. To the tune of Crimson Velvet.
Many breaches having been made in this old song by the hand of time, principally (as might be expected) in the quick returns of the rhime; an attempt is here made to repair them.
[This ballad was written by Thomas Deloney, who included it in his Garland of Goodwill (Percy Society, vol. xxx. p. 52). It is, as Percy points out, founded on history, but Deloney paid little attention to facts. All the first part of the poem, which tells of the miserable end of the English prince of suitable age to the young[Pg 162] French princess, is fiction. Judith was Ethelwulf's wife for about two years, and on the death of her husband she married his son Ethelbert. The only historical fact that is followed in the ballad is the marriage of Judith with Baldwin, Great Forester of France, from which union descended Matilda, the wife of William the Conqueror.
The copy in the Folio MS. (ed. Hales and Furnivall, vol. iii. p. 441) is entitled "In the Dayes of Olde." Percy altered it considerably, sometimes following the printed copy and sometimes the MS.
Mr. Hales suggests that the name of the tune is derived from the dress of the princess, described in vv. 185-6,—
and Mr. Chappell agrees with him.]
⁂
[386] This will remind the reader of the livery and device of Charles Brandon, a private gentleman, who married the Queen Dowager of France, sister of Henry VIII. At a tournament which he held at his wedding, the trappings of his horse were half Cloth of gold, and half Frieze, with the following Motto:—
See Sir W. Temple's Misc. vol. iii. p. 356.
[387] i.e. describing.
This little madrigal (extracted from Ben. Jonson's Silent Woman, act i. sc. 1, first acted in 1609) is in imitation of a Latin Poem printed at the end of the Variorum Edit. of Petronius, beginning, Semper munditias, semper Basilissa, decoras, &c. See Whalley's Ben Jonson, vol. ii. p. 420.
The subject of this very popular ballad (which has been set in so favourable a light by the Spectator, No. 85.) seems to be taken from an old play, intitled, [Pg 170]Two lamentable Tragedies; The one of the murder of Maister Beech, a chandler in Thames streete, &c. The other of a young child murthered in a wood by two ruffins, with the consent of his unkle. By Rob. Yarrington, 1601, 4to. Our ballad-maker has strictly followed the play in the description of the father and mother's dying charge: in the uncle's promise to take care of their issue: his hiring two ruffians to destroy his ward, under pretence of sending him to school: their chusing a wood to perpetrate the murder in: one of the ruffians relenting, and a battle ensuing, &c. In other respects he has departed from the play. In the latter the scene is laid in Padua: there is but one child: which is murdered by a sudden stab of the unrelenting ruffian: he is slain himself by his less bloody companion; but ere he dies gives the other a mortal wound: the latter living just long enough to impeach the uncle; who, in consequence of this impeachment, is arraigned and executed by the hand of justice, &c. Whoever compares the play with the ballad, will have no doubt but the former is the original: the language is far more obsolete, and such a vein of simplicity runs through the whole performance, that, had the ballad been written first, there is no doubt but every circumstance of it would have been received into the drama: whereas this was probably built on some Italian novel.
Printed from two ancient copies, one of them in black-letter in the Pepys Collection. Its title at large is, The Children in the Wood; or, The Norfolk Gentleman's Last Will and Testament: To the tune of Rogero, &c.
[Ritson thought he had refuted Percy's statement that the play was older than the ballad by pointing out that the latter was entered in the Stationers' books in 1595, but I find in Baker's Biographia Dramatica an assertion that Yarrington's play was not printed "till many years after it was written." The following is the form of the entry at Stationers' Hall, "15 Oct. 1595. Thomas Millington entred for his copie under th[e h]andes of bothe the Wardens a ballad intituled The Norfolk Gent, his Will and Testament and howe he commytted the keepinge of his children to his owne brother whoe delte most wickedly with them and howe God plagued him for it." Sharon Turner and Miss Halsted favoured the rather untenable opinion that the wicked uncle was intended to represent Richard III., and therefore that the date of the ballad was much earlier than that usually claimed for it. Turner writes in his History of England, "I have sometimes fancied that the popular ballad may have been written at this time on Richard and his nephews before it was quite safe to stigmatize him more openly."
Wailing, or Wayland Wood, a large cover near Walton in Norfolk is the place which tradition assigns to the tragedy, but the people of Wood Dalling also claim the honour for their village.
Addison speaks of the ballad as "one of the darling songs of the common people, [which] has been the delight of most English[Pg 171]men in some part of their age," and points out that the circumstance
has a parallel in Horace, who tells us that when he was a child, fallen asleep in a desert wood, the turtle doves took pity on him and covered him with leaves.
The popular belief that the robin covers dead bodies with leaves (probably founded on the habits of the bird) is of considerable antiquity. The passage in Cymbeline (act iv. sc. 2) naturally occurs as the chief illustration:—
In Webster's White Devil, act v., we read:—
The critics suppose Webster to have imitated Shakespere here, but there is no ground for any such supposition. The industry of Reed, Steevens, and Douce has supplied us with several passages from old literature in which this characteristic of the robin is referred to.
In "Cornucopiæ, or, divers Secrets; wherein is contained the rare secrets of man, beasts, fowles, fishes, trees, plants, stones, and such like, most pleasant and profitable, and not before committed to bee printed in English. Newlie drawen out of divers Latine Authors into English by Thomas Johnson," 4to. London, 1596, occurs the following passage:—"The robin red-breast if he find a man or woman dead will cover all his face with mosse, and some thinke that if the body should remaine unburied that hee woulde cover the whole body also."
This little secret of Johnson is copied by Thomas Lupton into his A Thousand Notable Things of sundrie sorts newly corrected, 1601, where it appears as No. 37 of book i.
Michael Drayton has the following lines in his poem, The Owl:
In Dekker's Villanies discovered by lanthorn and candlelight, 1616, we read, "They that cheere up a prisoner but with their sight are Robin red-breasts, that bring strawes in their bils to cover a dead man in extremitìe." This is sufficient evidence that the belief was wide-spread.]
[388] Ver. 125. these ... babes. P.P.
[389] [Ritson has the following note (Ancient Songs, 1829, vol. ii. P. 155): "the voyage, A.D. 1588. See the Catalogue of the Harl. MSS. No. 167 (15). Dr. Percy, not knowing that the text alludes to a particular event, has altered it to a voyage."]
Printed, with a few slight corrections, from the Editor's folio MS.
[This song is printed, Hales and Furnivall's edition of the MS. vol. iii. p. 389.]
[390] [Ver. 8. when I see itt was vaine.]
[391] [V. 10. and gave.]
[392] [V. 13. faine, MS.]
[393] [V. 14. and shee, MS.]
It has been a favourite subject with our English ballad-makers to represent our kings conversing, either by accident or design, with the meanest of their subjects. Of the former kind, besides this song of the King and the Miller; we have K. Henry and the Soldier; K. James I. and the Tinker; K. William III. and the Forrester &c. Of the latter sort, are K. Alfred and the Shepherd; K. Edward IV. and the Tanner;[394] K. Henry VIII. and the Cobler, &c.—A few of the best of these are admitted into this collection. Both the author of the following ballad, and others who have written on the same plan, seem to have copied a very ancient poem, intitled John the Reeve, which is built on an adventure of the same kind, that happened between K. Edward Longshanks, and one of his Reeves or Bailiffs. This is a piece of great antiquity, being written before the time of Edward IV. and for its genuine humour, diverting incidents, and faithful picture of rustic manners, is infinitely superior to all that have been since written in imitation of it. The Editor has a copy in his ancient folio MS. but its length rendered it improper for this volume, it consisting of more than 900 lines. It contains also some corruptions, and the Editor chuses to defer its publication in hopes that some time or other he shall be able to remove them.
The following is printed, with corrections, from the editor's folio MS. collated with an old black-letter copy in the Pepys Col[Pg 179]lection, intitled A pleasant ballad of K. Henry II. and the Miller of Mansfield, &c.
[This ballad of Henry II. and the Miller of Mansfield cannot be traced farther back than the end of Elizabeth's reign or the beginning of James's. One of the three copies in the Roxburghe Collection is dated by Mr. Chappell between 1621 and 1655, and the copy in the Folio MS. (ed. Hales and Furnivall, vol. ii. p. 147) was written about the same period. (See Roxburghe Ballads, ed. Chappell, vol. i. p. 538.)
As there are earlier copies than the one in the Folio MS. it has not been thought necessary to add Collations.
John the Reeve, referred to above, is one of the earliest and most interesting of this large class of tales. It was printed for the first time in Hales and Furnivall's edition of the MS. (vol. ii. p. 550) with a valuable introduction.
This spirited poem was probably written originally in the middle of the fifteenth century. "It professes to describe an incident that took place in the days of King Edward. It adds:
The poem then was written after the death of Edward III.; that is, after 1377, and before the accession of Edward IV., that is before 1461."]
[394] [See vol. ii. book i. No. 15.]
[395] The king says this.
[396] [The head, feet, and ears of swine boiled and pickled for eating.—Halliwell's Dictionary.]
[397] [Ver. 80. courtnalls, that courteous be. MS. and P.]
[398] [A favourite liquor among the common people, composed of ale and roasted apples, the pulp of the apple worked up with the ale till the mixture formed a smooth beverage. Nares' Glossary.]
[399] [Ver. 57. for good hap: i.e. for good luck; they were going on an hazardous expedition.]
[400] [strutted.]
[401] [Ver. 60. Maid Marian in the Morris dance, was represented by a man in woman's cloaths, who was to take short steps in order to sustain the female character.]
[402] [forthwith.]
This beautiful old song was written by a poet, whose name would have been utterly forgotten, if it had not been preserved by Swift, as a term of contempt. Dryden and Wither are coupled by him like the Bavius and Mævius of Virgil. Dryden, however, has had justice done him by posterity: and as for Wither, though of subordinate merit, that he was not altogether devoid of genius, will be judged from the following stanzas. The truth is, Wither was a very voluminous party-writer: and as his political and satyrical strokes rendered him extremely popular in his life-time; so afterwards, when these were no longer relished, they totally consigned his writings to oblivion.
George Wither was born June 11, 1588, and in his younger years distinguished himself by some pastoral pieces, that were not inelegant; but growing afterwards involved in the political and religious disputes in the times of James I. and Charles I. he employed his poetical vein in severe pasquils on the court and clergy, and was occasionally a sufferer for the freedom of his pen. In the civil war that ensued, he exerted himself in the service of the Parliament, and became a considerable sharer in the spoils. He was even one of those provincial tyrants, whom Oliver distributed over the kingdom, under the name of Major Generals; and had the fleecing of the county of Surrey: but surviving the Restoration, he outlived both his power and his affluence; and[Pg 189] giving vent to his chagrin in libels on the court, was long a prisoner in Newgate and the Tower. He died at length on the 2d of May, 1667.
During the whole course of his life, Wither was a continual publisher; having generally for opponent, Taylor the Water-poet. The long list of his productions may be seen in Wood's Athenæ. Oxon. vol. ii. His most popular satire is intitled, Abuses whipt and stript, 1613. His most poetical pieces were eclogues, intitled, The Shepherd's Hunting, 1615, 8vo. and others printed at the end of Browne's Shepherd's Pipe, 1614, 8vo. The following sonnet is extracted from a long pastoral piece of his, intitled, The Mistresse of Philarete, 1622, 8vo. which is said in the preface to be one of the Author's first poems; and may therefore be dated as early as any of the foregoing.
[This favourite song appeared in 1619, appended to Wither's Fidelia, and again in his Juvenilia in 1633 in Fair Virtue the mistress of Philarete. It was reprinted again and again, and occurs in the Folio MS. (ed. Hales and Furnivall, vol. ii. p. 50).
Mr. Chappell refers to a copy in the Pepys Collection entitled, A New Song of a young man's opinion of the difference between good and bad women, the first line of which is, "Shall I wrestling in despaire?" This reading seems to have been pretty popular, as Mr. Chappell gives two instances of the tune being called "Shall I wrastle in despair?" Mr. Chappell prints a song in the same metre and with a similar burden, which has been attributed on insufficient evidence to Sir Walter Raleigh. The first stanza is as follows:—
Popular Music of the Olden Time, vol. i. p. 315.]
[403] [Ver. 7. if shee thinke not well of mee, MS.]
[404] [V. 23. soe to me, MS.]
[405] [V. 25-32. this stanza is not in the MS.]
Such is the title given in the editor's folio MS.[406] to this excellent old ballad, which, in the common printed copies, is inscribed, Eneas, wandering Prince of Troy. It is here given from that MS. collated with two different printed copies, both in black-letter, in the Pepys Collection.
The reader will smile to observe with what natural and affecting simplicity, our ancient ballad-maker has engrafted a Gothic conclusion on the classic story of Virgil, from whom, however, it is probable he had it not. Nor can it be denied, but he has dealt out his poetical justice with a more impartial hand, than that celebrated poet.
[This once popular ballad was entered on the Registers of the Stationers Company in 1564-5 as "a ballett intituled The Wanderynge Prince." Its great popularity is evidenced by the frequent references in literature and the large number of ballads sung to the tune of Queen Dido or Troy towne. In The Penniless Parliament of Threadbare Poets, 1608, ale-knights are said to "sing Queen Dido [Pg 192]over a cup and tell strange news over an ale-pot," and the same song is referred to in Fletcher's Captain (act iii. sc. 3) and his Bonduca, act i. sc. 2.
The only tune that Mr. Chappell could find for the ballad was one by Dr. John Wilson (the Jack Wilson of Shakspere's stage according to Dr. Rimbault), which is printed in his Cheerful Ayres or Ballads, Oxford, 1660.]
[406] [Ed. Hales and Furnivall, vol. iii. p. 502.]
[407] [Ver. 1. 21. war. MS. and PP.]
[408] fetched.
[409] [trouble.]
[410] Ver. 120. MS. Hath made my breath my life forsooke.
From Ben Jonson's Masque of Queens presented at Whitehall, Feb. 2, 1609.
The editor thought it incumbent on him to insert some old pieces on the popular superstition concerning witches, hobgoblins, fairies, and ghosts. The last of these make their appearance in most of the tragical ballads; and in the following songs will be found some description of the former.
It is true, this song of the Witches, falling from the learned pen of Ben Jonson, is rather an extract from the various incantations of classical antiquity, than a display of the opinions of our own vulgar. But let it be observed, that a parcel of learned wiseacres had just before busied themselves on this subject, in compliment[Pg 197] to K. James I. whose weakness on this head is well known: and these had so ransacked all writers, ancient and modern, and so blended and kneaded together the several superstitions of different times and nations, that those of genuine English growth could no longer be traced out and distinguished.
By good luck the whimsical belief of fairies and goblins could furnish no pretences for torturing our fellow-creatures, and therefore we have this handed down to us pure and unsophisticated.
1 Witch.[411]
2 Witch.
3 Witch.
4 Witch.
5 Witch.
6 Witch.
7 Witch.
8 Witch.
9 Witch.
10 Witch.
11 Witch.
Dame.[415]
[411] [These witches are called Hags by Jonson.]
[412] [a wake or feast in commemoration of the dedication of a church.]
[413] [skull.]
[414] [the herb wolfbane.]
[415] [Jonson meant the Dame to represent Ate or the goddess of Mischief.]
Alias Pucke, alias Hobgoblin, in the creed of ancient superstition, was a kind of merry sprite, whose character and atchievements are recorded in this ballad, and in those well-known lines of Milton's L'Allegro, which the antiquarian Peck supposes to be owing to it:
The reader will observe that our simple ancestors had reduced all these whimsies to a kind of system, as regular, and perhaps more consistent, than many parts of classic mythology: a proof of the extensive influence and vast antiquity of these superstitions. Mankind, and especially the common people, could not every where have been so unanimously agreed concerning these arbitrary notions, if they had not prevailed among them for many ages. Indeed, a learned friend in Wales assures the Editor, that the existence of Fairies and Goblins is alluded to by the most ancient British Bards, who mention them under various names, one of the most common of which signifies, The spirits of the mountains. See also Preface to Song XXV.
This song, which Peck attributes to Ben Jonson, (tho' it is not found among his works) is chiefly printed from an ancient black-letter copy in the British Museum. It seems to have been originally intended for some Masque.
It is intitled, in the old black-letter copies, The mad merry Prankes of Robin Goodfellow. To the tune of Dulcina, &c. (See No. XIII. above.)
To one, if not more of the old copies, are prefixed two wooden cuts, said to be taken from Bulwer's Artificial Changeling, &c., which, as they seem to correspond with the notions then entertained of the whimsical appearances of this fantastic spirit, and perhaps were copied in the dresses in which he was formerly exhibited on the stage, are, to gratify the curious, engraven below.
[The copy in the Roxburghe Collection (ed. Chappell, vol. ii. pl. i. p. 80) is printed by H[enry] G[osson], who was a contemporary of Ben Jonson. Some little books in prose on Robin Goodfellow, written in the seventeenth century, were printed for the Percy Society by Mr. J. P. Collier.]
[416] [Ver. 61. this begins the second part in the Roxburghe copy.]
[417] [gills=rivulets, Roxb. copy.]
[418] [a misprint for heydegies=rustic dances. The word occurs in Lily's Endymion, 1591, and in Wm. Bulleyn's Dialogue, 1564, where the minstrel daunces "Trenchmore" and "Heie de gie."—Chappell.]
We have here a short display of the popular belief concerning Fairies. It will afford entertainment to a contemplative mind to trace these whimsical opinions up to their origin. Whoever considers, how early, how extensively, and how uniformly, they have prevailed in these [Pg 205]nations, will not readily assent to the hypothesis of those, who fetch them from the east so late as the time of the Croisades. Whereas it is well known that our Saxon ancestors, long before they left their German forests, believed the existence of a kind of diminutive demons, or middle species between men and spirits, whom they called Duergar or Dwarfs, and to whom they attributed many wonderful performances, far exceeding human art. Vid. Hervarer Saga Olaj Verelj. 1675. Hickes' Thesaur., &c.
This Song is given (with some corrections by another copy) from a book intitled, The Mysteries of Love and Eloquence, &c. Lond. 1658, 8vo.
[Dr. Rimbault points out that this song occurs in a rare tract published more than twenty years before the book mentioned above. It is entitled, A description of the King and Queen of the Fayries, their habit, fare, abode, pomp and state, being very delightful to the sense and full of mirth. London, 1635. The song was to be sung to the tune of the Spanish Gypsie, which began—
Martin Parker wrote a sort of parody called The three merry Cobblers, commencing—
Mr. Chappell prints the first, eighth, fourteenth and last stanzas (Popular Music, vol. i. p. 272.)]
[419] [Puck's speech in Midsummer Night's Dream (act v. sc. 2)—
illustrates the delight of the fairies in cleanliness, which is dwelt upon in this and the following song.]
[420] [tester or teston=sixpence.]
[421] [best kind of white bread.]
This humorous old song fell from the hand of the witty Dr. Corbet (afterwards bishop of Norwich, &c.) and is printed from his Poëtica Stromata, 1648, 12mo. (compared with the third edition of his poems, 1672.) It is there called, A proper new Ballad, intitled, The Fairies Farewell, or God-a-mercy Will, to be sung or whistled to the tune of The Meddow brow, by the learned; by the unlearned, to the tune of Fortune.
The departure of Fairies is here attributed to the abolition of monkery: Chaucer has, with equal humour, assigned a cause the very reverse, in his Wife of Bath's Tale.
Tyrwhitt's Chaucer, i. p. 255.
Dr. Richard Corbet, having been bishop of Oxford about three years, and afterwards as long bishop of Norwich, died in 1635, Ætat. 52.
⁂ After these Songs on the Fairies, the reader may be curious to see the manner in which they were formerly invoked and bound to human service. In Ashmole's Collection of MSS. at Oxford (Num. 8259. 1406. 2), are the papers of some alchymist, which contain a variety of Incantations and Forms of Conjuring both Fairies, Witches, and Demons, principally, as it should seem, to assist him in his Great Work of transmuting Metals. Most of them are too impious to be reprinted: but the two following may be very innocently laughed at.
Whoever looks into Ben Jonson's Alchymist, will find that these impostors, among their other secrets, affected to have a power over Fairies: and that they were commonly expected to be seen in a christal glass appears from that extraordinary book, The Relation of Dr. John Dee's actions with Spirits, 1659, folio.
"An excellent way to gett a Fayrie. (For myself I call Margarett Barrance; but this will obteine any one that is not allready bownd.)
"First, gett a broad square christall or Venice glasse, in length and breadth 3 inches. Then lay that glasse or christall in the bloud of a white henne, 3 Wednesdayes, or 3 Fridayes. Then take it out, and wash it with holy aq. and fumigate it. Then take 3 hazle sticks, or wands of an yeare groth: pill them fayre and white; and make 'them' soe longe, as you write the Spiritts name, or Fayries name, which you call, 3 times on every sticke being made flatt on one side. Then bury them under some hill, whereas you suppose Fayries haunt, the Wednesday before you call her: and the Friday followinge take them uppe, and call her at 8 or 3 or 10 of the clocke, which be good planetts and houres for that turne: but when you call, be in cleane life, and turne thy face towards the east. And when you have her, bind her to that stone or glasse."
"An Unguent to annoynt under the Eyelids, and upon the Eyelids eveninge and morninge: but especially when you call; or find your sight not perfect.
"R. A pint of sallet-oyle, and put it into a viall glasse: but first wash it with rose-water, and marygold-water; the flowers 'to' be gathered towards the east. Wash it till the oyle come white; then put it into the glasse, ut supra: and then put thereto the budds of holyhocke, the flowers of marygold, the flowers or toppes of wild thime, the budds of young hazle: and the thime must be gathered neare the side of a hill where Fayries use to be: and 'take' the grasse of a fayrie throne, there. All these put into the oyle, into the glasse: and set it to dissolve 3 dayes in the sunne, and then keep it for thy use; ut supra."
After this receipt for the unguent follows a form of incantation, wherein the alchymist conjures a fairy, named Elaby Gathon, to appear to him in that chrystal glass, meekly and mildly; to resolve him truly in all manner of questions; and to be obedient to all his commands, under pain of damnation, &c.
One of the vulgar opinions about fairies is, that they cannot be seen by human eyes, without a particular charm exerted in favour of the person who is to see them: and that they strike with blindness such as having the gift of seeing them, take notice of them mal-à-propos.
As to the hazle sticks mentioned above, they were to be probably of that species called the witch hazle; which received its name from this manner of applying it in incantations.
THE END OF BOOK THE SECOND.
RELIQUES OF ANCIENT POETRY, ETC.
SERIES THE THIRD.
The incidents in this, and the other ballad of St. George and the Dragon, are chiefly taken from the old story-book of the Seven Champions of Christendome; which, tho' now the play-thing of children, was once in high repute. Bp. Hall in his Satires, published in 1597, ranks
"St. George's sorell, and his cross of blood,"
among the most popular stories of his time: and an ingenious critic thinks that Spencer himself did not disdain to borrow hints from it;[422] tho' I much doubt whether this popular romance were written so early as the Faery Queen.
The author of this book of the Seven Champions was one Richard Johnson, who lived in the reigns of Elizabeth and James, as we collect from his other publications: viz.—The nine worthies of London: 1592, 4to.—The pleasant walks of Moor fields: 1607, 4to.—A crown garland of Goulden Roses, gathered, &c. 1612, 8vo.—The life and death of Rob. Cecill, E. of Salisbury: 1612, 4to.—The Hist. of Tom of Lincoln, 4to. is also by R. J. who likewise reprinted Don Flores of Greece, 4to.
The Seven Champions, tho' written in a wild inflated style, contains some strong Gothic painting; which seems, for the most part, copied from the metrical romances of former ages. At least the story of St. George and the fair Sabra is taken almost verbatim from the old poetical legend of Syr Bevis of Hampton.
This very antique poem was in great fame in Chaucer's time (see above, pag. 107.), and so continued till the introduction of printing, when it ran thro' several editions; two of which are in [Pg 216]black letter, 4to. "imprinted by Wyllyam Copland," without date; containing great variations.
As a specimen of the poetic powers of this very old rhimist, and as a proof how closely the author of the Seven Champions has followed him, take a description of the dragon slain by sir Bevis.
After a long fight, at length, as the dragon was preparing to fly, sir Bevis
Sign. K. iv.
Sir Bevis's dragon is evidently the parent of that in the Seven Champions, see chap, iii., viz. "The dragon no sooner had a sight of him (St. George) but he gave such a terrible peal, as though it had thundered in the elements.... Betwixt his shoulders and his[Pg 217] tail were fifty feet in distance, his scales glistering as bright as silver, but far more hard than brass; his belly of the colour of gold, but bigger than a tun. Thus weltered he from his den, &c.... The champion ... gave the dragon such a thrust with his spear, that it shivered in a thousand pieces: whereat the furious dragon so fiercely smote him with his venomous tail, that down fell man and horse: in which fall two of St. George's ribs were so bruised, &c.—At length ... St. George smote the dragon under the wing where it was tender without scale, whereby his good sword Ascalon with an easie passage went to the very hilt through both the dragon's heart, liver, bone, and blood.—Then St. George—cut off the dragon's head and pitcht it upon the truncheon of a spear, &c."
The History of the Seven Champions, being written just before the decline of books of chivalry, was never, I believe, translated into any foreign language: But Le Roman de Beuves of Hantonne was published at Paris in 1502, 4to. Let. Gothique.
The learned Selden tell us, that about the time of the Norman invasion was Bevis famous with the title of Earl of Southampton, whose residence was at Duncton in Wiltshire; but he observes, that the monkish enlargements of his story have made his very existence doubted. See Notes on Poly-Olbion, Song iii.
This hath also been the case of St. George himself; whose martial history is allowed to be apocryphal. But, to prove that there really existed an orthodox saint of this name (altho' little or nothing, it seems, is known of his genuine story) is the subject of An Historical and Critical Inquiry into the Existence and Character of St. George, &c. By the Rev. J. Milner, F.S.A. 1792, 8vo.
The equestrian figure worn by the Knights of the Garter, has been understood to be an emblem of the Christian warrior, in his spiritual armour, vanquishing the old serpent.
But on this subject the inquisitive reader may consult A Dissertation on the Original of the Equestrian Figure of the George and of the Garter, ensigns of the most noble order of that name. Illustrated with copper-plates. By John Petingal, A.M., Fellow of the Society of Antiquaries, London, 1753, 4to. This learned and curious work the author of the Historical and Critical Inquiry would have done well to have seen.
It cannot be denied, but that the following ballad is for the most part modern: for which reason it would have been thrown to the end of the volume, had not its subject procured it a place here.
[In respect to the last paragraph, Ritson writes, "It may be safely denied, however, that the least part of it is ancient."]
⁂
[422] Mr. Warton. Vid. Observations on the Fairy Queen, 2 vol. 1762, 12mo. passim.
The following ballad is given (with some corrections) from two ancient black-letter copies in the Pepys Collection: one of which is in 12mo., the other in folio.
[The story of St. George and the Dragon is found in many forms in the northern languages.]
This excellent song is ancient: but we could only give it from a modern copy.
[Earlier editions of this spirited song are printed in Evans's Old Ballads, iii. 282 (1810), and Rimbault's Little Book of Songs and Ballads, p. 137. It is quoted in Brome's Sparagus Garden, acted in 1635, and Shirley's Constant Maid was republished in 1661, under the title of Love will find out the Way, by T. B.
Dr. Rimbault has the following note in his Musical Illustrations, "The old black-letter copy of this ballad is called '[Pg 233]Truth's Integrity: or, a curious Northerne Ditty, called Love will finde out the Way. To a pleasant new Tune Printed at London for F. Coules, dwelling in the Old Bailey.' There is a second part consisting of six stanzas, which Percy has not reprinted. The tune is here given (translated from the Tablature) from Musicks Recreation on the Lyra Viol, published by Playford in 1652. It is also preserved in Forbes's Cantus, 1662; in Musick's Delight on the Cithren, 1666; and in D'Urfey's Pills to Purge Melancholy, 1719. The Pepysian Collection contains several ballads to this tune."
Mr. Chappell writes, "The air is still current, for in the summer of 1855, Mr. Jennings, Organist of All Saints' Church, Maidstone, noted it down from the wandering hop-pickers singing a song to it on their entrance into that town." Popular Music, vol. i. p. 304.]
⁂
A Scottish Ballad,
Seems to be composed (not without improvements) out of two ancient English ones, printed in the former part of this volume. See book i. ballad xv. and book ii. ballad iv.—If this had been the original, the authors of those two ballads would hardly have adopted two such different stories: besides, this contains enlargements not to be found in either of the others. It is given with some corrections, from a MS. copy transmitted from Scotland.
[Jamieson prints a version of this ballad which was taken down from the recitation of Mrs. W. Arrot of Aberbrothick, and is entitled Sweet Willie and Fair Annie. He contends that it is "pure and entire," and expresses his opinion that the text of Percy's copy had been "adjusted" previous to its leaving Scotland.]
This little beautiful sonnet is reprinted from a small volume of "Poems by Thomas Carew, Esq. one of the gentlemen of the privie-chamber, and sewer in ordinary to his majesty (Charles I.) Lond. 1640." This elegant, and almost-forgotten writer, whose poems have been deservedly revived, died in the prime of his age, in 1639.
In the original follows a third stanza; which, not being of general application, nor of equal merit, I have ventured to omit.
[Dr. Rimbault informs us that the original music was composed by Henry Lawes, and is included in his Ayres and Dialogues for one, two and three Voyces, 1653.]
The subject of this ballad is sufficiently popular from the modern play which is founded upon it. This was written by George Lillo, a jeweller of London, and first acted about 1730.—As for the ballad it was printed at least as early as the middle of the last century.
It is here given from three old printed copies, which exhibit a strange intermixture of Roman and black letter. It is also collated with another copy in the Ashmole Collection at Oxford, which is thus intitled, "An excellent ballad of George Barnwell, an apprentice of London, who ... thrice robbed his master and murdered his uncle in Ludlow." The tune is The Merchant.
This tragical narrative seems to relate a real fact; but when it happened I have not been able to discover.
[Ritson writes as follows concerning certain improvements made by Percy in the following ballad (Ancient Songs, 1829, vol. ii. p. 165, note):—"Throughout this 'second part' (except in a single instance) the metre of the first line of each stanza is in the old editions lengthened by a couple of syllables, which are, occasionally at least, a manifest interpolation. The person also is for the most part changed from the first to the third, with evident impropriety. Dr. Percy has very ingeniously restored the measure by ejecting the superfluous syllables, and given consistency to the whole by the restoration of the proper person; and as it is now highly improbable that any further ancient copy will be found, and those which exist are manifestly corrupt, it seemed justifiable to adopt the judicious emendations of this ingenious editor."
Dr. Rimbault observes, "This curious tune (The Merchant) which has been quite overlooked by antiquaries, is found, together with the original ballad, The Merchant and the Fiddler's Wife, in D'Urfey's Pills to Purge Melancholy, vol. v. p. 77, edit. 1719."
The former great popularity of the story of the wicked young prentice is shown by James Smith's parody in the Rejected Addresses and Thackeray's caricature romance—George de Barnwell.]
[426] The having a sum of money with him on Sunday, &c. shews this narrative to have been penned before the civil wars: the strict observance of the sabbath was owing to the change of manners at that period.
[427] [coy, shy.]
[428] i.e. for stopping, and apprehending him at his father's.
These beautiful stanzas were written by George Wither, of whom some account was given in the former part of this volume; see the song intitled, The Shepherd's Resolution, book ii. song xxi. In the first edition of this work only a small fragment of this sonnet was inserted. It was afterwards rendered more compleat and intire by the addition of five stanzas more, extracted from Wither's pastoral poem, intitled, The Mistress of Philarete, of which this song makes a part. It is now given still more correct and perfect by comparing it with another copy, printed by the author in his improved edition of The Shepherd's Hunting, 1620, 8vo.
[The Folio MS. (ed. Hales and Furnivall, vol. iii. p. 360) contains only the fifth and sixth stanzas slightly varied, which were printed in the first edition of the Reliques, with the title of The Aspiring Shepherd.]
The subject of this ballad is taken from a folio collection of tragical stories, intitled, The theatre of God's judgments, by Dr. Beard and Dr. Taylor, 1642. Pt. ii. p. 89.—The text is given (with corrections) from two copies; one of them in black-letter in the Pepys collection. In this every stanza is accompanied with the following distich by way of burden:
⁂
This Song is by Dryden, being inserted in his Tragi-Comedy of Love Triumphant, &c.—On account of the subject it is inserted here.
The ladies are indebted for the following notable documents to the Pepys collection, where the original is preserved in black-letter, and is intitled, A lookingglass for ladies, or a mirrour for married women. Tune Queen Dido, or Troy town.
[429] [use.]
By Col. Richard Lovelace: from the volume of his poems, intitled Lucasta, (Lond. 1649. 12mo.). The elegance of this writer's manner would be more admired, if it had somewhat more of simplicity.
[Percy's admirers would be glad to expunge the above unjust judgment. Some of Lovelace's poems may be affected, but that charge cannot be brought against these exquisite verses, the last two of which have become a world-famed quotation.]
The old story-book of Valentine and Orson (which suggested the plan of this tale, but it is not strictly followed in it) was originally a translation from the French, being one of their earliest attempts at romance. See Le Bibliothèque de Romans, &c.
The circumstance of the bridge of bells is taken from the old metrical legend of Sir Bevis, and has also been copied in the Seven Champions. The original lines are,
Sign. E. iv.
In the Editor's folio MS. was an old poem on this subject, in a wretched corrupt state, unworthy the press: from which were taken such particulars as could be adopted.
[The poem entitled The Emperour and the Childe in the Folio MS. (ed. Hales and Furnivall, vol. ii. p. 390) only suggested the subject of the present ballad. It commences—
There are no particular signs of "corruption," and the piece is probably superior to Percy's own effusion.
Percy's trumpery commencement is an echo of the beginning of the printed copies of Sir Andrew Barton.
The name Ursine, like that of Orson, is derived from Fr. Ourson, the diminutive of Ours, a bear (Latin, ursus.)]
⁂
[430] Ver. 23. i.e. a lake that served for a moat to a castle.
This humourous song (as a former Editor[431] has well observed) is to old metrical romances and ballads of chivalry, what Don Quixote is to prose narratives of that kind:—a lively satire on their extravagant fictions. But altho' the satire is thus general, the subject of this ballad is local and peculiar: so that many of the finest strokes of humour are lost for want of our knowing the minute circumstances to which they allude. Many of them can hardly now be recovered, altho' we have been fortunate enough to learn the general subject to which the satire referred, and shall detail the information, with which we have been favoured, at the end of this introduction.
In handling his subject, the Author has brought in most of the common incidents which occur in romance. The description of the dragon[432]—his outrages—the people flying to the knight for succour—his care in chusing his armour—his being drest for fight by a young damsel—and most of the circumstances of the battle and victory (allowing for the burlesque turn given to them) are what occur in every book of chivalry, whether in prose or verse.
If any one piece, more than other, is more particularly levelled at, it seems to be the old rhiming legend of sir Bevis. There a Dragon is attacked from a Well in a manner not very remote from this of the ballad:—
This seems to be meant by the Dragon of Wantley's stink, ver. 110. As the politick knight's creeping out, and attacking the dragon, &c. seems evidently to allude to the following:
Sign. M. jv. L. j. &c.
After all, perhaps the writer of this ballad was acquainted with the above incidents only thro' the medium of Spenser, who has assumed most of them in his Faery Queen. At least some particulars in the description of the Dragon, &c. seem evidently borrowed from the latter. See book i. canto 11, where the Dragon's "two wynges like sayls—huge long tayl—with stings—his cruel rending clawes—and yron teeth—his breath of smothering smoke and sulphur"—and the duration of the fight for upwards of two days, bear a great resemblance to passages in the following ballad; though it must be confessed that these particulars are common to all old writers of romance.
Altho' this ballad must have been written early in the last century, we have met with none but such as were comparatively modern copies. It is here printed from one in Roman letter, in the Pepys collection, collated with such others as could be procured.
A description of the supposed scene of this ballad, which was communicated to the Editor in 1767, is here given in the words of the relater:—
"In Yorkshire, 6 miles from Rotherham, is a village, called Wortley, the seat of the late Wortley Montague, Esq. About a mile from this village is a lodge, named Warncliff Lodge, but vulgarly called Wantley: here lies the scene of the song. I was there about forty years ago: and it being a woody rocky place, my friend made me clamber over rocks and stones, not telling me to what end, till I came to a sort of a cave; then asked my opinion of the place, and pointing to one end, says, Here lay the dragon killed by Moor of Moor-hall: here lay his head; here lay his tail; and the stones we came over on the hill, are those he could not crack; and yon white house you see half a mile off, is Moor-hall. I had dined at the lodge, and knew the man's name was Matthew, who was a keeper to Mr. Wortley, and, as he endeavoured to persuade me, was the same Matthew mentioned in the song: In the house is the picture of the Dragon and Moor of Moor-hall, and near it a well, which, says he, is the well described in the ballad."
Since the former editions of this humorous old song were printed, the following Key to the Satire hath been communicated by Godfrey Bosville, Esq. of Thorp, near Malton, in Yorkshire; who, in the most obliging manner, gave full permission to adjoin it to the poem.
Warncliffe Lodge, and Warncliffe Wood (vulgarly pronounced Wantley), are in the parish of Penniston, in Yorkshire. The rectory of Penniston was part of the dissolved monastery of St. Stephen's, Westminster; and was granted to the Duke of Norfolk's family: who therewith endowed an hospital, which he built at Sheffield, for women. The trustees let the impropriation of the great Tythes of Penniston to the Wortley family, who got a great deal by it, and wanted to get still more; for Mr. Nicholas Wortley attempted to take the tythes in kind, but Mr. Francis Bosville opposed him, and there was a decree in favour of the Modus in 37th Eliz. The vicarage of Penniston did not go along with the rectory, but with the copyhold rents, and was part of a large purchase made by Ralph Bosville, Esq. from Q. Elizabeth, in the 2d year of her reign: and that part he sold in 12th Eliz. to his elder brother Godfrey, the father of Francis; who left it, with the rest of his estate, to his wife, for her life, and then to Ralph,[Pg 282] 3d son of his uncle Ralph. The widow married Lyonel Rowlestone, lived eighteen years, and survived Ralph.
This premised, the ballad apparently relates to the law-suit carried on concerning this claim of tythes made by the Wortley family. "Houses and churches, were to him geese and turkeys:" which are tytheable things, the dragon chose to live on. Sir Francis Wortley, the son of Nicholas, attempted again to take the tythes in kind: but the parishioners subscribed an agreement to defend their Modus. And at the head of the agreement was Lyonel Rowlestone, who is supposed to be one of "the Stones, dear Jack, which the Dragon could not crack." The agreement is still preserved in a large sheet of parchment, dated 1st of James I., and is full of names and seals, which might be meant by the coat of armour, "with spikes all about, both within and without." More of More-hall was either the attorney, or counsellor, who conducted the suit. He is not distinctly remembered, but More-hall is still extant at the very bottom of Wantley [Warncliff] Wood, and lies so low, that it might be said to be in a well: as the dragon's den [Warncliff Lodge] was at the top of the wood, "with Matthew's house hard by it." The keepers belonging to the Wortley family were named, for many generations, Matthew Northall: the last of them left this lodge, within memory, to be keeper to the Duke of Norfolk. The present owner of More-hall still attends Mr. Bosville's Manor-Court at Oxspring, and pays a rose a year. "More of More-hall, with nothing at all, slew the Dragon of Wantley." He gave him, instead of tythes, so small a Modus, that it was in effect nothing at all, and was slaying him with a vengeance. "The poor children three," &c. cannot surely mean the three sisters of Francis Bosville, who would have been coheiresses, had he made no will? The late Mr. Bosville had a contest with the descendants of two of them, the late Sir Geo. Saville's father, and Mr. Copley, about the presentation to Penniston, they supposing Francis had not the power to give this part of the estate from the heirs at law; but it was decided against them. The dragon (Sir Francis Wortley) succeeded better with his cousin Wordesworth, the freehold lord of the manor (for it is the copyhold manor that belongs to Mr. Bosville) having persuaded him not to join the refractory parishioners, under a promise that he would let him his tythes cheap: and now the estates of Wortley and Wordesworth are the only lands that pay tythes in the parish.
N.B. "Two days and a night," mentioned in ver. 125, as the duration of the combat, was probably that of the trial at law.
[In Gough's edition of Camden's Britannia we learn that "Sir Thomas Wortley, who was knight of the body to Edward IV.,[Pg 283] Richard III., Henry VII. and VIII., built a lodge in his chace of Warncliffe, and had a house and park there, disparked in the Civil War."
Mr. Gilfillan has the following note in his edition of the Reliques, "A legend current in the Wortley family states the dragon to have been a formidable drinker, drunk dead by the chieftain of the opposite moors. Ellis thinks it was a wolf or some other fierce animal hunted down by More of More-hall." A writer in the Notes and Queries (3rd S. ix. 29), who signs himself "Fitzhopkins," expresses his disbelief in the above explanation communicated to Percy by Godfrey Bosville.]
[431] Collection of Historical Ballads in 3 vol. 1727.
[433] Ver. 29. were to him gorse and birches. Other Copies.
[434] [Wharncliffe is about six miles from Rotherham.]
The First Part.
As the former song is in ridicule of the extravagant incidents in old ballads and metrical romances; so this is a burlesque of their style; particularly of the rambling transitions and wild accumulations of unconnected parts, so frequent in many of them.
This ballad is given from an old black-letter copy in the Pepys collection, "imprinted at London, 1612." It is more ancient than many of the preceding; but we place it here for the sake of connecting it with the Second Part.
[Saint George that, O! did break the dragon's heart is one of the ballads offered for sale by Nightingale, the ballad-singer in Ben Jonson's comedy of Bartholomew Fair (act ii. sc. 1), and according to Fielding's Tom Jones, St. George, he was for England, was one of Squire Western's favourite tunes.
This ballad is printed in several collections, and Mr. Chappell notices a modernization subscribed S. S. and "printed for W. Gilbertson in Giltspur Street," about 1659, which commences—
[435] This probably alludes to "An Ancient Order of Knighthood, called the Order of the Band, instituted by Don Alphonsus, king of Spain, ... to wear a red riband of three fingers breadth," &c. See Ames Typog. p. 327.
[436] Alluding to the fabulous exploits attributed to this king in the old romances. See the dissertation affixed to this volume.
The Second Part.
Was written by John Grubb, M.A. of Christ Church, Oxford. The occasion of its being composed is said to have been as follows. A set of gentlemen of the university had formed themselves into a club, all the members of which were to be of the name of George: Their anniversary feast was to be held on St. George's day. Our author solicited strongly to be admitted; but his name being unfortunately John, this disqualification was dispensed with only upon this condition, that he would compose a song in honour of their Patron Saint, and would every year produce one or more new stanzas, to be sung on their annual festival. This gave birth to the following humorous performance, the several stanzas of which were the produce of many successive anniversaries.[437]
This diverting poem was long handed about in manuscript, at length a friend of Grubb's undertook to get it printed, who, not keeping pace with the impatience of his friends, was addressed in the following whimsical macaronic lines, which, in such a collection as this, may not improperly accompany the poem itself.
Expostulatiuncula, sive Querimoniuncula ad Antonium [Atherton] ob Poema Johannis Grubb, Viri του πανυ ingeniosissimi in lucem nondum editi.
At length the importunity of his friends prevailed, and Mr. Grubb's song was published at Oxford, under the following title:
The British Heroes.
A New Poem in honour of St. George,
By Mr. John Grubb,
School-master of Christ-Church,
Oxon. 1688.
Hor.
Sold by Henry Clements. Oxon.
John Grubb, the facetious writer of the foregoing song, makes a distinguished figure among the Oxford wits so humorously enumerated in the following distich:
These were Bub Dodington (the late lord Melcombe), Dr. Stubbes, our poet Grubb, Mr. Crabb, Dr. Trapp the poetry-professor, Dr. Edw. Young, the author of Night-Thoughts, Walter Carey, Thomas Tickel, Esq., and Dr. Evans the epigrammatist.
As for our poet Grubb, all that we can learn further of him is contained in a few extracts from the University Register, and from his epitaph. It appears from the former that he was matriculated in 1667, being the son of John Grubb, "de Acton Burnel in comitatu Salop. pauperis." He took his degree of Bachelor of Arts, June 28, 1671: and became Master of Arts, June 28, 1675. He was appointed Head Master of the Grammar School at Christ Church: and afterwards chosen into the same employment at Gloucester, where he died in 1697, as appears from his monument in the church of St. Mary de Crypt in Gloucester, which is inscribed with the following epitaph:—
H. S. E.
Johannes Grubb, A. M.
Natus apud Acton Burnel in agro Salopiensi
Anno Dom. 1645.
[Pg 308]Cujus variam in linguis notitiam,
et felicem erudiendis pueris industriam,
gratâ adhuc memoriâ testatur Oxonium:
Ibi enim Ædi Christi initiatus,
artes excoluit;
Pueros ad easdem mox excolendas
accuratè formavit:
Huc demum
unanimi omnium consensu accitus,
eandem suscepit provinciam,
quam feliciter adeo absolvit,
ut nihil optandum sit
nisi ut diutius nobis interfuisset:
Fuit enim
propter festivam ingenij suavitatem,
simplicem morum candorem, et
præcipuam erga cognatos benevolentiam,
omnibus desideratissimus.
Obiit 2do die Aprilis, Anno Dni. 1697.
Ætatis suæ 51.
[437] To this circumstance it is owing that the editor has never met with two copies, in which the stanzas are arranged alike, he has therefore thrown them into what appeared the most natural order. The verses are properly long Alexandrines, but the narrowness of the page made it necessary to subdivide them: they are here printed with many improvements.
[438] [blow.]
[439] Men of bulk answerable to their places, as is well known at Oxford.
[440] A butcher that then served the college.
[441] A cook, who on fast nights was famous for selling cow-heel and tripe.
[442] The drum.
[443] Who kept Paradise gardens at Oxford.
[444] A noted drawer at the Mermaid tavern in Oxford.
[445] Lord Lovelace broke down the bridges about Oxford, at the beginning of the Revolution. See on this subject a Ballad in Smith's Poems, p. 102. London, 1713.
[446] It has been suggested by an ingenious correspondent that this was a popular subject at that time:—
Smith's Poems, p. 117
[447] [perhaps a contraction of windhover, a kind of hawk.]
[448] See the account of Rolricht Stones, in Dr. Plott's Hist. of Oxfordshire.
[449] Braburn, a gentleman commoner of Lincoln college, gave a silver arrow to be shot for by the archers of the university of Oxford.
[450] Hannibal had but one eye.
[451] A one-eyed fellow, who pretended to make fiddles, as well as play on them; well known at that time in Oxford.
[452] The name of St. George's sword.
This ballad, which appeared in some of the public newspapers in or before the year 1724, came from the pen of David Mallet, Esq. who in the edition of his poems, 3 vols. 1759, informs us that the plan was suggested by the four verses quoted above in page 124, which he supposed to be the beginning of some ballad now lost.
"These lines, says he, naked of ornament and simple, as they are, struck my fancy; and bringing fresh into my mind an unhappy adventure much talked of formerly, gave birth to the following poem, which was written many years ago."
The two introductory lines (and one or two others elsewhere) had originally more of the ballad simplicity, viz.
In a late publication, intitled, The Friends, &c. Lond. 1773, 2 vols. 12mo. (in the first volume, p. 71) is inserted a copy of[Pg 309] the foregoing ballad, with very great variations, which the editor of that work contends was the original; and that Mallet adopted it for his own and altered it, as here given.—But the superior beauty and simplicity of the present copy, gives it so much more the air of an original, that it will rather be believed that some transcriber altered it from Mallet's, and adapted the lines to his own taste; than which nothing is more common in popular songs and ballads.
[This ballad, more generally known as William and Margaret, is supposed to have been printed for the first time in Aaron Hill's Plain Dealer (No. 36, July 24, 1724), when the author was a very young man. Hill introduced it to the reader as the work of an old poet, and wrote, "I am sorry I am not able to acquaint my readers with his name to whom we owe this melancholy piece of finished poetry under the humble title of a ballad." In the following month the editor announced that "he had discovered the author to be still alive." The verses were probably written in 1723, in the August of which year Mallet left Scotland, for Allan Ramsay, in his Stanzas to Mr. David Mallock on his departure from Scotland, alludes to them:—
The ballad at once became popular, and was printed in several collections, undergoing many alterations for the worse by the way. Sundry attempts were made to rob Mallet of the credit of his song. Besides the one mentioned above by Percy, Captain Thompson, the editor of Andrew Marvell's Works, claimed it for Marvell, but this claim was even more ridiculous than those he set up against Addison and Watts. Although Mallet doubtless knew the ballads Fair Margaret and Sweet William (book ii. No. 4) and Sweet William's Ghost (No. 6), he is said to have founded his own upon a true story which came under his observation. A daughter of Professor James Gregory of St. Andrews, and afterwards of Edinburgh, was seduced by a son of Sir William Sharp of Strathyrum, who had promised to marry her, but heartlessly deserted her.
The ballad has been extravagantly praised: Ritson observes, "It may be questioned whether any English writer has produced so fine a ballad as William and Margaret." Percy describes it as one of the most beautiful ballads in our own or any other language; and Allan Ramsay writes, "I know not where to seek a finer mixture of pathos and terror in the whole range of Gothic romance." Scott, on the other hand, was of opinion that "The[Pg 310] ballad, though the best of Mallet's writing, is certainly inferior to the original, which I presume to be the very fine and terrific old Scottish tale, beginning
The extreme popularity of the poem is seen by the various parodies, one of which, Watty and Madge, is printed in Ramsay's Tea Table Miscellany (vol. iii.). It commences—
and each succeeding verse is parodied in the same manner. Vincent Browne imitated the original in Latin verse, and a German version was published as Wilhelm und Gretchen.
Mallet was a native of Crieff in Perthshire, and is believed to have been born in the year 1702. He was sometime tutor to the Montrose family, through whose influence he was introduced into public life. He changed his name from Malloch to Mallet when he settled in London, and in 1742 he was appointed Under Secretary to the Prince of Wales. He died on the 21st of April, 1765. Mallet is a writer little cared for now, but he can hardly be said to be neglected, for in 1857 Mr. Frederick Dinsdale published an illustrated edition of his Ballads and Songs, chiefly made up of copious notes on William and Margaret and Edwin and Emma.]
Was written by Thomas Tickell, Esq. the celebrated friend of Mr. Addison, and editor of his works. He was son of a clergyman in the north of England, had his education at Queen's college, Oxon, was under secretary to Mr. Addison and Mr. Craggs, when successively secretaries of[Pg 313] state; and was lastly (in June, 1724) appointed secretary to the Lords Justices in Ireland, which place he held till his death in 1740.[453] He acquired Mr. Addison's patronage by a poem in praise of the opera of Rosamond, written while he was at the University.
It is a tradition in Ireland, that the song was written at Castletown, in the county of Kildare, at the request of the then Mrs. Conolly—probably on some event recent in that neighbourhood.
[Gray called Lucy and Colin "the prettiest" ballad in the world, although he was not partial to Tickell's other poems.
The fine old melody given by Dr. Rimbault for this ballad is taken from "The Merry Musician; or a Cure for the Spleen; being a collection of the most diverting Songs and pleasant Ballads set to Musick," 1716.]
[453] Born 1686.
AS REVISED AND ALTERED BY A MODERN HAND.
Mr. Warton, in his ingenious Observations on Spenser, has given his opinion, that the fiction of the Boy and the Mantle is taken from an old French piece intitled Le court mantel, quoted by M. de St. Palaye in his curious Mémoires sur l'ancienne Chevalerie, Paris, 1759, 2 tom. 12mo., who tells us the story resembles that of Ariosto's inchanted cup. 'Tis possible our English poet may have taken the hint of this subject from that old French romance, but he does not appear to have copied it in the manner of execution; to which (if one[Pg 316] may judge from the specimen given in the Mémoires) that of the ballad does not bear the least resemblance. After all, 'tis most likely that all the old stories concerning K. Arthur are originally of British growth, and that what the French and other southern nations have of this kind, were at first exported from this island. See Mémoires de l'Acad. des Inscrip. tom. xx. p. 352.
(Since this volume was printed off, the Fabliaux ou Contes, 1781, 5 tom. 12mo., of M. le Grand, have come to hand: and in tom. i. p. 54, he hath printed a modern version of the old tale Le Court Mantel, under a new title Le Manteau maltaillé; which contains the story of this ballad much enlarged, so far as regards the Mantle; but without any mention of the Knife, or the Horn.)
[See book i. No. 1, for the original of this ballad.]
⁂
⁂ The Rev. Evan Evans, editor of the specimens of Welsh Poetry, 4to. affirmed that the Boy and the Mantle is taken from what is related in some of the old Welsh MSS. of Tegan Earfron, one of King Arthur's mistresses. She is said to have possessed a mantle that would not fit any immodest or incontinent woman;[Pg 323] this, (which, the old writers say, was reckoned among the curiosities of Britain) is frequently alluded to by the old Welsh Bards.
Carleile, so often mentioned in the ballads of K. Arthur, the editor once thought might probably be a corruption of Caer-leon, an ancient British city on the river Uske, in Monmouthshire, which was one of the places of K. Arthur's chief residence; but he is now convinced, that it is no other than Carlisle, in Cumberland; the old English minstrels, being most of them northern men, naturally represented the hero of romance as residing in the north: And many of the places mentioned in the old ballads are still to be found there: As Tearne-Wadling, &c.
Near Penrith is still seen a large circle, surrounded by a mound of earth, which retains the name of Arthur's Round Table.
[For a full statement of the claims of the "North" to be considered as the home of King Arthur, see J. S. Stuart Glennie's Essay on Arthurian Localities, in the edition of the Prose Romance of Merlin, published by the Early English Text Society.]
The second poem in this volume, intitled The Marriage of Sir Gawaine, having been offered to the reader with large conjectural supplements and corrections, the old fragment itself is here literally and exactly printed from the editor's folio MS. with all its defects, inaccuracies, and errata; that such austere antiquaries, as complain that the ancient copies have not been always rigidly adhered to, may see how unfit for publication many of the pieces would have been, if all the blunders, corruptions, and nonsense of illiterate reciters and transcribers had been superstitiously retained, without some attempt to correct and emend them.
This ballad had most unfortunately suffered by having half of every leaf in this part of the MS. torn away; and, as about nine [Pg 324]stanzas generally occur in the half page now remaining, it is concluded, that the other half contained nearly the same number of stanzas.
[The following poem is printed in Hales' and Furnivall's edition of the MS., vol. i. p. 105.]
[About Nine Stanzas wanting.]
[About Nine Stanzas wanting.]
[About Nine Stanzas wanting.]
[About Nine Stanzas wanting.]
[About Nine Stanzas wanting.]
[About Nine Stanzas wanting.]
Ffins.
[456] [Printed for the first time in the fourth edition.]
[457] [holly.]
[458] [salute.]
[459] Sic MS. = finde.
[460] [my vow.]
[461] [qy. for swire = neck.]
[462] Sic in MS. pro feires, i.e. Mates.
THE END OF THE THIRD BOOK.
APPENDIX I.
From an ancient copy in black-print, in the Pepys Collection. Mr. Addison has pronounced this an excellent ballad: see the Spectator, No. 248.
[This ballad was printed in the third volume of the first edition of the Reliques, Book ii. No. 12, but was afterwards expunged by Percy. Professor Child gives the following references in his collection of English and Scottish Ballads, vol. viii. p. 152:—"The same story circulates among the peasantry of England and Scotland in the form of a penny tract or chap-book, Notices of Popular Histories, p. 16, (Percy Soc. vol. xxiii.); Notes and Queries, New Series, vol. iii. p. 49. This jest is an old one. Mr. Halliwell refers to a fabliau in Barbazan's Collection, which contains the groundwork of this piece, Du Vilain qui Conquist Paradis par Plait, Meon's ed. iv. 114."]
I.
The first attempts at composition among all barbarous nations are ever found to be poetry and song. The praises of their gods, and the achievements of their heroes, are usually chanted at their festival meetings. These are the first rudiments of history. It is in this manner that the savages of North America preserve the memory of past events[465]; and the same method is known to have prevailed among our Saxon ancestors before they quitted their German forests[466]. The ancient Britons had their Bards, and the Gothic nations their Scalds or popular poets[467], whose business it was to record the victories of their warriors, and the genealogies of their princes, in a kind of narrative songs, which were committed to memory, and delivered down from one reciter to another. So long as poetry continued a distinct profession, and [Pg 340]while the Bard, or Scald, was a regular and stated officer in the prince's court, these men are thought to have performed the functions of the historian pretty faithfully; for though their narrations would be apt to receive a good deal of embellishment, they are supposed to have had at the bottom so much of truth as to serve for the basis of more regular annals. At least succeeding historians have taken up with the relations of these rude men, and for the want of more authentic records, have agreed to allow them the credit of true history[468].
After letters began to prevail, and history assumed a more stable form, by being committed to plain simple prose; these songs of the Scalds or Bards began to be more amusing than useful. And in proportion as it became their business chiefly to entertain and delight, they gave more and more into embellishment, and set off their recitals with such marvellous fictions, as were calculated to captivate gross and ignorant minds. Thus began stories of adventures with giants and dragons, and witches and enchanters, and all the monstrous extravagances of wild imagination, unguided by judgment, and uncorrected by art[469].
This seems to be the true origin of that species of romance, which so long celebrated feats of chivalry, and which at first in metre, and afterwards in prose, was the entertainment of our ancestors, in common with their contemporaries on the continent, till the satire of Cervantes, or rather the increase of knowledge and classical literature, drove them off the [Pg 341]stage to make room for a more refined species of fiction, under the name of French Romances, copied from the Greek[470].
That our old romances of chivalry may be derived in a lineal descent from the ancient historical songs of the Gothic Bards and Scalds, will be shown below, and indeed appears the more evident, as many of those songs are still preserved in the north, which exhibit all the seeds of chivalry before it became a solemn institution[471]. "Chivalry, as a distinct military order, conferred in the way of investiture, and accompanied with the solemnity of an oath, and other ceremonies," was of later date, and sprung out of the feudal constitution, as an elegant writer has clearly shown[472]. But the ideas of chivalry prevailed long before in all the Gothic nations, and may be discovered as in embriyo in the customs, manners, and opinions of every branch of that people[473]. That fondness of going in quest of adventures, that spirit of challenging to single combat, and that respectful complaisance shewn to the fair sex, (so different from the manners of the Greeks and Romans), all are of Gothic origin, and may be traced up to the earliest times among all the northern nations[474]. These existed long before the feudal ages, though they were called forth and strengthened in a peculiar manner under that constitution, and at length arrived to their full maturity in the times of the Crusades, so replete with romantic adventures[475].
Even the common arbitrary fictions of romance were (as is hinted above) most of them familiar to the ancient Scalds of the North, long before the time of the Crusades. They believed the existence of giants and dwarfs[476]; they entertained opinions not unlike the more modern notion of fairies[477], they were strongly possessed with the belief of spells and inchantment[478], and were fond of inventing combats with dragons and monsters[479].
The opinion therefore seems very untenable, which some learned and ingenious men have entertained, that the turn for chivalry, and the taste for that species of romantic fiction were caught by the Spaniards from the Arabians or Moors after their invasion of Spain, and from the Spaniards transmitted to the [Pg 343]bards of Armorica[480], and thus diffused through Britain, France, Italy, Germany, and the North. For it seems utterly incredible, that one rude people should adopt a peculiar taste and manner of writing [Pg 344]or thinking from another, without borrowing at the same time any of their particular stories and fables, without appearing to know anything of their heroes, history, laws, and religion. When the Romans began to adopt and imitate the Grecian literature, they immediately naturalized all the Grecian fables, histories, and religious stories; which became as familiar to the poets of Rome, as of Greece itself. Whereas all the old writers of chivalry, and of that species of romance, whether in prose or verse, whether of the Northern nations, or of Britain, France, and Italy, not excepting Spain itself[481], appear utterly unacquainted with whatever relates to the Mahometan [Pg 345]nations. Thus with regard to their religion, they constantly represent them as worshipping idols, as paying adoration to a golden image of Mahomet, or else they confound them with the ancient pagans, &c. And indeed in all other respects they are so grossly ignorant of the customs, manners, and opinions of every branch of that people, especially of their heroes, champions, and local stories, as almost amounts to a demonstration that they did not imitate them in their songs or romances: for as to dragons, serpents, necromancies, &c., why should these be thought only derived from the Moors in Spain so late as after the eighth century? since notions of this kind appear too familiar to the northern Scalds and enter too deeply into all the northern mythology, to have been transmitted to the unlettered Scandinavians, from so distant a country, at so late a period. If they may not be allowed to have brought these opinions with them in their original migrations from the north of Asia, they will be far more likely to have borrowed them from the Latin poets after the Roman conquests in Gaul, Britain, Germany, &c. For, I believe one may challenge the maintainers of this opinion, to produce any Arabian poem or history, that could possibly have been then known in Spain, which resembles the old Gothic romances of chivalry half so much as the Metamorphoses of Ovid.
But we well know that the Scythian nations situate in the countries about Pontus, Colchis, and the Euxine sea, were in all times infamous for their magic arts: and as Odin and his followers are said to have come precisely from those parts of Asia; we can readily account for the prevalence of fictions of [Pg 346]this sort among the Gothic nations of the North, without fetching them from the Moors in Spain; who for many centuries after their irruption, lived in a state of such constant hostility with the unsubdued Spanish Christians, whom they chiefly pent up in the mountains, as gave them no chance of learning their music, poetry, or stories; and this, together with the religious hatred of the latter for their cruel invaders, will account for the utter ignorance of the old Spanish romancers in whatever relates to the Mahometan nations, although so nearly their own neighbours.
On the other hand, from the local customs and situations, from the known manners and opinions of the Gothic nations in the north, we can easily account for all the ideas of chivalry and its peculiar fictions[482]. For, not to mention their distinguished respect for the fair sex, so different from the manners of the Mahometan nations[483], their national and domestic history so naturally assumes all the wonders of this species of fabling, that almost all their historical narratives appear regular romances. One might refer in proof of this to the old northern Sagas in general: but to give a particular instance it will be sufficient to produce the history of King Regner Lodbrog, a celebrated warrior and pirate, who reigned in Denmark about the year 800[484]. This hero signalized his youth by an exploit of gallantry. A Swedish prince had a beautiful daughter whom he intrusted (probably during some expedition) to the care of one of his officers, assigning a strong castle for their defence. The officer fell in love with his ward, and detained her in his castle, spite of all the [Pg 347]efforts of her father. Upon this he published a proclamation through all the neighbouring countries, that whoever would conquer the ravisher and rescue the lady should have her in marriage. Of all that undertook the adventure, Regner alone was so happy as to achieve it: he delivered the fair captive, and obtained her for his prize. It happened that the name of this discourteous officer was Orme, which in the Islandic language signifies serpent: Wherefore the Scalds, to give the more poetical turn to the adventure, represent the lady as detained from her father by a dreadful dragon, and that Regner slew the monster to set her at liberty. This fabulous account of the exploit is given in a poem still extant, which is even ascribed to Regner himself, who was a celebrated poet; and which records all the valiant achievements of his life[485].
With marvelous embellishments of this kind the Scalds early began to decorate their narratives: and they were the more lavish of these, in proportion as they departed from their original institution, but it was a long time before they thought of delivering a set of personages and adventures wholly feigned. Of the great multitude of romantic tales still preserved in the libraries of the North, most of them are supposed to have had some foundation in truth, and the more ancient they are, the more they are believed to be connected with true history[486].
It was not probably till after the historian and the bard had been long disunited, that the latter ventured at pure fiction. At length when their business was no longer to instruct or inform, but merely to amuse, it was no longer needful for them to adhere [Pg 348]to truth. Then succeeded fabulous songs and romances in verse, which for a long time prevailed in France and England before they had books of chivalry in prose. Yet in both these countries the minstrels still retained so much of their original institution, as frequently to make true events the subject of their songs[487]; and indeed, as during the barbarous ages, the regular histories were almost all written in Latin by the monks, the memory of events was preserved and propagated among the ignorant laity by scarce any other means than the popular songs of the minstrels.
II. The inhabitants of Sweden, Denmark, and Norway, being the latest converts to Christianity, retained their original manners and opinions longer than the other nations of Gothic race: and therefore they have preserved more of the genuine compositions of their ancient poets, than their southern neighbours. Hence the progress, among them, from poetical history to poetical fiction is very discernible: they have some old pieces, that are in effect complete Romances of Chivalry[488]. They have also (as hath been observed) a multitude of Sagas[489] or histories on romantic subjects, containing a mixture of prose and verse, of various dates, some of them written since the times of the Crusades, others long before: but their narratives in verse only are esteemed the more ancient.
Now as the irruption of the Normans[490] into France under Rollo did not take place till towards the beginning of the tenth century, at which time the Scaldic art was arrived to the highest perfection in Rollo's native country, we can easily trace the descent of the French and English romances of chivalry from the Northern Sagas. That conqueror doubtless carried many Scalds with him from the north, who transmitted their skill to their children and successors. These adopting the religion, opinions, and language of the new country, substituted the heroes of Christendom instead of those of their pagan ancestors, and began to celebrate the feats of Charlemagne, Roland, and Oliver; whose true history they set off and embellished with the Scaldic figments of dwarfs, giants, dragons, and enchantments. The first mention we have in song of those heroes of chivalry is in the mouth of a Norman warrior at the conquest of England[491]: and this circumstance alone would sufficiently account for the propagation of this kind of romantic poems among the French and English.
But this is not all; it is very certain, that both the Anglo-Saxons and the Franks had brought with them, at their first emigrations into Britain and Gaul, the same fondness for the ancient songs of their ancestors, which prevailed among the other Gothic tribes[492], and that all their first annals were transmitted in these popular oral poems. This fondness they even retained long after their conversion to Christianity, as we learn from the examples of [Pg 350]Charlemagne and Alfred[493]. Now poetry, being thus the transmitter of facts, would as easily learn to blend them with fictions in France and England, as she is known to have done in the north, and that much sooner, for the reasons before assigned[494]. This, together with the example and influence of the Normans, will easily account to us, why the first romances of chivalry that appeared both in England and France[495] were composed in metre, as a rude kind of epic songs. In both kingdoms tales in verse were usually sung by minstrels to the harp on festival occasions: and doubtless both nations derived their relish for this sort of entertainment from their Teutonic ancestors, without either of them borrowing it from the other. Among both people narrative songs on true or fictitious subjects had evidently obtained from the earliest times. But the professed romances of chivalry seem to have been first composed in France, where also they had their name.
The Latin tongue, as is observed by an ingenious [Pg 351]writer[496], ceased to be spoken in France about the ninth century, and was succeeded by what was called the Romance tongue, a mixture of the language of the Franks and bad Latin. As the songs of chivalry became the most popular compositions in that language, they were emphatically called Romans or Romants; though this name was at first given to any piece of poetry. The romances of chivalry can be traced as early as the eleventh century[497]. I know not if the Roman de Brut written in 1155, was such: but if it was, it was by no means the first poem of the kind; others more ancient are still extant[498]. And we have already seen, that, in the preceding century, when the Normans marched down to the battle of Hastings, they animated themselves, by singing (in some popular romance or ballad) the exploits of Roland and the other heroes of chivalry[499].
So early as this I cannot trace the songs of chivalry in English. The most ancient I have seen, is that [Pg 352]of Hornechild described below, which seems not older than the twelfth century. However, as this rather resembles the Saxon poetry than the French, it is not certain that the first English romances were translated from that language[500]. We have seen above, that a propensity to this kind of fiction prevailed among all the Gothic nations[501]; and, though after the Norman Conquest, this country abounded with French romances, or with translations from the French, there is good reason to believe, that the English had original pieces of their own.
The stories of King Arthur and his Round Table, may be reasonably supposed of the growth of this island; both the French and the Armoricans probably had them from Britain[502]. The stories of Guy and Bevis, with some others, were probably the invention of English minstrels[503]. On the other hand, the English procured translations of such romances as were most current in France; and in the list given at the conclusion of these remarks, many are doubtless of French original.
The first prose books of chivalry that appeared in our language, were those printed by Caxton[504]; at least, these are the first I have been able to discover, and these are all translations from the French. Whereas romances of this kind had been long current in metre, and were so generally admired in the time of Chaucer, that his rhyme of Sir Thopas was evidently written to ridicule and burlesque them[505].
He expressly mentions several of them by name in a stanza, which I have had occasion to quote more than once in this volume:
Most, if not all of these are still extant in MS. in some or other of our libraries, as I shall shew in the conclusion of this slight essay, where I shall give a list of such metrical histories and romances as have fallen under my observation.
As many of these contain a considerable portion of poetic merit, and throw great light on the manners and opinions of former times, it were to be wished that some of the best of them were rescued from [Pg 354]oblivion. A judicious collection of them accurately published with proper illustrations, would be an important accession to our stock of ancient English literature. Many of them exhibit no mean attempts at epic poetry, and though full of the exploded fictions of chivalry, frequently display great descriptive and inventive powers in the bards, who composed them. They are at least generally equal to any other poetry of the same age. They cannot indeed be put in competition with the nervous productions of so universal and commanding a genius as Chaucer, but they have a simplicity that makes them be read with less interruption, and be more easily understood: and they are far more spirited and entertaining than the tedious allegories of Gower, or the dull and prolix legends of Lydgate. Yet, while so much stress was laid upon the writings of these last, by such as treat of English poetry, the old metrical romances, though far more popular in their time, were hardly known to exist. But it has happened unluckily, that the antiquaries, who have revived the works of our ancient writers, have been for the most part men void of taste and genius, and therefore have always fastidiously rejected the old poetical romances, because founded on fictitious or popular subjects, while they have been careful to grub up every petty fragment of the most dull and insipid rhymist, whose merit it was to deform morality, or obscure true history. Should the publick encourage the revival of some of those ancient epic songs of chivalry, they would frequently see the rich ore of an Ariosto or a Tasso, though buried it may be among the rubbish and dross of barbarous times.
Such a publication would answer many important uses: It would throw new light on the rise and progress of English poetry, the history of which can be but imperfectly understood, if these are neglected:[Pg 355] It would also serve to illustrate innumerable passages in our ancient classic poets, which without their help must be for ever obscure. For, not to mention Chaucer and Spencer, who abound with perpetual allusions to them, I shall give an instance or two from Shakespeare, by way of specimen of their use.
In his play of King John our great dramatic poet alludes to an exploit of Richard I. which the reader will in vain look for in any true history. Faulconbridge says to his mother, act i. sc. 1.
The fact here referred to, is to be traced to its source only in the old romance of Richard Ceur["Cœur"?] de Lyon[507], in which his encounter with a lion makes a very shining figure. I shall give a large extract from this poem, as a specimen of the manner of these old rhapsodists, and to shew that they did not in their fictions neglect the proper means to produce the ends, as was afterwards so childishly done in the prose books of chivalry.
The poet tells us, that Richard, in his return from the Holy Land, having been discovered in the habit of "a palmer in Almayne," and apprehended as a spy, was by the king thrown into prison. Wardrewe, the king's son, hearing of Richard's great strength, desires the jailor to let him have a sight of his prisoners. Richard being the foremost, Wardrewe asks [Pg 356]him, "if he dare stand a buffet from his hand?" and that on the morrow he shall return him another. Richard consents, and receives a blow that staggers him. On the morrow, having previously waxed his hands, he waits his antagonist's arrival. Wardrewe accordingly, proceeds the story, "held forth as a trewe man," and Richard gave him such a blow on the cheek, as broke his jawbone, and killed him on the spot. The king, to revenge the death of his son, orders, by the advice of one Eldrede, that a lion, kept purposely from food, shall be turned loose upon Richard. But the king's daughter having fallen in love with him, tells him of her father's resolution, and at his request procures him forty ells of white silk "kerchers;" and here the description of the combat begins:
What follows is not so well, and therefore I shall extract no more of this poem.—For the above feat the author tells us, the king was deservedly called
"Stronge Rycharde Cure de Lyowne."
That distich which Shakespeare puts in the mouth of his madman in K. Lear, act iii. sc. 4.
has excited the attention of the critics. Instead of deere, one of them would substitute geer; and another cheer[512]. But the ancient reading is established by the old romance of Sir Bevis, which Shakespeare had doubtless often heard sung to the harp. This distich is part of a description there given of the hardships suffered by Bevis, when confined for seven years in a dungeon:
III. In different parts of this work, the reader will find various extracts from these old poetical legends; to which I refer him for farther examples of their style and metre. To complete this subject, [Pg 358]it will be proper at least to give one specimen of their skill in distributing and conducting their fable, by which it will be seen that nature and common sense had supplied to these old simple bards the want of critical art, and taught them some of the most essential rules of epic poetry.—I shall select the romance of Libius Disconius[513], as being one of those mentioned by Chaucer, and either shorter or more intelligible than the others he has quoted.
If an epic poem may be defined,[514] "A fable related by a poet, to excite admiration, and inspire virtue, by representing the action of some one hero, favoured by heaven, who executes a great design, in spite of all the obstacles that oppose him:" I know not why we should withold the name of Epic Poem from the piece which I am about to analyse.
My copy is divided into IX. Parts or Cantos, the several arguments of which are as follows.
Part I.
Opens with a short exordium to bespeak attention: the hero is described; a natural son of Sir Gawain a celebrated knight of king Arthur's court, who being brought up in a forest by his mother, is kept ignorant of his name and descent. He early exhibits marks of his courage, by killing a knight in single combat, who encountered him as he was hunting. This inspires him with a desire of seeking adventures: therefore cloathing himself in his enemy's armour, he goes to K. Arthur's court, to request the order of knighthood. His request granted, he obtains a promise [Pg 359]of having the first adventure assigned him that shall offer.—A damsel named Ellen, attended by a dwarf, comes to implore K. Arthur's assistance, to rescue a young princess, "the Lady of Sinadone" their mistress, who is detained from her rights, and confined in prison. The adventure is claimed by the young knight Sir Lybius: the king assents; the messengers are dissatisfied, and object to his youth; but are forced to acquiesce. And here the first book closes with a description of the ceremony of equipping him forth.
Part II.
Sir Lybius sets out on the adventure: he is derided by the dwarf and the damsel on account of his youth: they come to the bridge of Perill, which none can pass without encountering a knight called William de la Braunch. Sir Lybius is challenged: they just with their spears: De la Braunch is dismounted: the battle is renewed on foot: Sir William's sword breaks: he yields. Sir Lybius makes him swear to go and present himself to K. Arthur, as the first-fruits of his valour. The conquered knight sets out for K. Arthur's court: is met by three knights, his kinsmen; who, informed of his disgrace, vow revenge, and pursue the conqueror. The next day they overtake him: the eldest of the three attacks Sir Lybius; but is overthrown to the ground. The two other brothers assault him: Sir Lybius is wounded; yet cuts off the second brother's arm: the third yields; Sir Lybius sends them all to K. Arthur. In the third evening he is awaked by the dwarf, who has discovered a fire in the wood.
Part III.
Sir Lybius arms himself, and leaps on horseback: he finds two giants roasting a wild boar, who have[Pg 360] a fair lady their captive. Sir Lybius, by favour of the night, runs one of them through with his spear: is assaulted by the other: a fierce battle ensues: he cuts off the giant's arm, and at length his head. The rescued lady (an Earl's daughter) tells him her story; and leads him to her father's castle; who entertains him with a great feast; and presents him at parting with a suit of armour and a steed. He sends the giant's head to K. Arthur.
Part IV.
Sir Lybius, maid Ellen, and the dwarf, renew their journey: they see a castle stuck round with human heads; and are informed it belongs to a knight called Sir Gefferon, who, in honour of his lemman or mistress, challenges all comers: He that can produce a fairer lady, is to be rewarded with a milk-white faulcon, but if overcome, to lose his head. Sir Lybius spends the night in the adjoining town: In the morning goes to challenge the faulcon. The knights exchange their gloves: they agree to just in the market place: the lady and maid Ellen are placed aloft in chairs: their dresses: the superior beauty of Sir Gefferon's mistress described: the ceremonies previous to the combat. They engage: the combat described at large: Sir Gefferon is incurably hurt; and carried home on his shield. Sir Lybius sends the faulcon to K. Arthur; and receives back a large present in florins. He stays 40 days to be cured of his wounds, which he spends in feasting with the neighbouring lords.
Part V.
Sir Lybius proceeds for Sinadone: in the forest he meets a knight hunting, called Sir Otes de Lisle: maid Ellen charmed with a very beautiful dog, begs[Pg 361] Sir Lybius to bestow him upon her: Sir Otes meets them, and claims his dog: is refused: being unarmed he rides to his castle, and summons his followers: they go in quest of Sir Lybius: a battle ensues: he is still victorious, and forces Sir Otes to follow the other conquered knights to K. Arthur.
Part VI.
Sir Lybius comes to a fair city and castle by a riverside, beset round with pavilions or tents: he is informed, in the castle is a beautiful lady besieged by a giant named Maugys, who keeps the bridge, and will let none pass without doing him homage: this Lybius refuses: a battle ensues: the giant described: the several incidents of the battle; which lasts a whole summer's day; the giant is wounded: put to flight; slain. The citizens come out in procession to meet their deliverer: the lady invites him into her castle: falls in love with him; and seduces him to her embraces. He forgets the princess of Sinadone, and stays with this bewitching lady a twelvemonth. This fair sorceress, like another Alcina, intoxicates him with all kinds of sensual pleasure; and detains him from the pursuit of honour.
Part VII.
Maid Ellen by chance gets an opportunity of speaking to him; and upbraids him with his vice and folly: he is filled with remorse, and escapes the same evening. At length he arrives at the city and castle of Sinadone: Is given to understand that he must challenge the constable of the castle to single combat, before he can be received as a guest. They just: the constable is worsted: Sir Lybius is feasted in the castle: he declares his[Pg 362] intention of delivering their lady; and inquires the particulars of her history. "Two necromancers have built a fine palace by sorcery, and there keep her inchanted, till she will surrender her duchy to them, and yield to such base conditions as they would impose."
Part VIII.
Early on the morrow Sir Lybius sets out for the inchanted palace. He alights in the court: enters the hall: the wonders of which are described in strong Gothic painting. He sits down at the high table: on a sudden all the lights are quenched: it thunders, and lightens; the palace shakes; the walls fall in pieces about his ears. He is dismayed and confounded: but presently hears horses neigh, and is challenged to single combat by the sorcerers. He gets to his steed: a battle ensues, with various turns of fortune: he loses his weapon; but gets a sword from one of the necromancers, and wounds the other with it: the edge of the sword being secretly poisoned, the wound proves mortal.
Part IX.
He goes up to the surviving sorcerer, who is carried away from him by inchantment: at length he finds him, and cuts off his head; he returns to the palace to deliver the lady; but cannot find her: as he is lamenting, a window opens, through which enters a horrible serpent with wings and a woman's face: it coils round his neck and kisses him; then is suddenly converted into a very beautiful lady. She tells him she is the Lady of Sinadone, and was so inchanted, till she might kiss Sir Gawain, or some one of his blood: that he has dissolved the charm, and that herself and her dominions may be his re[Pg 363]ward. The knight (whose descent is by this means discovered) joyfully accepts the offer; makes her his bride, and then sets out with her for King Arthur's court.
Such is the fable of this ancient piece: which the reader may observe, is as regular in its conduct, as any of the finest poems of classical antiquity. If the execution, particularly as to the diction and sentiments, were but equal to the plan, it would be a capital performance; but this is such as might be expected in rude and ignorant times, and in barbarous unpolished language.
IV. I shall conclude this prolix account, with a list of such old metrical romances as are still extant; beginning with those mentioned by Chaucer.
1. The romance of Horne Childe is preserved in the British Museum, where it is intitled þe ᵹeste kyng Horne. See Catalog. Harl. MSS. 2253, p. 70. The language is almost Saxon, yet from the mention in it of Sarazens, it appears to have been written after some of the Crusades. It begins thus:
Another copy of this poem, but greatly altered, and somewhat modernized, is preserved in the Advocates Library at Edinburgh, in a MS. quarto volume of old English poetry [W. 4. 1.] Num. XXXIV. in seven leaves or folios[516], intitled, Horn-child and Maiden Rinivel, and beginning thus:
2. The poem of Ipotis (or Ypotis) is preserved in the Cotton Library, Calig. A. 2, fo. 77, but is rather a religious legend, than a romance. Its beginning is,
3. The romance of Sir Guy was written before that of Bevis, being quoted in it[517]. An account of this old poem is given above, p. 107. To which it may be added, that the two complete copies in MS. are preserved at Cambridge, the one in the public library[518], the other in that of Caius College, Class A. 8.—In Ames's Typog. p. 153, may be seen the first lines of the printed copy.—The first MS. begins,
4. Guy and Colbronde, an old romance in three parts, is preserved in the Editor's folio MS. (p. 349.) [printed edition, vol. ii. p. 527.] It is in stanzas of six lines, the first of which may be seen in vol. ii. p. 175, beginning thus:
In the Edinburgh MS. (mentioned above) are two ancient poems on the subject of Guy of Warwick: viz. Num. XVIII. containing 26 leaves, and XX. 59 leaves. Both these have unfortunately the be[Pg 365]ginnings wanting, otherwise they would perhaps be found to be different copies of one or both the preceding articles.
5. From the same MS. I can add another article to this list, viz. the romance of Rembrun son of Sir Guy; being Num. XXI. in 9 leaves: this is properly a continuation of the History of Guy: and in Art. 3, the Hist. of Rembrun follows that of Guy as a necessary part of it. This Edinburgh romance of Rembrun begins thus:
Before I quit the subject of Sir Guy, I must observe, that if we may believe Dugdale in his Baronage (vol. i. p. 243, col. 2), the fame of our English Champion had in the time of Henry IV. travelled as far as the East, and was no less popular among the Sarazens, than here in the West among the nations of Christendom. In that reign a Lord Beauchamp travelling to Jerusalem was kindly received by a noble person, the Soldan's Lieutenant, who hearing he was descended from the famous Guy of Warwick, "whose story they had in books of their own language," invited him to his palace; and royally feasting him, presented him three precious stones of great value, besides divers cloaths of silk and gold given to his servants.
6. The romance of Syr Bevis is described in page 216 of this vol. Two manuscript copies of this poem are extant at Cambridge, viz., in the public library[519], and in that of Caius Coll. Class A. 9. (5.)—The first of these begins,
There is also a copy of this romance of Sir Bevis of Hamptoun, in the Edinburgh MS. Numb. XXII. consisting of twenty-five leaves, and beginning thus:
The printed copies begin different from both, viz.,
7. Libeaux (Libeaus, or Lybius) Disconius is preserved in the Editor's folio MS. (page 317) [pr. ed, vol. ii. p. 415], where the first stanza is,
An older copy is preserved in the Cotton Library (Calig. A. 2. fol. 40) but containing such innumerable variations, that it is apparently a different translation of some old French original, which will account for the title of Le Beaux Disconus, or the Fair Unknown. The first line is,
As for Pleindamour, or Blandamoure, no romance with this title has been discovered; but as the word Blaundemere occurs in the romance of Libius Disconius, in the Editor's folio MS. p. 319 [pr. ed. vol. ii. p. 420], he thought the name of Blandamoure (which was in all the editions of Chaucer he had then seen) might have some reference to this. But Pleindamour, the name restored by Mr. Tyrwhitt, is more remote.
8. Le Morte Arthure is among the Harl. MSS 2252, § 49. This is judged to be a translation from the French; Mr. Wanley thinks it no older than the[Pg 367] time of Henry VII., but it seems to be quoted in Syr Bevis, (Sign. K. ij. b.) It begins,
In the library of Bennet Coll. Cambridge, No. 351, is a MS. intitled in the catalogue Acta Arthuris Metrico Anglicano, but I know not its contents.
9. In the Editor's folio MS. are many songs and romances about King Arthur and his knights, some of which are very imperfect, as King Arthur and the King of Cornwall (page 24) [pr. ed. vol. i. p. 61], in stanzas of four lines, beginning,
The Turke and Gawain (p. 38) [pr. ed. vol. i. p. 90], in stanzas of six lines beginning thus:
but these are so imperfect that I do not make distinct articles of them. See also in this volume, Book I. No. I., II., IV., V.
In the same MS. p. 203 [pr. ed. vol. ii. p. 58], is the Greene Knight, in two parts, relating a curious adventure of Sir Gawain, in stanzas of six lines, beginning thus:—
10. The Carle of Carlisle is another romantic tale about Sir Gawain, in the same MS. p. 448 [pr. ed. vol. iii. p. 277], in distichs:
In all these old poems the same set of knights are always represented with the same manners and [Pg 368]characters; which seem to have been as well known, and as distinctly marked among our ancestors, as Homer's Heroes were among the Greeks: for, as Ulysses is always represented crafty, Achilles irascible, and Ajax rough; so Sir Gawain is ever courteous and gentle, Sir Kay rugged and disobliging, &c. "Sir Gawain with his olde curtesie" is mentioned by Chaucer as noted to a proverb, in his Squire's Tale. Canterb. Tales, vol. ii. p. 104.
11. Syr Launfal, an excellent old romance concerning another of King Arthur's knights, is preserved in the Cotton Library, Calig. A 2, f. 33. This is a translation from the French[521], made by one Thomas Chestre, who is supposed to have lived in the reign of Henry VI. (See Tanner's Biblioth.) It is in stanzas of six lines, and begins,
The above was afterwards altered by some minstrel into the romance of Sir Lambewell, in three parts, under which title it was more generally known[522]. This is the Editor's folio MS. p. 60 [pr. ed. vol. i. p. 144], beginning thus:
12. Eger and Grime, in six parts (in the Editor's folio MS. p. 124) [pr. ed. vol. i. p. 354], is a well invented tale of chivalry, scarce inferior to any of Ariosto's. This which was inadvertently omitted in the former editions of this list, is in distichs, and begins thus:
13. The romance of Merline, in nine parts (preserved in the same folio MS. p. 145 [pr. ed. vol. i. p. 422]), gives a curious account of the birth, parentage, and juvenile adventures of this famous British Prophet. In this poem the Saxons are called Sarazens; and the thrusting the rebel angels out of heaven is attributed to "oure Lady." It is in distichs and begins thus:
There is an old romance Of Arthour and of Merlin, in the Edinburgh MS. of old English poems: I know not whether it has anything in common with this last mentioned. It is in the volume numbered xxiii. and extends through fifty-five leaves. The two first lines are:
14. Sir Isenbras (or as it is in the MS. copies, Sir Isumbras), is quoted in Chaucer's R. of Thopas, v. 6. Among Mr. Garrick's old plays is a printed copy; of which an account has been already given in vol. i. book iii. No. vii. It is preserved in MS. in the Library of Caius Coll. Camb., Class A. 9 (2), and also in the Cotton Library, Calig. A. 12 (f. 128). This is extremely different from the printed copy. E.g.
15. Emarè, a very curious and ancient romance, is preserved in the same vol. of the Cotton Library, f. 69. It is in stanzas of six lines, and begins thus:
16. Chevelere assigne, or The Knight of the Swan, preserved in the Cotton Library, has been already described in vol. ii. Appendix, Essay on P. Plowman's Metre, &c., as hath also
17. The Sege of Fēr̄lam (or Jerusalem), which seems to have been written after the other, and may not improperly be classed among the romances; as may also the following, which is preserved in the same volume, viz.,
18. Owaine Myles (fol. 90), giving an account of the wonders of St. Patrick's Purgatory. This is a translation into verse of the story related in Mat. Paris's Hist. (sub. Ann. 1153.) It is in distichs beginning thus:
In the same manuscript are three or four other narrative poems, which might be reckoned among the romances, but being rather religious legends, I shall barely mention them; as Tundale, f. 17; Trentale Sci Gregorii, f. 84; Jerome, f. 133; Eustache, f. 136.
19. Octavian imperator, an ancient romance of chivalry, is in the same vol. of the Cotton Library, f. 20. Notwithstanding the name, this old poem has nothing in common with the history of the Roman Emperors. It is in a very peculiar kind of stanza, whereof 1, 2, 3, & 5 rhyme together, as do the 4 and 6. It begins thus:
In the public library at Cambridge[523], is a poem with the same title, and begins very differently:
20. Eglamour of Artas (or Artoys) is preserved in the same vol. with the foregoing, both in the Cotton Library and Public Library at Cambridge. It is also in the Editor's folio MS. p. 295 [pr. ed. [Pg 371]vol. ii. p. 341], where it is divided into six parts. A printed copy in the Bodleian Library, C. 39. Art. Seld., and also among Mr. Garrick's old plays, K. vol. x. It is in distichs, and begins thus:
21. Syr Triamore (in stanzas of six lines) is preserved in MS. in the Editor's volume, p. 210 [pr. ed. vol. ii. p. 80], and in the Public Library at Cambridge (690, § 29. Vid. Cat. MSS. p. 394.) Two printed copies are extant in the Bodleian Library, and among Mr. Garrick's plays in the same volumes with the last article. Both the editor's MS. and the printed copy begin,
The Cambridge copy thus:
22. Sir Degree (Degare, or Degore, which last seems the true title) in five parts, in distichs, is preserved in the Editor's folio MS. p. 371 [pr. ed. vol. iii. p. 20], and in the Public Library at Cambridge (ubi supra). A printed copy is in the Bod. Library C. 39. Art. Seld. and among Mr. Garrick's plays, K. vol. ix. The Editor's MS. and the printed copies begin,
The Cambridge MS. has it,
23. Ipomydon (or Chylde Ipomydon), is preserved among the Harl. MSS. 2252 (44). It is in distichs, and begins,
In the library of Lincoln Cathedral, K k. 3, 10, is[Pg 372] an old imperfect printed copy, wanting the whole first sheet A.
24. The Squyr of Lowe degre, is one of those burlesqued by Chaucer in his Rhyme of Thopas[524]. Mr. Garrick has a printed copy of this, among his old plays, K. vol. ix. It begins,
25. Historye of K. Richard Cure [Cœur] de Lyon. (Impr. W. de Worde, 1528, 4to.) is preserved in the Bodleian Library, C. 39, Art. Selden. A fragment of it is also remaining in the Edinburgh MS. of old English poems; No. xxxvi. in two leaves. A large extract from this romance has been given already above, p. 356. Richard was the peculiar patron of Chivalry, and favourite of the old minstrels and troubadours. See Warton's Observ. vol. i. p. 29, vol. ii. p. 40.
26. Of the following I have only seen No. 27, but I believe they may all be referred to the class of romances.
The Knight of Courtesy and the Lady of Faguel (Bod. Lib. C. 39. Art. Sheld. a printed copy). This Mr. Warton thinks is the story of Coucy's Heart, related in Fauchet, and in Howel's Letters. (v. i. s. 6, L. 20, see Wart. Obs. v. ii. p. 40). The Editor has seen a very beautiful old ballad on this subject in French.
27. The four following are all preserved in the MS. so often referred to in the Public Library at Cambridge, (690. Appendix to Bp. More's MSS. in Cat. MSS. tom. ii. p. 394), viz., The Lay of Erle of [Pg 373]Tholouse (No. 27), of which the Editor hath also a copy from "Cod. MSS. Mus. Ashmol. Oxon." The first line of both is,
28. Roberd Kynge of Cysyll (or Sicily) shewing the fall of pride. Of this there is also a copy among the Harl. MSS. 1703 (3). The Cambridge MS. begins,
29. Le bone Florence of Rome, beginning thus:
30. Dioclesian the Emperour, beginning,
31. The two knightly brothers Amys and Amelion (among the Harl MSS. 2386, §. 42) is an old romance of chivalry, as is also, I believe, the fragment of the Lady Belesant, the Duke of Lombardy's fair daughter, mentioned in the same article. See the catalog. vol. ii.
32. In the Edinburgh MS. so often referred to (preserved in the Advocates Library, W. 4. i.) might probably be found some other articles to add to this list, as well as other copies of some of the pieces mentioned in it, for the whole volume contains not fewer than thirty-seven poems or romances, some of them very long. But as many of them have lost the beginnings, which have been cut out for the sake of the illuminations, and as I have not had an opportunity of examining the MS. myself, I shall be content to mention only the articles that follow[525]: viz.
An old romance about Rouland (not I believe the famous Paladine, but a champion named Rouland Louth; query) being in the volume, No. xxvii. in five leaves, and wants the beginning.
33. Another romance that seems to be a kind of continuation of this last, intitled, Otuel a Knight, (No. xxviii. in eleven leaves and a half). The two first lines are,
34. The King of Tars (No. iv. in five leaves and a half; it is also in the Bodleyan Library, MS. Vernon, f. 304) beginning thus:
35. A tale or romance (No. i. two leaves), that wants both beginning and end. The first lines now remaining are,
36. Another mutilated tale or romance (No. iii. four leaves). The first lines at present are,
37. A mutilated tale or romance (No. xi. in thirteen leaves). The two first lines that occur are,
I cannot conclude my account of this curious manuscript, without acknowledging that I was indebted to the friendship of the Rev. Dr. Blair, the ingenious[Pg 375] professor of Belles Lettres, in the University of Edinburgh, for whatever I learned of its contents, and for the important additions it enabled me to make to the foregoing list.
To the preceding articles two ancient metrical romances in the Scottish dialect may now be added, which are published in Pinkerton's Scottish Poems, reprinted "from scarce editions," Lond. 1792, in 3 vols. 8vo. viz.
38. Gawan and Gologras, a metrical romance; from an edition printed at Edinburgh, 1508, 8vo. beginning:—
It is in stanzas of thirteen lines.
39. Sir Gawan and Sir Galaron of Galloway, a metrical romance, in the same stanzas as No. 38, from an ancient MS. beginning thus:
Both these (which exhibit the union of the old alliterative metre, with rhyme, &c., and in the termination of each stanza the short triplets of the Turnament of Tottenham), are judged to be as old as the time of our K. Henry VI., being apparently the production of an old poet, thus mentioned by Dunbar, in his Lament for the Deth of the Makkaris:
It will scarce be necessary to remind the reader, that Turnewathelan is evidently Tearne-Wadling, [Pg 376]celebrated in the old ballad of the Marriage of Sir Gawaine. See pp. 14 and 325 of this volume.
Many new references, and perhaps some additional articles might be added to the foregoing list from Mr. Warton's History of English Poetry, 3 vols. 4to. and from the notes to Mr. Tyrwhitt's improved edition of Chaucer's Canterbury Tales, &c. in 5 vols. 8vo. which have been published since this Essay, &c. was first composed; but it will be sufficient once for all to refer the curious reader to those popular works.
The reader will also see many interesting particulars on the subject of these volumes, as well as on most points of general literature, in Sir John Hawkins's curious History of Music, &c., in 5 volumes, 4to., as also in Dr. Burney's Hist. &c. in 4 vols. 4to.
[Much has been written upon the subject of this Essay since Percy's time, but no exhaustive work has yet appeared. The reader may consult W. C. Hazlitt's new edition of Warton's History, 1871; Ellis's Specimens of Early English Metrical Romances, new edition, by J. O. Halliwell, 1848; Dunlop's History of Fiction; J. M. Ludlow's Popular Epics of the Middle Ages, Norse, German, and Carlovingian Cycles, 1865; G. W. Cox and E. H. Jones's Popular Romances of the Middle Ages, 1871; and also the prefaces of the various old English romances printed by the Percy, Camden, and Early English Text Societies; and by the Abbotsford, Bannatyne, and Roxburghe Clubs.]
[465] Vid. Lasiteau, Moeurs de Sauvages, t. ii. Dr. Browne's Hist. of the Rise and Progress of Poetry.
[466] "Germani celebrant carminibus antiquis (quod unum apud illos memoriæ et annalium genus est) Tuistonem," &c. Tacit. Germ. c. ii.
[467] Barth. Antiq. Dan. lib. i. cap. x. Wormii Literatura Runica, ad finem.
[468] See Northern Antiquities, or a Description of the Manners, Customs, &c., of the ancient Danes and other Northern Nations, translated from the Fr. of M. Mallet, 1770, 2 vols. 8vo. (vol. i. p. 49, &c.)
[469] Vid. infra, pp. 341, 342, &c.
[470] Viz. Astræa, Cassandra, Clelia, &c.
[471] Mallet, vid. Northern Antiquities, vol. i. p. 318, &c.; vol. ii. p. 234, &c.
[472] Letters concerning Chivalry, 8vo. 1763.
[473] Mallet.
[474] Mallet.
[475] The seeds of chivalry sprung up so naturally out of the original manners and opinions of the northern nations, that it is not credible they arose so late as after the establishment of the Feudal System, much less the Crusades. Nor, again, that the romances of chivalry were transmitted to other nations, through the Spaniards, from the Moors and Arabians. Had this been the case the first French romances of chivalry would have been on Moorish, or at least Spanish subjects: whereas the most ancient stories of this kind, whether in prose or verse, whether in Italian, French, English, &c., are chiefly on the subjects of Charlemagne and the Paladins, or of our British Arthur and his Knights of the Round Table, &c., being evidently borrowed from the fabulous chronicles of the supposed Archbishop Turpin and of Jeffery of Monmouth. Not but some of the oldest and most popular French romances are also on Norman subjects, as Richard Sans-peur, Robert le Diable, &c., whereas I do not recollect so much as one in which the scene is laid in Spain, much less among the Moors, or descriptive of Mahometan manners. Even in Amadis de Gaul, said to have been the first romance printed in Spain, the scene is laid in Gaul and Britain; and the manners are French: which plainly shews from what school this species of fabling was learnt and transmitted to the southern nations of Europe.
[476] Mallet. North. Antiquities, vol. i. p. 36; vol. ii. passim.
[477] Olaus Verelius, Herv. Saga, pp. 44, 45. Hickes's Thesaur. vol. ii. p. 311. Northern Antiquities, vol. ii. passim.
[478] Ibid. vol. i. pp. 69, 374, &c.; vol. ii. p. 216, &c.
[479] Rollof's Saga, c. 35, &c.
[480] It is peculiarly unfortunate that such as maintain this opinion are obliged to take their first step from the Moorish provinces in Spain, without one intermediate resting place, to Armorica or Bretagne, the province in France from them most remote, not more in situation than in the manners, habits, and language of its Welsh inhabitants, which are allowed to have been derived from this island, as must have been their traditions, songs, and fables; being doubtless all of Celtic original. See p. 3 of the Dissertation on the Origin of Romantic Fiction in Europe, prefixed to Mr. Tho. Warton's History of English Poetry, vol. i. 1774, 4to. If any pen could have supported this darling hypothesis of Dr. Warburton that of this ingenious critic would have effected it. But under the general term Oriental, he seems to consider the ancient inhabitants of the north and the south of Asia, as having all the same manners, traditions, and fables; and because the secluded people of Arabia took the lead under the religion and empire of Mahomet, therefore everything must be derived from them to the Northern Asiatics in the remotest ages, &c. With as much reason under the word Occidental, we might represent the early traditions and fables of the north and south of Europe to have been the same; and that the Gothic mythology of Scandinavia, the Druidic or Celtic of Gaul and Britain, differed not from the classic of Greece and Rome.
There is not room here for a full examination of the minuter arguments, or rather slight coincidences, by which our agreeable dissertator endeavours to maintain and defend this favourite opinion of Dr. W., who has been himself so completely confuted by Mr. Tyrwhitt. (See his notes on Love's Labour Lost, &c.) But some of his positions it will be sufficient to mention: such as the referring the Gog and Magog, which our old Christian bards might have had from Scripture, to the Jaguiouge and Magiouge of the Arabians and Persians, &c. (p. 13). That "we may venture to affirm that this (Geoffrey of Monmouth's) Chronicle, supposed to contain the ideas of the Welsh bards, entirely consists of Arabian inventions" (p. 13). And that, "as Geoffrey's history is the grand repository of the acts of Arthur, so a fabulous history ascribed to Turpin is the groundwork of all the chimerical legends which have been related concerning the conquests of Charlemagne and his twelve peers. Its subject is the expulsion of the Saracens from Spain, and it is filled with fictions evidently congenial to those which characterize Geoffrey's History" (p. 17). That is, as he afterwards expresses it, "lavishly decorated by the Arabian fablers" (p. 58). We should hardly have expected that the Arabian fablers would have been lavish in decorating a history of their enemy: but what is singular, as an instance and proof of this Arabian origin of the fictions of Turpin, a passage is quoted from his fourth chapter, which I shall beg leave to offer, as affording decisive evidence, that they could not possibly be derived from a Mahometan source. Sc. "The Christians under Charlemagne are said to have found in Spain a golden idol, or image of Mahomet, as high as a bird can fly—it was framed by Mahomet himself of the purest metal, who, by his knowledge in necromancy, had sealed up within it a legion of diabolical spirits. It held in its hand a prodigious club; and the Saracens had a prophetic tradition, that this club should fall from the hand of the image in that year when a certain king should be born in France, &c." (vid. p. 18, note.)
[481] The little narrative songs on Morisco subjects, which the Spaniards have at present in great abundance, and which they call peculiarly romances, (see vol. i. book iii. no. xvi. &c.), have nothing in common with their proper romances (or histories) of chivalry, which they call Historias de Cavallerias; these are evidently imitations of the French, and shew a great ignorance of Moorish manners: and with regard to the Morisco, or song romances, they do not seem of very great antiquity; few of them appear, from their subjects, much earlier than the reduction of Granada, in the fifteenth century: from which period, I believe, may be plainly traced among the Spanish writers, a more perfect knowledge of Moorish customs, &c.
[482] See Northern Antiquities, passim.
[483] Ibid.
[484] Saxon Gram. p. 152, 153. Mallet, North. Antiq. vol. i. p. 321.
[485] See a translation of this poem, among Five pieces of Runic Poetry, printed for Dodsley, 1764, 8vo.
[486] Vid. Mallet, Northern Antiquities, passim.
[487] The editor's MS. contains a multitude of poems of this latter kind. It was probably from this custom of the minstrels that some of our first historians wrote their chronicles in verse, as Rob. of Gloucester, Harding, &c.
[488] See a specimen in 2d vol. of Northern Antiquities, &c., p. 248, &c.
[489] Eccardi Hist. Stud. Etym. 1711, p. 179, &c. Hickes's Thesaur. vol. ii. p. 314.
[490] i.e. Northern men, being chiefly emigrants from Norway, Denmark, &c.
[491] See the account of Taillefer in vol. i. Essay, and Note.
[492] "Ipsa Carmina memoriæ mandabant, & prælia inituri decantabant; qua memoriâ tam fortium gestorum a majoribus patratorum ad imitationem animus adderetur."—Jornandes de Gothis.
[493] Eginhartus de Carolo magno. "Item barbara, & antiquissima carmina, quibus veterum regum actus & bella canebantur, scripsit."—c. 29.
Asserius de Ælfredo magno. "Rex inter bella, &c.... Saxonicos libros recitare, & maxime carmina Saxonica memoriter discere, aliis imperare, & solus assidue pro viribus, studiosissime non desinebat."—Ed. 1722, 8vo. p. 43.
[495] The romances on the subject of Perceval, San Graal, Lancelot du Lac, Tristan, &c., were among the first that appeared in the French language in prose, yet these were originally composed in metre: the editor has in his possession a very old French MS. in verse, containing L'ancien Roman de Perceval, and metrical copies of the others may be found in the libraries of the curious. See a note of Wanley's in Harl. Catalog. Num. 2252, p. 49, &c. Nicholson's Eng. Hist. Library, 3rd ed. p. 91, &c. See also a curious collection of old French romances, with Mr. Wanley's account of this sort of pieces, in Harl. MSS. Catal. 978, 106.
[496] The author of the Essay on the Genius of Pope, p. 282.
[497] Ibid. p. 283. Hist. Lit. tom. 6, 7.
[498] Voir Preface aux "Fabliaux & Contes des Poetes François des xii. xiii. xiv. & xv. siècles, &c., Paris, 1756, 3 tom. 12mo." (a very curious work).
[499] Vid. supra, note (d), vol. i. Essay, &c. Et vide Rapin, Carte, &c. This song of Roland (whatever it was) continued for some centuries to be usually sung by the French in their marches, if we may believe a modern French writer. "Un jour qu'on chantoit la Chanson de Roland, comme c'etoit l'usage dans les marches. Il y a long temps, dit il (John K. of France, who died in 1364), qu'on ne voit plus de Rolands parmi les François. On y verroit encore des Rolands, lui répondit un vieux capitaine, s'ils avoient un Charlemagne à leur tête." Vid. tom. iii. p. 202, des Essaies Hist. sur Paris, de M. de Saintefoix: who gives as his authority, Boethius in Hist. Scotorum. This author, however, speaks of the complaint and repartee, as made in an Assembly of the States (vocato senatu), and not upon any march, &c. Vid. Boeth. lib. xv. vol. 327. Ed. Paris, 1574.
[500] See on this subject, vol. i. note, s. 2, p. 404; and in note G g, p. 424, &c.
[501] The first romances of chivalry among the Germans were in metre: they have some very ancient narrative songs (which they call Lieder) not only on the fabulous heroes of their own country, but also on those of France and Britain, as Tristram, Arthur, Gawain, and the knights von der Tafel-ronde (vid. Goldasti Not. in Eginhart. Vit. Car. Mag. 4to. 1711, p. 207.)
[502] The Welsh have still some very old romances about K. Arthur; but as these are in prose, they are not probably their first pieces that were composed on that subject.
[503] It is most credible that these stories were originally of English invention, even if the only pieces now extant should be found to be translations from the French. What now pass for the French originals were probably only amplifications, or enlargements of the old English story. That the French romances borrowed some things from the English, appears from the word termagant.
[504] Recuyel of the Hystoryes of Troy, 1471; Godfroye of Boloyne, 1481; Le Morte de Arthur, 1485; The Life of Charlemagne, 1485, &c. As the old minstrelsy wore out, prose books of chivalry became more admired, especially after the Spanish romances began to be translated into English towards the end of Q. Elizabeth's reign: then the most popular metrical romances began to be reduced into prose, as Sir Guy, Bevis, &c.
[505] See extract from a letter, written by the editor of these volumes, in Mr. Warton's Observations, vol. ii. p. 139.
[506] Canterbury Tales (Tyrwhitt's edit.), vol. ii. p. 238. In all the former editions which I have seen the name at the end of the fourth line is Blandamoure.
[507] Dr. Grey has shewn that the same story is alluded to in Rastell's Chronicle: as it was doubtless originally had from the romance, this is proof that the old metrical romances throw light on our first writers in prose: many of our ancient historians have recorded the fictions of romance.
[508] i.e. handkerchiefs. Here we have the etymology of the word, viz. "Couvre le Chef."
[509] i.e. slipt aside.
[510] i.e. yawned.
[511] i.e. hurt.
[512] Dr. Warburton.—Dr. Grey.
[513] So it is intitled in the editor's MS. But the true title is Le Beaux Disconus, or the Fair Unknown. See a note on the Canterbury Tales, vol. iv. p. 333.
[514] Vid. Discours sur la Poesie Epique, prefixed to Télémaque.
[515] i.e. May all they be blithe that to my song listen: A song I shall you sing, Of Allof the good king, &c.
[516] In each full page of this volume are forty-four lines, when the poem is in long metre: and eighty-eight when the metre is short, and the page in two columns.
[517] Sign. K. 2. b.
[518] For this and most of the following, which are mentioned as preserved in the Public Library, I refer the reader to the Oxon Catalogue of MSS., 1697, vol. ii p. 394; in Appendix to Bp. More's MSS. No. 690, 33, since given to the University of Cambridge.
[519] No. 690, § 31. Vid. Catalog. MSS. p. 394.
[520] In the former editions, after the above, followed mention of a fragment in the same MS., intitled, Sir Lionel, in distichs (p. 32) [pr. ed. vol. i. p. 75]; but this being only a short ballad, and not relating to K. Arthur, is here omitted.
[521] The French original is preserved among the Harl. MSS. No. 978, § 112, Lanval.
[522] See Laneham's Letter concern. Q. Eliz. entertainment at Killingworth, 1575, 12mo. p. 34.
[523] No. 690. (30.) Vid. Oxon Catalog. MSS. p. 394.
[524] This is alluded to by Shakespeare in his Hen. V. (Act v.), where Fluellyn tells Pistol, he will make him a squire of low degree, when he means, to knock him down.
[525] Some of these I give, though mutilated and divested of their titles, because they may enable a curious inquirer to complete or improve other copies.
[526] i.e. adventure.
This is an amalgamation of the three original glossaries, with large additions and alterations, and the introduction of references. It has not, however, been thought necessary to refer to every passage in which a particular word may occur.
Percy's explanatory notes are marked with the letter P.
Many words which appear in a slightly varied form from the present spelling are not included in this glossary.
A', all.
A, at.
A, i. 27, of.
Watter a Twyde, i. 25, water of Tweed.
Abacke, back.
Abenche, i. 409, on a bench.
Able, i. 87, fit, suitable.
Abone, i. 24;
aboon, i. 323;
aboone, i. 101;
aboun, i. 32, above.
Aboven ous, ii. 8, above us.
Abowght, i. 40, about.
Abraide, i. 168, abroad.
Abuve, ii. 83, in the uplands.
Abye, iii. 31, suffer, pay for, expiate.
Acton, i. 72, a quilted leather jacket, worn under the coat of mail. Fr. hacqueton.
Advoutry, ii. 136, adultery.
Aff, ii. 70, off.
Affore, i. 269;
afore, ii. 115, before.
Aft, i. 321, oft.
Agayne, i. 121, against.
Ageyn, i. 119, against.
Agone, ii. 41, gone.
Ahte, ii. 11, ought.
Aik, iii. 147, oak.
Ail, ii. 84, trouble.
Ain, i. 102, own.
[Pg 378]Aith, ii. 70, oath.
Al, ii. 9, albeit, although.
Al gife, although.
Alace, iii. 236, alas.
Alane, ii. 83, alone.
Alemaigne, ii. 7, Germany.
Allgyf, i. 125, although.
Almaine, iii. 110, Germany.
Alyes, ii. 33, always.
Amang, ii. 20, among.
Amangis, ii. 81, amongst.
Amblit, iii. 237, ambled.
Among, ii. 35, at intervals, sometimes.
An, and.
An, i, 60, if.
Ancyent, i. 271, flag, banner, standard.
And, if, but and, i. 27;
but if; and youe, if you.
And but, ii. 15, and unless.
Ane, i. 30, ii. 118, one, an, a.
Anes, ii. 112, once, ii. 109. (?)
Angel, ii. 176, a gold coin varying in value from 6s. 8d. to 10s.
Ann, ii. 69, if.
Anneuche, ii. 81, enough.
Annoy, ii. 211, trouble.
Ant, ii. 7, and.
Aplyht, al aplyht, ii. 14, entirely.
Aquoy, iii. 247, coy, shy.
Ar, ii. 24, are.
Aras, i. 24, arrows.
Archeborde, ii. 193, 203, side of the ship? See Hach-borde.
Arcir, i. 103, archer.
Argabushe, ii. 53, harquebuse, an old-fashioned kind of musket.
Arrand, i. 80, errand.
Arros, i. 28, arrows.
Ase, ii. 8, as.
Aslake, ii. 37, abate.
Assay, i. 80, essay, assayed, ii. 44.
Assoyld, i. 179, absolved.
Astate, i. 119, estate.
Astonied, iii. 34, astonished, stunned.
Astound, i. 207, stunned.
Ath, i. 25, of the.
Att me, i. 207, from me.
Attour, ii. 81;
attowre, ii. 84, 86, over.
Au, iii. 75, all.
Auld, i. 83, 101, ii. 68, old.
Aule, i. 308, awl.
Aureat, i. 123, golden.
Austerne, i. 285, stern, austere.
Avaunce, ii. 49, advance.
Avow, iii. 327;
avowe, i. 23, 34, 47, 172;
ii. 23, 58, vow.
Aw, iii. 145, all.
Awa', ii. 69, away.
Awin, ii. 133, own.
Awne, i. 121, 274, own.
Axed, i. 129, asked.
Ay, ii. 70, ever;
also ah! alas!
Ayein, ii. 12, against.
Ayont the ingle, ii. 68, beyond the fire.
The fire was in the middle
of the room.
"In the west of Scotland, at this present time, in many cottages, they pile their peats and turfs upon stones in the middle of the room. There is a hole above the fire in the ridge of the house to let the smoke out at. In some places are cottage-houses, from the front of which a very wide chimney projects like a bow-window: the fire is in a grate, like a malt-kiln grate, round which the people sit: sometimes they draw this grate into the middle of the room." (Mr. Lambe.) P.
Ba', i. 59, ball.
Bacheleere, i. 64, 78, knight;
bachelary, ii. 28;
bachelery, ii. 23, company of bachelors.
Badena, iii. 93, delayed not.
Baile, i. 122, bale, evil, mischief, misery, trouble.
Bairn, ii. 70;
bairne, i. 59, child.
Baith, i. 143, 321, both.
Bale, i. 108, 280, ii. 8, 59, evil, hurt, mischief, misery;
baleful, i. 136.
Balow, ii. 211 (a nursery term), hush, lullaby.
Balys bete, i. 35, remedy our evils.
Ban, ii. 70, curse.
Band, i. 70, 148, bond, covenant.
Bandrolles, iii. 290, streamers, little flags.
Bane, i. 29, bone.
[Pg 379]Banket, ii. 225, banquet.
Banning, ii. 212, cursing.
Barker, ii. 96, dealer in bark.
Barne, i. 26, child, man, person.
Barrow hogge, i. 214, gelded hog.
Basnete, i. 29, basnite, i. 28, bassonett, i. 48, helmet.
Bason, helmet.
Batchilere, i. 68, knight.
Bathe, i. 30, both.
Bats, ii. 21, cudgels.
Bauld, i. 321, bold.
Bauzen's skinne, i. 308, Sheepskin gloves with the wool on the inside.
Bayard, ii. 22, a noted horse in the old romances.
Be, ii. 9, by.
Beanes, ii. 203, beams.
Bearing arowe, i. 176, an arrow that carries well.
Bed, ii. 13, bade.
Bede, ii. 21, 23, bid, offer, engage.
Bedeaft, iii. 272, deafened.
Bedeene, ii. 57, iii. 11, immediately.
Bedight, i. 132, bedecked.
Bedone, iii. 6, 237, wrought, made-up, ornamented.
Beere, i. 50, iii. 42, bier.
Beforn, i. 321;
beforne, i. 29, 65, before.
Begilde, ii. 76;
begylde, ii. 44, beguiled, deceived.
Beheard, i. 114, heard.
Behove, i. 180, behoof.
Beir, i. 84;
beire, ii. 212, bear.
Belive, i. 115;
belyfe, i. 173, immediately, presently, shortly.
Ben, ii. 15, 16, iii. 208, been, be, are.
Ben, ii. 70, within doors, the inner room.
(The "but" is the outer room. "A but and a ben" is a house containing two rooms.)
Bene, ii. 16, bean, an expression of contempt.
Benison, i. 322, blessing.
Bent, bents, long coarse grass, i. 24, 25, 28;
also wild fields, i. 41,
43, 65, 78.
Beoth, ii. 11, be, are.
Ber, ii. 13, bare.
Ber the prys, ii. 11, bare the prize.
Berne, i. 41, man.
Bernes, iii. 208, barns.
Berys, ii. 21, beareth.
Beseeme, become.
Besene, ii. 25, dressed.
Beshradde, iii. 317, cut into shreds.
Besmirche, to soil, discolour.
Bespake, iii. 158, spoke.
Besprent, ii. 52, besprinkled.
Beste, beest, art.
Beste, i. 189, beast.
Bested, abode.
Bestis, i. 122, beasts.
Bestrawghted, i. 189, distracted.
Besy, i. 129, busy.
Bet, better.
Beth, i. 284, be, is, are.
Bett, ii. 63, lighted.
A. S. bétan fyr, to make or light a fire.
Bette, iii. 356, did beat.
Beuche, ii. 391, bough.
Bewray, ii. 179, discover.
Bi mi leautè, ii. 7, by my loyalty, honesty.
Bickarte, i. 24, skirmished;
also swiftly coursed.
Mr. Lambe also interprets "Bickering," by rattling, e.g.,
Translat. of Ovid. P.
Bide at hame, iii. 97, remain at home.
Biilt, ii. 63, built.
Bil, i. 168, pike or halbert.
Bille, i. 282, 289, ii. 143, writing.
Biqueth, ii. 12, bequeath.
Bird, iii. 94, child, term of affection usually applied to a woman.
Birk, ii. 363, iii. 238, birch-tree.
Blak, ii. 21;
blake, ii. 21, black.
Blan, i. 269;
blane, i. 30;
blanne, i. 68, 91, 275, ii. 144, lingered, stopped.
Blaw, i. 145, iii. 147, blow;
blawing, iii. 147, blowing.
Blaze, ii. 260, emblazon, display.
Blee, i. 72, ii. 56, colour, complexion.
Bleid, iii. 94, bleed;
bleids, ii. 116, bleeds.
Blend, iii. 55;
blent, iii. 51, blended.
[Pg 380]Blent, ceased.
Blink, ii. 120, a glimpse of light.
Blinkan, iii. 123, twinkling.
Blinks, iii. 74, twinkles, sparkles.
Blinne, iii. 46, cease, give over.
Blissing, iii. 208, blessing.
Blist, i. 310, blessed.
Blude, i. 34, blood;
blude reid, i. 100, blood red.
Bluid, i. 59, 83 blood;
bluidy, i. 144, bloody;
reid bluid, red blood, i. 146.
Blyth, ii. 68, joyous, sprightly.
Blyth, iii. 74, joy, sprightliness.
Blyve, i. 175, instantly.
Bode, i. 120, abode, stayed.
Boist, boisteris, boast, boasters.
Boke, ii. 16, book.
Bollys, ii. 21, bowls.
Boltes, shafts, arrows.
Bomen, i. 24, bowmen.
Bonny, iii. 147, handsome, comely.
Bonys, ii. 22, bones.
Roundebonys, ii. 22.
Bookes-man, iii. 52, clerk, secretary.
Boot, ii. 97;
boote, i. 109, 115, 136, ii. 59;
boots, iii. 154, gain, advantage, help, assistance.
Bore, iii. 112, boar.
Bore, iii. 40, born.
Borowe, i. 162, to redeem.
Borrow, i. 275, borrowe, i. 269, pledge, surety.
Bost, ii. 24, boste, i. 122, pride;
boast, ii. 8.
Bot, ii. 60, but.
Bot, ii. 109, without;
bot and, i. 144, and also;
bot dreid, without dread, or certainly;
bot gif, ii. 83, unless.
Bots, iii. 186, a worm troublesome to horses.
Bougill, i. 147, bugle-horn, hunting-horn.
Boun, i. 146, ready.
Bowen, ii. 44, ready.
Bower, iii. 125, 126, 131, parlour, chamber.
Bower-window, iii. 125, chamber window.
Bowne, i. 63, 77, ii. 94, ready;
bowned, prepared;
bowne ye, i. 107, prepare ye, get ready;
bowne to dine, going to dine.
Bowne is a common word in the North for "going," e.g. Where are you bowne to? Where are you going to? P.
Bow're-woman, iii. 96, chambermaid.
Bowyn, i. 41, ready.
Bowynd, i. 40, prepared.
Bowys, i. 28, bows.
Brade, ii. 107, 112, broad.
Brae, iii. 147, the brow or side of a hill, a declivity.
Braes of Yarrow, ii. 363, hilly banks of the river Yarrow.
Braid, broad.
Braid, i. 100, open.
Brand, i. 83, 96;
brande, i. 25, 30, 40, 48, 67, sword.
Brast, i. 66, 168, ii. 56, 98, iii. 61, burst.
Braw, ii. 227, brave.
Braw, ii. 69, bravely, handsomely.
Brayd attowre the bent, ii. 84, hastened over the field.
Brayn-pannes, ii. 25, skulls.
Bread, ii. 192, breadth.
Bred, i. 43, broad.
Breeden, i. 108, breed.
Breere, i. 111, briar.
Bren, i. 80, 145;
brenn, ii. 57, burn.
Brenand drake, ii. 23, fiery dragon.
Brenn, i. 144;
brenne, i. 73, 159, burn;
brent, i. 160, ii. 55, iii. 87, burnt;
brenning, ii. 142, burning.
Brest, i. 29, breast.
Brest, ii. 21, burst.
Brether, i. 87, brethren.
Bridal (bride-ale), nuptial feast.
Brigue, iii. 95;
briggs, iii. 92, bridge.
Brimme, ii. 257, public, universally known;
A.-S. bryme.
Britled, iii. 12, carved.
[Pg 381]Broche, ii. 22, any ornamental trinket. Stone buckles of silver or gold with which gentlemen and ladies clasp their shirt-bosoms, and handkerchiefs, are called in the North broches, from the Fr. broche, a spit. P.
Brocht, ii. 85, brought.
Broder, ii. 360, brother.
Broding, i. 64, 78, pricking.
Broht, ii. 13;
brohte, ii. 8, brought.
Bronde, i. 49, sword.
Brooche, brouche, a spit, a bodkin.
Brooke, enjoy;
and I brook, i. 34, if I enjoy.
Brouke hur wyth wynne, ii. 20, enjoy her with pleasure.
Browd, i. 24, broad.
Broyt, ii. 21, brought.
Bryttlynge, i. 25, cutting up, quartering, carving.
Buen, ii. 12;
bueth, ii. 13, been, be, are.
Buff, i. 150, arm, dress.
Bugle, i. 65, 78, bugle horn, hunting horn (being the horn of a bugle or wild bull).
Buik, book.
Buit, ii. 81, help.
Burgens, ii. 383, buds, young shoots.
Burn, iii. 147, bourne, brook.
Bushment, i. 122, ambush, snare.
Busk, i. 146, dress, deck;
busk ye, i. 107, ii. 363, dress ye;
busk and boun, i. 146, make yourselves ready to go;
buske them blyve, i. 175, get them ready instantly;
buskit, i. 143, dressed;
buskt them, i. 122, prepared themselves, made themselves ready.
But, without;
but let, without hindrance.
But, i. 75, ii. 144, unless;
but an, i. 144, unless;
but yf, ii. 23, unless.
Bute, ii. 83, boot, good, advantage.
Butt, ii. 70, the outer room.
See Ben.
By three, of three.
Byde, ii. 83, stay.
Bydys, i. 28, bides, abides.
Bye, buy, pay for.
Byears, i. 33, beeres, biers.
Byhynde, ii. 19, behind.
Byre, iii. 236, cow-house.
Byste, i. 41, beest, art.
Ca', iii. 93, call.
Caddis, i. 376, worsted ribbon.
Cadgily, ii. 68, merrily, cheerfully.
Caitif, iii. 228;
caitive, ii. 135, wretch.
Cales, ii. 243, Cadiz.
Calliver, a large pistol or blunderbuss.
Camscho, iii. 385.
(Glossary—Eldridge) grim.
Can, i. 44, 77, ii. 24, 70;
cane, i. 47, gan, began.
Can, ii. 37, know.
Canna, iii. 123;
cannæ, i. 59, 146, cannot.
Cannes, wooden cups, bowls.
Cantabanqui, i. 374, ballad-singers, singers on benches.
Cantells, ii. 23, pieces, corners.
Canty, ii. 69, cheerful, chatty.
Capul, ii. 24, a poor horse;
capulys, ii. 24, horses.
Capull hyde, i. 107, 114, horse hide.
Carle, ii. 68, iii. 123, clown, a strong, hale old man.
Carlish, i. 133, iii. 14, churlish, discourteous.
Carlist, iii. 329, churlish?
Carp, ii. 136;
carpe, ii. 19, to speak, recite, also to censure, i. 33, complain.
Carpyng, ii. 20, tumult.
Cast, i. 26, mean, intend.
Caste, ii. 128, stratagem.
Catives, ii. 302, wretches.
Cau, ii. 71, call.
Cauld, i. 143, ii. 68, cold.
Causey, ii. 139, causeway.
Cawte and kene, i. 44, cautious and active.
Cent, i. 130, scent.
Cetywall, i. 307, setiwall, the herb valerian, or mountain spikenard.
Cham, ii. 288, I am, in Somersetshire dialect.
Chanteclere, i. 307, the cock.
Chap, iii. 93, 95, knock.
Charke-bord, ii. 203? same as archeborde, side of the ship.
See Hach-borde.
Chayme, ii. 74, Cain, or Ham.
Chays, i. 26, chase.
[Pg 382]Che, ii. 286, I. in Somersetshire dialect.
Cheare, ii. 216, chair.
Checke, i. 301, to stop, to chide.
Cheefe, the upper part of the scutcheon in heraldry.
Cheffe, i. 28, chief;
cheffest, iii. 44, chiefest.
Cheften, i. 28, chieftain.
Cheis, choose.
Chevaliers, knights.
Cheveron, ii. 25, upper part of the scutcheon in heraldry.
Chevy Chase, i. 19, Cheviot chase or hunt.
See same contraction in Tividale.
Chield, fellow.
Child, iii. 58, knight.
Children, i. 66, 77, knights.
Chill, ii. 286, I will, in Somersetshire dialect.
Cholde, y-cholde, ii. 12, I would.
Choul'd, ii. 287, I would, in Som. dialect.
Christentie, christentye, i. 92, ii. 61;
christianté, i. 31, Christendom.
Church-ale, iii. 198, a wake or feast in commemoration of the dedication of a church.
Chyf, chyfe, chief.
Chylded, ii. 382, brought forth, was delivered.
Chylder, ii. 25, children's.
Chyviat chays, i. 26. (See Chevy Chase.)
Claiths, ii. 69, clothes.
Clattered, beat so as to rattle.
Clawde, clawed, tore, scratched;
figuratively, beat.
Clead, ii. 69, clad, clothe;
cleading, iii. 237, clothing.
Cleaped, i. 306, called, named.
Cled, iii. 147, clad, clothed.
Clepe, ii. 13, call;
cleped, ii. 14, called.
Cliding, iii. 97, clothing.
Clim, i. 155, contraction of Clement.
Clough, i. 155, a broken cliff.
Clout, i. 197, a cloth to strain milk through;
rag, ii. 71.
Clout, ii. 100, mend.
Clowch, clutch, grasp.
Clymme, ii. 74, climb.
Coate, i. 309, cot, cottage.
Cockers, i. 308, a sort of buskins or short boots fastened with laces or buttons, worn by farmers or shepherds.
Cokers, fishermen's boots (Littleton's Dict.)
Cog, iii. 203, to lie, cheat.
Cohorted, ii. 382, incited, exhorted.
Cokenay, ii. 28, explained by Percy to be a diminutive of cook, from the Latin coquinator, or coquinarius; it really means a lean chicken.
Cold, ii. 232;
colde, ii. 55, could.
Cold, iii. 6, knew,
where I cold be;
i. 286, where I was.
Cold rost, nothing to the purpose.
Cole, iii. 108, coal.
Coleyne, iii. 33, Cologne steel.
Collayne, i. 48, Cologne steel.
Com, ii. 12;
come, ii. 21, came;
comen, i. 89;
commen, i. 33, come.
Con, ii. 27, can.
Con fare, went, passed.
Con springe, ii. 11, spread abroad.
Con twenty thanks, iii. 210, give twenty thanks.
Confeterd, i. 120, confederated.
Confound, i. 218, destroy.
Contray, ii. 19, country.
Cop, ii. 9, head, the top of anything.
Coppell, ii. 21, name of a hen.
Cordiwin, i. 318, originally Spanish or Cordovan leather, afterwards commoner leather.
Cors, ii. 21, body.
Cors, i. 26, curse.
Corsiare, i. 30, courser, steed.
Coste, ii. 30, coast, side, region.
Cote, i. 303;
cott, iii. 183, cottage.
Cote, iii. 53, coat.
Cotydyallye, ii. 381, daily, every day.
Could bear, ii. 137, did bare.
Could be, was.
Could dye, died.
[Pg 383]Could his good, knew what was good for him.
Could weip, wept.
Coulde, cold.
Counsayl, secret.
Countie, i. 303, count, earl.
Coupe, i. 300, coop, or a pen for poultry.
Courtas, ii. 82, courteous.
Courteys, ii. 46, courteous.
Courtnalls, iii. 182, courtiers.
Couth, i. 306, could.
Couthen, ii. 13, knew.
Cowde, i. 44, could.
Coyntrie, i. 308, Coventry.
Cramasie, iii. 75, 147, crimson.
Crancke, i. 307, exultingly.
Cranion, iii. 198, skull.
Crech, ii. 27.
This word is incorrectly explained in the text as crutch. It is really a form of the French crèche, a crib or manger. It occurs as cracche in the "Promptorium Parv." (1440).
Crepyls, ii. 24, cripples.
Cricke, i. 196, properly an ant, but used for any small insect.
Crinkle, iii. 10, run in and out, run into flexures, wrinkle.
Cristes cors, Christ's corse.
Croche, ii. 312, crouch.
Croft, ii. 22, inclosure near a house.
Crois, ii. 13;
croiz, ii. 12, cross.
Crook, ii. 70, twist, wrinkle, distort;
crook my knee, ii. 71, make lame my knee.
They say in the North "the horse is crookit," i.e. lame;
the "horse crooks," i.e. goes lame. P.
Crouneth, ii. 12, crown ye.
Crowch, i. 180, crutch.
Crown, i. 26, head.
Crowt, iii. 10, to pucker up, draw close together.
(Another form of crowd.)
Crumpling, ii. 257, crooked, horned.
Cryance, i. 65, 66, 78, fear.
Cule, ii. 229, cool.
Cum, i. 28, 59, 101, 143;
ii. 132, come, came.
Cummer, ii. 133, gossip, friend;
Fr. commère, compère.
Cure, ii. 76, care, heed, regard.
Dale, deal;
bot gif I dale, ii. 83, unless I share.
Dampned, i. 161, damned, condemned.
Dan, an ancient title of respect, from Lat. Dominus.
Danske, ii. 254, Denmark.
Dare, ii. 360, their;
ii. 361, there.
Darh, ii. 14, need.
Darr'd, ii. 118, hit.
Dart the tree, ii. 115, hit the tree.
Dat, ii. 360, that.
Daunger halt, ii. 16, fear holdeth.
Dawes, iii. 368, days.
Dawkin, ii. 19, diminutive of David.
De, ii. 360, the.
De, i. 26, 30, die.
Dealan, iii. 134, dealing.
Deare, ii. 308, hurt.
Deare, iii. 82, dearly.
Deas, iii. the high table in a hall.
F. dais, a canopy.
Ded, ii. 26;
dede, i. 30, dead.
Dede is do, ii. 36, deed is done.
Dee, iii. 99, die.
Deemed, iii. 52;
deemedst, ii. 217, doomed, judged; thus in the Isle of Man judges are called Deemsters. P.
Deere, ii. 304, hurt, mischief.
Deerely, ii. 194, iii. 27;
preciously, richly.
Default, i. 303, neglect.
Deid, ii. 83, dead;
deid bell, iii. 134, passing bell.
Deid, i. 101, 147, deed.
Deip, i. 60;
deep.
Deir, i. 83, 101;
dear.
Deir, iii. 96, dearly.
Deir, ii. 82, hurt, trouble.
Deie, ii. 35, deal, bit.
Dele, ii. 45, to deal.
Dell, deal, part;
every dell, every part.
Delt, iii. 119, dealt.
Dem, ii. 361, them.
Demaines, iii. 209, demesnes, estates.
Deme, ii. 265, judged, doomed.
Denay, i. 217, deny, refuse.
Dent, ii. 21, a dint, blow.
[Pg 384]Deol, ii. 13, dole, grief.
Depart, ii. 37, separate;
departing, ii. 84, dividing.
Depured, i. 129, purified, run clear.
Deray, ii. 28, confusion.
Dere, ii. 20, dear, also hurt.
Dere, ii. 19, dire or sad.
A.-S. derian, to hurt. "My dearest foe"—Hamlet.
Dere, iii. 357, wild animals.
Derked, ii. 37, darkened.
Dern, ii. 82, secret;
I'dern, ii. 83, in secret.
Descreeve, i. 63, describe;
descrying, iii. 168, describing.
Devys, ii. 12, devise, the act of bequeathal by will.
Dey, ii. 361, they.
Dey, i. 33;
deye, ii. 12, die.
Did off, i. 114, took off;
did on, iii. 65, put on.
Dight, i. 63, 74;
dighte, ii. 162, decked, dressed, prepared, wrought, fitted out, done.
Diht, ii. 11, wrought;
ii. 12, sent.
Dill, ii. 82, share.
Dill, still, calm, mitigate.
Dill, i. 63, 77, 78, dole, grief, pain, sorrow;
dill I drye, i. 64, pain I suffer;
dill was dight, grief was upon him.
Dinge, iii. 51, knock, beat.
Dis, this.
Discreeve, i. 77, describe, or discover.
Disna, iii. 123, does not.
Disteynyd, i. 124, stained.
Distrere, iii. 108, the horse ridden by a knight in the tournament.
Do, ii. 36, done.
Dochter, i. 59, 145, ii. 68, daughter.
Dois, i. 59, 83, does.
Dois, days.
Dol, ii. 13;
dole, i. 63, 137, 292, dole, grief, sorrow.
Doleful dumps, i. 188, 261, sorrowful gloom or heaviness of heart.
Dolours, dolorous, mournful.
Don, iii. 208, do.
Don, ii. 23, be made.
Done roun, ii. 80, run down.
Dosend, iii. 123, dosing, drowsy, torpid, benumbed.
Doth, dothe, doeth, do.
Doubt, iii. 327, fear.
Doubteous, doubtful.
Dough, ii. 360, though.
Doughty, iii. 26;
doughtye, i. 305;
dowghtye, i. 40;
formidable.
Doughete, i. 28, a doughty man.
Dounae, i. 60, cannot.
Dout, ii. 23, fear.
Doute, i. 167, doubt.
Doutted, i. 123, redoubted, feared.
Douyty, doughty.
Doy-trogh, ii. 24, dough trough, a kneading trough.
Doys, i. 34, does.
Doyter, ii. 20, daughter.
Drake;
brenand drake, ii. 23, burning, fire-breathing dragon.
Drap, drop;
draping, ii. 114, drapping, iii. 97, dropping.
Dre, i. 31, 83, suffer.
Dreid, ii. 82, dread.
Dreips, i. 146, drips, drops.
Dreiry, iii. 100, dreary.
Drieps, iii. 146, drips, drops.
Drie, i. 144, suffer;
ill, i. 284;
undergo, i. 83.
Drighnes, i. 119, dryness.
Drogh, ii. 26, drew.
Drovyers, i. 254, drovers, cattle-drivers.
Drye, i. 49, 64, 78, suffer, endure.
Dryng, ii. 8, drink.
Duble dyse, double or false dice.
Dude, ii. 7, did;
dudest, ii. 9, didst.
Duel, ii. 11, grief.
Dughty, ii. 19, 26, doughty;
dughtynesse of dent, ii. 21, sturdiness of blows.
Dule, i. 83, 145, dole, grief, sorrow;
dulefu', ii. 69, doleful.
Dumps, i. 188, 261, ii. 69, heaviness of heart.
Dwellan, iii. 134, dwelling.
Dy, die;
dyan, iii. 134, dying.
Dyd on, i. 159, put on;
dyd off, i. 164, doffed, put off.
Dyght, i. 30, dressed, put on.
Dyht, ii. 14, to dispose, order.
Dynt, i. 30, dynte, i. 31, dyntes, i. 32, dint, blow, stroke.
Dystrayne, ii. 37, afflict.
[Pg 385]Dyyt, ii. 24, dight, dressed.
Eame, uncle.
Eard, earth.
Earn, ii. 70, to curdle, make cheese.
Eathe, i. 273, easy.
Eather, iii. 100, either.
Eche, ii. 246, each.
Ee, i. 101, 178, ii. 60;
een, i. 320, eye, eyes.
Eene, iii. 75, even.
Effund, iii. 301, pour forth.
Eftsoon, iii. 304, in a short time.
Egge, ii. 259, to urge on.
Eik, ii. 83, also.
Eiked, ii. 85, added, enlarged.
Ein, i. 145, even.
Eir, i. 101, 146, 320, ever.
Eise, ii. 212, ease.
Eke, ii. 13, also.
Eldridge, i. 64, 78, wild, hideous, ghostly, lonesome, uninhabited.
"In the ballad of Sir Cauline we have 'Eldridge Hills,' p. 65, 'Eldridge Knight,' p. 65, 'Eldridge Sword,' p. 67. So Gawin Douglas calls the Cyclops the 'Elriche Brethir,' i.e. brethren (b. ii. p. 91, l. 16), and in his Prologue to b. vii. (p. 202, l. 3) he thus describes the Night-Owl:—
"In Bannatyne's MS. Poems (fol. 135, in the Advocate's Library at Edinburgh) is a whimsical rhapsody of a deceased old woman travelling in the other world; in which
"In the Glossary to G. Douglas, Elriche, &c. is explained by 'Wild, hideous: Lat. Trux, immanis;' but it seems to imply somewhat more, as in Allan Ramsay's Glossaries." P.
Elke, each.
Elles, ii. 20, else.
Ellumynynge, i. 123, embellishing.
Elyconys, i. 119, Helicon's.
Elvish, peevish, fantastical.
Eme, i. 44, ii. 9, uncle, kinsman.
Endyed, i. 123, dyed.
Ene, eyn, eyes.
Ene, even.
Enharpid, i. 123, hooked or edged.
Enkankered, cankered.
Enouch, iii. 100, enough.
Enowe, i. 275, enough.
Ensue, ii. 43, follow.
Entendement, ii. 382, understanding.
Entent, ii. 49, intent.
Ententifly, ii, 382, to the intent, purposely.
Envie;
envye, i. 42, malice, ill-will, injury.
Er, ii. 20, 26, are.
Ere, ii. 36, 42, ear.
Erlys, ii. 47;
erlés, iii. 94, earls.
Erst, i. 83, heretofore.
Etermynable, i. 126, interminable, unlimited.
Ettled, ii. 116, aimed.
Evanished, iii. 133, vanished.
Everych, ii. 27, every;
everychone, i. 156;
iii. 108, every one.
Ew-bughts, iii. 74, pens for milch-ewes.
Eyen, i. 72;
eyn, ii. 15;
eyne, i. 132, eyes.
Ezar, iii. 97, maple.
Fa', i. 84, 146, fall;
fa's, iii. 123, falls.
Fach, i. 33, feche, fetch.
Fader, iii. 365;
fadir, i. 83;
fatheris, father, father's.
Fadge, iii. 236, a bundle of sticks, a thick loaf of bread, coarse heap of stuff.
Fadom, i. 102, fathom.
Fae, ii. 109, foe.
Fain, ii. 69;
faine, i. 164, 287;
fayne, i. 157, glad, fond, well pleased;
faine of fighte, i. 92, fond of fighting.
Fair of feir, of a fair and healthful look;
perhaps, far off (free from) fear. P.
Falds, iii. 123, thou foldest.
Fallan, iii. 133, falling.
[Pg 386]Fals, ii. 212, false.
Falser, iii. 161, a deceiver, hypocrite.
Falsing, ii. 61, dealing in falsehood.
Fand, iii. 324, found.
Fang, ii. 26, make off.
Fann'd, ii. 246, found.
Fannes, instruments for winnowing corn.
Fantacy, ii. 136;
fantasye, ii. 160, fancy.
Farden, i. 72, flashed.
Fare, i. 84, ii. 21, go forth, pass, travel.
Fare, the price of a passage, shot, reckoning.
Farley, i. 107, strange.
Fauht, i. 122, fought.
Fauld, ii. 85, field.
Fauyt, ii. 30, fought.
Fawkon, i. 42, falcon.
Fawn, iii. 122, fallen.
Fawte, i. 122, fought.
Fay, i. 178;
faye, i. 106, faith.
Fayrere, ii. 45, fairer.
Faytors, i. 215, deceivers, dissemblers, cheats.
Fe, i. 178, fee, reward, also bribe.
Applied to lands and tenements which are held by perpetual right, and by acknowledgment of superiority to a higher lord.
Feare. In feare, ii. 149, company.
Feat, i. 300, nice, neat.
Featously, i. 306, neatly, dexterously.
Fedyrs, ii. 22, feathers.
Fee, ii. 140, property.
Feere, i. 63, 76, mate, companion.
Feill, ii. 86, fail(?).
Feil, fele, many.
Feirs, ii. 114, companions.
Feir, i. 101, ii. 82;
feire, ii. 212, fear.
Feit, i. 84, 102, feet.
Felawe, ii. 44, fellow.
Feld, ii. 25, field.
Fell, i. 65, 78;
ii. 19, furious, fierce, keen, i. 306.
Fell, ii. 25, hide.
Feloy, ii. 25, fellow.
Fend, ii. 21;
fende, ii. 59, defend.
Fendys pray, i. 125, the prey of the fiends.
Fere, ii. 36, fear.
Fere, i. 64, 68, 73, 156, ii. 20, mate, play-feres, i. 59, play-fellows.
Ferly, ii. 19, wonder;
also wonderfully, ii, 25.
Ferlyng, ii. 8, furlong.
Ferr, i. 62, far.
Fersly, i. 160, fiercely.
Fesaunt, i. 42, pheasant.
Fest, ii. 27, feast.
Fet, ii. 128, iii. 193;
fett, i. 286;
fette, i. 50, 68, fetched;
deepe-fette, i. 76, deep-drawn.
Fethe, i. 29, faith.
Fettle, i. 116;
fetteled, i. 108;
fettled, i. 113, 116, prepared, addressed, made ready.
Fey, ii. 118, predestinated to some misfortune.
Feyytyng, ii. 19, fighting.
Fie, ii. 82, sheep or cattle.
Fier, i. 149, fire.
Filde, field.
Filinge, iii. 63, defiling.
Fillan, iii. 134, filling.
Finaunce, i. 125, fine, forfeiture.
Find frost, find mischance or disaster.
Firth, ii. 85, copse, wood.
Fit, i. 27;
fitt, ii. 177;
fytte, i. 44, part or division of a song.
Fitts, i.e. divisions or parts in music, are alluded to in "Troilus and Cressida," act. iii. sc. 1.
(See Steevens's note.) P.
Fit, foot, feet;
a fit, ii. 70, on foot.
Flatred, ii. 25, slit.
Flayne, iii. 25, flayed.
Flearing, i. 215, sneering.
Flee, iii. 97, fly.
Fles, ii. 24, fleece.
Fleyke, ii. 134, a large kind of hurdle;
cows are frequently milked in hovels made of fleyks.
Flindars, iii. 97, pieces, splinters.
Flix, iii. flux.
Flote, i. 201.
[Pg 387]To flote is to flete or fleet, to flit, to change position easily, to move away quickly; as fleeting moments, flitting birds
Flote and flete are two forms of the same word; and flutter bears the same relation to flote that flitter does to flete.
In the Roxburghe copy of the ballad of Willow, Willow this word is printed as "fleet." (Roxb. Ballads, ed. Chappell, part i. p. 172.)
Flout, ii. 179;
floute, i. 197, to sneer;
fflouting, i. 289.
Flowan, ii. 364, flowing.
Flude, ii. 364, flood.
Flyte, i. 196, 281, 288, to contend with words, scold.
Fole, iii. 108, foal.
Fonde, ii. 12, contrive, endeavour, try.
Foo, i. 50, foe.
Fooder, ii. 66, wine tun;
Germ. fuder.
For, on account of.
For but, ii. 146, unless.
Forbode, commandment.
Force, no force, no matter.
Forced, ii. 76, regarded, heeded.
Forefend, i. 268;
forfend, ii. 97, prevent, defend, avert, hinder.
Forewearied, over-wearied.
Forfeebled, ii. 107, enfeebled.
For-fought, ii. 25, over-fought.
Fors, ii. 21, strength.
Fors. I do no fors, ii. 16, I don't care.
Forsede, i. 122, heeded, regarded.
Forst, ii. 76, regarded.
Forthynketh, i. 174, repenteth, vexeth, troubleth.
Forthy, therefore.
Forwarde, i. 44, van.
Forewatcht, ii. 77, over-wakeful, kept awake.
Fosters of the fe, i. 175, foresters of the king's demesnes.
Fot pot, ii. 9, with his foot push on.
Fote, i. 49, foot.
Fou, i. 147, iii. 75;
fow, iii. 99, full, also fuddled.
Fowkin, ii. 22, crepitus ventris.
Fox't, drunk.
Frae, i. 144, from.
Fraemang, ii. 107, from among.
Fraid i. 323, afraid.
Freake, i. 31, man, person, human creature.
Freake, a whim or maggot.
Freckys, i. 29, men.
Freers, ii. 128;
fryars, friars.
Freits, i. 146, ill omens, ill-luck.
Freke, i. 49, ii. 25, man;
frekys, ii. 25, men.
Freyke, ii. 135, humour, freak.
Freyke, i. 29, strong man.
Freyned, ii. 134, asked;
freyned that freake, ii. 134, asked that man.
Frie, ii. 82;
free.
Fro, i. 159;
froe, i. 106, 139, from.
Fruward, forward.
Furth, ii. 21, forth.
Fuyson, i. 123;
foyson, plenty, also substance.
Fyer, ii. 55, 105, fire;
fyerye, iii. 118, fiery.
Fyers, fierce.
Fyhte, ii. 12, fight.
Fykkill, i. 123, fickle.
Fyl'd, iii. 147, defiled.
Fyll, i. 121, fell.
Ga, ii. 24;
go;
gais, ii. 83, goes.
Ga, ii. 113, gave.
Gaberlunyie, ii. 71, a wallet;
gaberlunyie man, ii. 67, a tinker, beggar, one who carried a wallet.
Gade, iii. 122, went.
Gadelyngys, ii. 20, gadders, idle fellows.
Gaderyd, ii. 27, gathered.
Gadryng, ii. 22, gathering.
Gae, ii. 70, gave.
Gae, i. 143;
gaes, ii. 69, go, goes.
Gaed, ii. 69, went.
Gair, ii. 86, strip of land.
Gair, i. 59, geer, dress.
Gait, iii. 95, gate.
Galliard, ii. 162, a sprightly kind of dance.
Gamon, i. 67, to make game, to sport.
A.-S. gamenian jocari.
Gan, i. 63, 129, 309, ii. 68, began.
Gan, i. 30;
gane, i. 30, ii. 69, gone.
Gang, i. 83, ii. 69, go.
[Pg 388]Ganyde, i. 28, gained.
Gar, ii. 70;
iii. 94, gare, garre, i. 44, make, cause, force, &c.;
gars, i. 321, makes.
Gard, iii. 97;
garde, i. 28;
garred,
garr'd, ii. 117;
gart, iii. 97, made.
Gargeyld, i. 128, from gargouille, the spout of a gutter.
The tower was adorned with spouts cut in the figures of greyhounds, lions, &c.
Garland, i. 111, the ring within which the prick or mark was set to be shot at.
Garth, ii. 391 garden, yard.
Gat, i. 146, got.
Gate, i. 108, way.
Gaup, ii. 139, gapes, waits.
Gear, i. 322, iii. 122, goods, effects, stuff.
Gederede ys host, ii. 8, gathered his host.
Geere, i. 274, 288, property.
Gef, ii. 31, give.
Geid, gave.
Geir, ii. 69, gear, property.
Gerte, iii. 357, pierced.
Gesse, ii. 49, guess.
Gest, ii. 85, act, feat, story, history.
Gettyng, i. 43, booty.
Geud, i. 103, good.
Geve, ii. 53, give.
Gibed, jeered.
Gi', i. 145;
gie, i. 145, give;
gied, i. 321, gave.
Giff, i. 322;
giffe, ii. 57, if.
Gilderoy, i. 320, red boy (or gillie);
Gaelic, Gille ruadh (pronounced roy).
Gillore, ii. 361, plenty.
Gimp, ii. 110, neat, slender.
Gin, i. 60, iii. 74, if.
Gin, iii. 203;
Ginn, iii. 53;
engine, contrivance.
Gins, ii. 53, begins.
Give, ii. 237;
if.
Glave, ii. 115, sword.
Glede, i. 26, a red-hot coal.
Glent, i. 24, glanced.
Glente, iii. 356, slipped aside.
Gleyinge, i. 408, minstrelsy.
Glist, ii. 110, glistered.
Glose, i. 120, gloss over.
Glowr, iii. 75, stare or frown.
Gloze, iii. 203, canting, dissimulation, fair outside.
God before, God be thy guide, a form of blessing.
So in Shakespeare's "King Hen. V." (A. iii. sc. 8) the King says:—
"My army's but a weak and sickly guard;
Yet, God before, tell him we will come on." P.
Gode, ii. 21, good.
Gods-pennie, ii. 140, earnest money.
Gon, ii. 21, began.
Gone, go.
Good, a good deal.
Good-e'ens, ii. 68, good evenings.
Good-se peny, ii. 147, earnest money.
Gorget, ii. 57, the dress of the neck.
Gorrel-bellyed, ii. 346, pot-bellied.
Gowan, ii. 364, the common yellow crowfoot or gold cup, daisy.
Gowd, i. 145, iii. 75, gold;
gowden glist, ii. 110, shone like gold;
gowden graith'd, ii. 230, caparisoned with golden accoutrements.
Graine, i. 158, i. 197, scarlet.
Graith'd, ii. 230, caparisoned.
Gramarye, i. 91;
grammarye, i. 92, grammar, abstruse learning.
Gramercy, i. 173;
gramercye, ii. 95, I thank you.
Fr. grand-mercie.
Graunge;
peakish graunge, i. 299, a lone country house.
Graythed, ii. 21, made ready.
Gre, ii. 21, prize.
Grea-hondes, i. 24, grey-hounds.
Grece, i. 129, step, flight of steps.
Greece, fat;
hart of greece, i. 170, a fat hart. Fr. graisse.
Greet, iii. 100, weep.
Grein, iii. 75, green.
Gresse, i. 43, iii. 62, grass.
Gret, ii. 12, grieved.
Greves, i. 24, groves, bushes.
Grippel, ii. 254, griping, tenacious, miserly.
Grone, iii. groan.
Ground-wa', i. 145, groundwall.
[Pg 389]Growynde, i. 48, 49, ground.
Grownes, ii. 256, grounds.
Growte, ii. 256.
In Northamptonshire is a kind of small beer extracted from the malt after the strength has been drawn off. In Devon it is a kind of sweet ale medicated with eggs, said to be a Danish liquor. (Growte is a kind of fare much used by Danish sailors, being boiled groats, i.e. hulled oats, or else shelled barley, served up very thick, and butter added to it.—Mr. Lambe.) P.
Grype, ii. 57, a griffin.
Grysely groned, i. 49, dreadfully groaned.
Gude, ii. 70, 82, good.
Guerdon, iii. 18, reward.
Guid, i. 83, good.
Gule, iii. 7, red.
Gyb, ii. 22, nickname of Gilbert.
Gybe, ii. 257, jibe, jest, joke;
gybing, ii. 260.
Gyle, gyles, guile, guiles.
Gyn, ii. 9, engine, contrivance.
Gyrd, ii. 22, girded, lashed.
Gyrdyl, ii. 22, girdle.
Gyse, guise, form, fashion.
Ha, i. 196, has;
hae, ii. 71, have;
haes, iii. 235, has.
Ha', i. 84, iii. 94, hall;
ha's, ii. 109, halls.
Habbe ase he brew, ii. 8, have as he brews.
Habergeon, a lesser coat of mail.
Hable, i. 121, able.
Hach-borde, ii. 193, probably that part of the bulwark of the ship which is removed to form the gangway or entrance on board,—in fact, the "hatch"—(or half-door) "board."
Haif, ii. 82, have.
Haggis, ii. 132, a sheep's stomach stuffed with a pudding made of mince-meat, &c.
Hail, ii. 83, healthful.
Hair, ii. 81, 86, hoar or grey.
Halch, iii. 325, salute.
Halched, i. 280, saluted, embraced, fell on his neck.
Halesome, ii. 142, wholesome healthy.
Halse, iii. 75, the neck, throat.
Halt, ii. 16, holdeth.
Ham, ii. 21, them.
Hame, i. 143, home;
hameward, ii. 84, homeward.
Han, ii. 13, have.
Handbow, the long-bow or common bow, as distinguished from the cross-bow.
Hap, i. 255;
happ, iii. 138;
happe, i. 283, fortune;
hap, i. 287, chance, happen, i. 303.
Hard, ii. 312, heard.
Hare ... swerdes, ii. 8, their ... swords.
Harflue, ii. 30, Harfleur.
Harlocke, i. 307, perhaps charlock, or wild rape, which bears a yellow flower, and grows among corn, &c.
Harneis, i. 273, armour.
Harnisine, ii. 112, harness, armour.
Harrowe, i. 280, harass.
Harowed, i. 164, harassed, disturbed.
Hart, iii. 128, heart;
hartes, i. 50;
harts, i. 138;
hartis, i. 147.
Hartely, ii. 38, earnestly.
Hartly lust, i. 124, hearty desire.
Harwos, ii. 27, harrows.
Haryed, i. 41, 22, pillaged.
Hastarddis, i. 120, perhaps hasty, rash fellows, or upstarts.
Hatcht, ii. 77, seized.
Hauld, i. 143, hold.
Hauss bone, iii. 75, the neck bone (halse bone), a phrase for the neck.
Have owre, i. 102, half over.
Haves, ii. 20, effects, substance, riches.
Haveth, ii. 8, has.
Haviour, i. 304, behaviour.
Hawberke, i. 66, a coat of mail, consisting of iron rings, &c.
Hawkin, ii. 19, diminutive of Harry, from Halkin.
Haylle, i. 43, hale, strong.
He, i. 171, hie, hasten.
He, i. 24, high.
[Pg 390]Heal, i. 29, hail.
Hear, i. 103, here.
Heare, ii. 77;
heares, hair, hairs.
Heathynesse, iii. 40, heathendom.
Heawying, i. 31, hewing, hacking.
Hech, ii. 27, hatch, half door of a cottage (sometimes spelt heck).
"Dogs leap the hatch," King Lear, act. iii. sc. 6.
"'He'll have to ride the hatch' is a familiar phrase about Looe, and signifies 'He'll be brought to trial.' It is generally used jocosely in the case of any loud professor of religion who has been 'overtaken in a fault;' and the idea is that his trial will be the ordeal of attempting to ride or sit on the top or narrow edge of a hatch or half-door, when if he maintain his seat he will be pronounced innocent, if he fall he is guilty. If he fall inwards (i.e. within the room or building), he will be pardoned, but if he fall outwards, he will be excommunicated." W. Pengelly (Devonshire Association Report, vol. vii. p. 488).
Hecht to lay thee law, promised (engaged) to lay the law.
Hed, hede, head;
hedys, ii. 25, heads.
Hede, ii. 12, had.
Hede, hied.
Hee, i. 42, high.
Heele, i. 291, he will.
Hees, ii. 70, he is.
Heght, ii. 117, promised.
Heiding hill, ii. 231, the heading (or beheading) hill. The place of execution was anciently an artificial hillock.
Heigh, iii. 94, high.
Heil, ii. 81, health.
Heir, ii. 83, here;
also hear;
herid, iii. 96, heard.
Hele, ii. 42, health.
Helen, ii. 15, heal.
Helpeth, ii. 12, help ye.
Hem, ii. 13, them.
Hend, i. 72, i. 74, 80, kind, gentle, courteous.
Henne, ii. 8, hence.
Hent, ii. 26, laid hold of.
Hepps and hawes, ii. 284, hips and haws.
Herault, ii. 59, herald.
Her, ii. 393, hear.
Her, ii. 35, their.
Here, ii. 42, hair.
Herkneth, ii. 7, hearken ye.
Herry, ii. 19, Harry.
Hert, i. 59, heart.
Hes, ii. 80, has.
Hest, hast.
Hest, i. 67, command, injunction.
Het, ii. 346, heated.
Hete, ii. 41, heat.
Hether, hither.
Hether, heather, heath.
Hett, iii. 6, bid, call, command.
Heuch, ii. 86, rock or steep hill.
Hevede, ii. 9, had, hadst;
hevedest, ii. 12.
Hevenriche, ii. 12, heavenly.
Hewberke, i. 72, coat of mail.
Hewkes, iii. 26, party-coloured coats of the heralds.
Hewyns in to, hewn in two.
Hey-day guise, iii. 204, rustic dances, a corruption of "heydegies."
Heynd, ii. 82, gentle, obliging.
Heyye, ii. 13, high.
Hi, hie, he.
Hicht, a-hicht, on height.
Hie, i. 32, high;
hier, ii. 169, higher;
hire, iii. 324.
Hight, i. 29, 270, 286, promise, promised, engaged, also named, called.
Hilt, ii. 98, taken off, flayed.
Hinch boys, pages of honour.
Hind, ii. 70, behind.
Hinde, i. 32, gentle.
Hings, iii. 97, hangs.
Hinnible, iii. 304, horse, or pony.
Hinny, ii. 84, honey.
Hip, iii. 99, the berry which contains the stones or seeds of the dog-rose.
Hir, i. 143;
hire, iii. 207, her;
hir lain, iii. 95, herself alone.
Hird, ii. 81, herd.
[Pg 391]Hirsel, i. 143, herself.
Hit, ii. 13, it;
hit be write, ii. 12, it be written.
Hode, i. 164, hood, cap.
Holden, ii. 14, hold.
Hole, i. 124, 126, iii. 280, whole.
Hollen, iii. 325, holly.
Holp, i. 120, help;
holpe, iii. 32, helped.
Holt, ii. 140, wood.
Holtes, i. 42, woods, groves.
In Norfolk a plantation of cherry-trees is called a "cherry holt." P.
Holtis hair, ii. 81, 86, hoary or grey woods or heaths.
"Holtes seems evidently to signify hills in the following passage from Turberville's "Songs and Sonnets," 12mo. 1567, fol. 56:—
"Yee that frequent the hilles,
And highest Holtes of all;
Assist me with your skilfull quilles,
And listen when I call."
"As also in this other verse of an ancient poet:—
"Underneath the Holtes so hoar." P.
Holy, wholly.
Holy-rode, ii. 22, holy cross;
holye rood, ii. 56.
Honde, hand;
honden wrynge, ii. 11, hands wring.
Hondert, i. 50, hundred.
Hondrith, i. 24, 25, 30, 32, 34, hundred.
Hong, ii. 77;
honge, i. 161, hang; hung, i. 308.
Hooly, iii. 134, slowly, gently.
Hophalt, limping, hopping, and halting.
Hore, iii. 327, whore.
Hount, i. 26, hunt.
Houzle, ii. 60, give the sacrament.
Hoved, i. 129, heaved;
hovered, i. 43.
Howers, ii. 234, hours.
Huche, ii. 81, wood, or a shed.
Hud, ii. 23, proper name.
Hue, ii. 12, she.
A.-S. heo; refers to huerte, which is feminine. It is an interesting example of the continuance of a grammatical gender in English.
Huerte trewe, ii. 11, true heart.
Huggle, iii. 72, hug, clasp.
Hull, i. 307, hill.
Hur, ii. 20;
hurr, ii. 24, her.
Hye, i. 136, high, highest;
hyest, ii. 59;
hyer, iii. 63, hire.
Hyght, i. 44, promised or engaged.
Hyght, high;
on hyght, i. 41, 47, aloud.
Hyllys, i. 32, hills.
Hynd out o'er, ii. 115, over the country.
Hyp-halte, ii. 27, lame in the hip.
Hyrdyllys, ii. 27, hurdles.
Hys, ii. 20, his.
Hyssylton, ii. 19, Islington.
Hyt, hytt, ii. 49, it.
Hyyt, ii. 20, promised.
I-clipped, i. 129, called.
I-feth, i. 29, in faith.
I-lore, ii. 13, lost.
I-strike, ii. 16, stricken, struck.
I-trowe, verily.
I-tuned, tuned.
I-ween, verily.
I-wis, i. 276, verily;
I-wys, i. 68, 70.
I-wot, verily.
Ich, ii. 286, I;
ich biqueth, ii. 12, I bequeath.
Ich, ii. 22;
icha, ii. 25, each.
Ide, iii. 72, I would.
Ild, ii. 69, I'd, I would.
Ile, i. 196, I'll, I will.
Illfardly, ii. 70, ill-favouredly, uglily.
Ilk, same;
this ilk, this same.
Ilk on, ii. 21, each one;
ilka, ilke, every;
ilka ane, iii. 122, every one.
Im, i. 103, him.
Ime, i. 198, ii. 57, I am.
Incontinent, iii. 187, forthwith.
In fere, ii. 36, together, in company.
Ingle, ii. 68, fire.
Inogh, ii. 26, enough;
inoughe, ii. 147, enough.
Into, iii. 238, in.
Intres, i. 129, entrance, admittance.
[Pg 392]Irke, ii. 148, angry.
Is, i. 149, ii. 8, his.
Ise, ii. 211, iii. 236, I shall.
I'st, i. 289, 292, I'll.
It's neir, it shall never.
Iye, i. 432, eye.
Janglers, ii. 85, talkative persons, wranglers, tell-tales.
Jear, ii. 118, derision.
Jetted, iii. 186, strutted, or went proudly.
Jille, iii. 77, used here as a man's name.
Jimp, i. 145, slender.
Jo, i. 320, ii. 132, sweetheart, friend, contraction of joy.
Jogelers, i. 441, jugglers.
Jow, iii. 134, single stroke in tolling.
Juncates, iii. 202, junket, curds and clouted cream.
Jupe, ii. 116, an upper garment.
Kall, i. 125, call.
Kame, iii. 147, comb;
kameing, iii. 97, combing.
Kan, i. 123, 430, can.
Kantle, iii. 26, piece, corner.
Karlis of kynde, i. 120, churls by nature.
Kauk, ii. 71, chalk.
Kauld, i. 103, called.
Keel, ii. 71, ruddle.
Keepe, i. 309, ii. 256, care, heed.
So in the old play of "Hick Scorner," "I keepe not to clymbe so hye;" i.e. I study not, care not, &c.
Keip, ii. 82, keep;
ii. 84, watch.
Keipand, ii. 82, keeping.
Kell, iii. 101, net for a woman's hair.
Kembe, iii. 100, 186, to comb;
kembing, iii. 102, combing;
kemb'd, iii. 302, combed.
Kempe, i. 90, 94, ii. 183, soldier, warrior.
Kemperye man, i. 94, soldier, fighting man.
"Germanis Camp, Exercitum, aut Locum ubi Exercitus castrametatur, significat: inde ipsis Vir Castrensis et Militaris kemffer, et kempher, et kemper, et kimber, et kamper, pro varietate dialectorum, vocatur: Vocabulum hoc nostro sermone nondum penitus exolevit; Nor folcienses enim plebeio et proletario sermone dicunt. 'He is a kemper old man, i.e. Senex Vegetus est:' Hinc Cimbris suum nomen: 'kimber enim Homo bellicosus, pugil, robustus miles, &c. significat.' Sheringham de Anglor. gentis. orig. pag. 57. Rectius autem Lazius [apud eundem, p. 49]. 'Cimbros a bello quod kamff, et Saxonice kamp nuncupatos crediderim: unde bellatores viri Die Kempffer, Die Kemper.'" P.
Kems, i. 102, combs.
Ken, ii. 69, know;
kens, iii. 122, knows;
kenst, i. 196, knowest.
Kend, ii. 70, knew;
known, iii. 99;
kenn'd, ii. 365.
Kene, ii. 15, keen.
Kepand, ii. 81, keeping.
Kepers, i. 181. "Those that watch by the corpse shall tye up my winding-sheet." P.
Kester, i. 276, nickname for Christopher.
Kever chefes, kerchiefs or head covers.
(See vol. 3, p. 356.)
Kexis, ii. 27, elder sticks used for candles.
Kilted, iii. 132, tucked up.
Kind, nature. To carp is our kind, it is natural for us to talk of;
of hir kind, ii. 154, of her family.
Kirk, iii. 75;
kirke, i. 137, church;
kirk wa', iii. 238, church wall, or churchyard wall;
kirkyard, i. 243, iii. 132, churchyard.
Kirns to kirn, ii. 70, churns to churn.
Kirtle, i. 222, a petticoat, a woman's gown.
Kist, ii. 69, chest.
Kit, i. 123, cut.
Knave, servant.
Knaw, ii. 82, know.
[Pg 393]Knellan, iii. 134, knelling, ringing the knell.
Knicht, iii. 237, knight.
Knight's fe, such a portion of land as required the possessor to serve with man and horse.
Knowles, knolls, little hills.
Knyled, i. 32, knelt.
Kowarde, i. 46, coward.
Kowe, ii. 21, cow.
Kuntrey, i. 124, country.
Kurteis, i. 125, courteous.
Kyd, ii. 21, shown.
Kye, ii. 134, kine, cows.
Kyrtel, ii. 42;
kyrtell, i. 65, petticoat, gown, a man's under garment.
"Bale, in his 'Actes of Eng. Votaries' (part ii. fol. 53), uses the word Kyrtle to signify a monk's frock. He says, Roger, Earl of Shrewsbury, when he was dying, sent 'to Clunyake, in France, for the kyrtle of holy Hugh the abbot there,' &c." P.
Kythe, i. 427, make appear, show, declare.
Kythed, appeared.
Laigh, ii. 117, low.
Laith, i. 101, ii. 70, loth.
Laithly, loathsome, hideous.
Laitl, i. 103, little.
Lamb's wool, iii. 183, a liquor composed of ale and roasted apples.
Lane, lain, lone;
her lane, ii. 69;
hir lain, iii. 95, alone by herself.
Lang, i. 101, ii. 20, long.
Lang'd, ii. 107, longed.
Langsome, i. 321, long, tedious.
Lap, iii. 93, 95, leaped.
Largesse, iii. 26, gift, liberality.
Lasse, ii. 13, less.
Late, ii. 47, let.
Latte, ii. 12, hinder.
Lauch, i. 101, laugh;
lauched, i. 101, laughed.
Launde, i. 170, clear space in a forest.
Lawlands, ii. 227, lowlands.
Lay, i. 79, law.
Layde, i. 291, lady.
Layden, i. 66, laid.
Layland, i. 66, 67, 79, green sward.
Laylands, i. 73, lands in general.
Layne, lain, laid.
Layne, i. 45, 46, deceive, break one's word.
Lazar, ii. 55, leper.
Leal, ii. 69, loyal, honest, true.
Leane, conceal, hide.
Lear'd, i. 307, pastured.
Lease, lying, falsehood;
withouten lease, i. 170, verily, without lying.
Lease, iii. 102, leash, thong, cord.
Leasynge, lying, falsehood.
Leaute, ii. 7, loyalty.
Lee, ii. 68, lea, field, pasture.
Lee, iii. 96, lie.
Leeche, i. 63, 75, 77, physician.
Leechinge, i. 63;
leedginge, i. 77, doctoring, medicinal care.
Leek, phrase of contempt.
Leel, ii. 112, true.
Leer, look.
Leeve London, i. 273, iii. 101, dear London.
Leever, i. 160, sooner.
Leeveth, i. 88, believeth.
Lefe, i. 173, dear.
Lefe, leave;
leves, leaves.
Leffe, leefe, dear.
Leid, iii. 96, lyed.
Leil, ii. 85, loyal, true.
Leir, ii. 82, learn;
lere, i. 306, learning.
Leive, i. 84, iii. 236, leave.
Leman, i. 186, 327;
leiman, i. 301;
lemman, iii. 97, lover, mistress.
Lemster wooll, i. 307, Leominster wool.
Lene, ii. 13, give.
Lenger, i. 64, ii. 20, longer.
Lengeth in, resideth in.
Lere, i. 72, face, countenance, complexion.
Lese, ii. 26, lose.
Lesynge, i. 174;
leasing, lying, falsehood.
Let, i. 24, hinder;
lett, ii. 85, hindrance.
Lett, i. 93, left or let be opened.
Lettest, i. 74, hinderest, detainest.
Letteth, i. 168, hindereth.
[Pg 394]Lettyng, i. 172, hindrance, without delay.
Leugh, ii. 118;
leuche, ii. 81, laughed.
Leve, ii. 38, remain.
Lever, i. 46, 71, 75, 173, rather;
lever than, ii. 39, rather then.
Leves and bowes, ii. 42, leaves and boughs.
Lewd, i. 308;
leud, ii. 134, ignorant, scandalous.
Ley, iii. 123, lay.
Leyke, ii. 135, play.
Leyre, lere, learning, lore.
Libbard, leopard;
libbard's bane, iii. 198, the herb wolfbane.
Lichtly, iii. 147, lightly, easily.
Lig, i. 144, iii. 70, lie;
ligge, ii. 11;
liggd, ii. 83, lay.
Lightfoote, iii. 182, venison.
Lightile, i. 161, quickly.
Lightsome, i. 65, cheerful, sprightly.
Limber, ii. 260, supple, flexible.
Limitoures, iii. 208, friars licensed to beg within certain limits.
Limitatioun, iii. 208, a certain precinct allowed to a limitour.
Lingell, i. 308, a thread of hemp rubbed with resin, &c., used by rustics for mending their shoes.
Lire, flesh, complexion.
List, i. 256;
lith, ii. 11, lieth.
Lith, i. 156;
lithe, i. 268;
lythe, attend, hearken, listen.
Lither, i. 94, iii. 47, idle, lazy, naughty, worthless, wicked.
Live-lang, iii. 132, live-long.
Liver, i. 282, deliver.
Liverance, i. 282, 289, deliverance (money or a pledge for delivering you up).
Livor, i. 289, deliver.
Load;
lay on load, i. 74, give blows.
Lodly, ii. 63;
lodlye, ii. 56, loathsome.
Loe, ii. 70, iii. 99, love;
lo'ed, iii. 98, loved.
Logeyng, i. 43, lodging.
Loht, ii. 9;
be the luef, be the loht, whether you like it or loathe it.
Loke, i. 308, lock of wool.
Lokyd, ii. 73;
lokyde, i. 25, looked.
Lome, ii. 63, man, object.
Lond, iii. 207, land.
Longes, i. 218, belongs;
longeth, ii. 43, belongeth.
Longs, i. 30, lungs.
Looket, i. 149, looked.
Loone, ii. 145, idle fellow.
Looset, i. 115, loosed.
Lope, i. 65, 80, ii. 217, leapt.
Lore, ii. 9, 13, teaching, lesson, doctrine, learning.
Lore, lost.
Lorrel, i. 441, a sorry, worthless person.
Losel, ii. 134, 145, the same as Lorrel.
Lothly, ii. 142, loathsome.
"The adverbial terminations -some and -ly were applied indifferently by our old writers: thus, as we have lothly for loathsome above, so we have ugsome in a sense not very remote from ugly in Lord Surrey's version of Æn. 2nd, viz.—
"'In every place the ugsome sightes I saw' (p. 29)." P.
Loud and still, ii. 82, openly and secretly.
Lough, i. 95, laugh;
lought, ii. 282, laughed.
Loun, i. 322, loon, rascal.
Lounge, iii. 357, lung.
Lourd, iii. 100, rather (?)
Lout, ii. 117;
loute, ii. 26, stoop.
Louted, i. 72;
lowtede, bowed, did obeisance.
Lowe, i. 114, a little hill.
Lowne, i. 198, rascal.
Lowns, ii. 113, blazes.
Lowttede, i. 120, crouched.
Lude, ii. 82, loved.
Lued, i. 323, loved.
Luef, ii. 9, love.
Lues, iii. 75, loves, love.
Lugh, ii. 26, laughed.
Luik, i. 146, look;
luiks, i. 146, looks;
luikt, ii. 229, looked.
Luivt, ii. 82, loved.
Lung, ii. 28, long.
Lurden, i. 163;
lurdeyne, sluggard, drone.
Lust, ii. 42, desire.
Luve, i. 320, love;
luver, ii. 212, lover.
[Pg 395]Luvely, i. 143, lovely.
Lyan, iii. 134, lying.
Lyard, ii. 9, grey; a name given to a horse from its grey colour, as Bayard from bay.
Lyff, ii. 49, life.
Lyk, i. 28;
lyke, ii. 38, like.
Lynde, i. 168;
lyne, i. 112, the lime-tree.
Lys, ii. 12, lies.
Lystenyth, iii. 371, listen.
Lyth, i. 306, easy, gentle, pliant, flexible, lithesome.
Lyvar, i. 30, liver
Lyven na more, live no more, no longer.
Lyyt, ii. 27, light;
lyytly, ii. 26, lightly.
Mad, ii. 24, made.
Mahound, i. 88, Mahomet.
Maining, ii. 211, moaning.
Mair, ii. 84, more, most.
Maist, i. 42, mayest.
Mait, iii. 99, might, may.
Majeste, maist, mayeste, may'st.
Makes, i. 50, ii. 78, mates.
Making, versifying.
Makys, i. 33, mates.
"As the words make and mate were, in some cases, used promiscuously by ancient writers, so the words cake and cate seem to have been applied with the same indifferency; this will illustrate that common English proverb, 'to turn cat (i.e. cate) in pan.' A pancake is in Northamptonshire still called a pancate." P.
Male, i. 28, coat of mail;
shirt of male, ii. 233.
Manchet, iii. 206, best kind of white bread.
Mane, i. 26, man.
Mangonel, ii. 8, a military engine used for discharging great stones, arrows, &c., before the invention of gunpowder.
March perti, i. 33;
march partes, i. 34, in the parts lying upon the marches.
March-pine, i. 306;
marchpane, a kind of biscuit.
Mare ii. 25, more.
Margarite, ii. 328, a pearl.
Mark, a coin, in value 13s. 4d.
Marke hym to the Trenité, commit himself to God.
Marrow, ii. 109, 363, match, or equal companion.
Mart, ii. 82, marred, hurt, damaged.
Marvelit, iii. 238, marvelled.
Mast, maste, may'st.
Masterye, i. 110;
maystery, i. 176, a trial of skill.
Maugre, ii. 8;
mauger, i. 23, in spite of.
Maugre, ii. 83, ill will.
Maun, i. 84, 143, 145, must.
Mavis, iii. 97, a thrush.
Mawt, iii. 123, malt.
May, i. 63, 113;
maye, i. 46, maid.
Mayne, i. 122, force, strength.
Mayne, a horse's mane.
Mayny, i. 120, a company.
Maze, a labyrinth, anything entangled or intricate.
"On the top of Catherine-hill, Winchester (the usual play-place of the school), was a very perplexed and winding path, running in a very small space over a great deal of ground, called a Miz-Maze. The senior boys obliged the juniors to tread it, to prevent the figure from being lost, as I am informed by an ingenious correspondent." P.
Mazer, in. 97, drinking cup of maple.
Me, men;
me con, ii. 13, men began.
Me-thuncketh, ii. 11, methinks.
Meane, ii. 259, moderate, middle-sized.
Meany, i. 24, 25, retinue, train, company.
Mease, ii. 119, soften, mollify.
Meed, meede, i. 74, iii. 22, reward.
Meet, in. 132, even.
Meid, mood.
Meikle, iii. 238, much.
Meit, iii. 95, meat.
Meit, ii. 83, 115, meet, fit, proper.
Mekyl, ii. 21, much.
[Pg 396]Mell, ii. 260, honey.
Mell, meddle, mingle.
Meniveere, i. 308, a species of fur.
Mense the faught, ii. 116, to measure the battle.
"To give to the mense is to give above the measure. Twelve and one to the mense is common with children in their play." P.
Menzie, ii. 133, retinue, company.
Merch, ii. 115, march.
Merchis, i. 34, marches.
Merth, merthe, ii. 31, mirth.
Messager, ii. 12, messenger.
Mete, i. 180, meet, fit, proper.
Mewe, ii. 254, confinement.
Micht, ii. 230, might.
Mickle, i. 65, 66, 72, 76, 137, 306, much, great.
Midge, iii. 233, a small insect, a kind of gnat.
Mids, ii. 77, midst.
Minged, i. 66, 79, mentioned.
Minny, ii. 69, mother.
Mirk, ii. 120;
mirkie, iii. 154, dark, black.
Mirry, i. 101, 143, ii. 82, merry;
mirriest, ii. 391, merriest.
Mirry-land toune, i. 59.
Misconster, ii. 349, misconstrue.
Misdoubt, i. 302, suspect, doubt.
Miskaryed, miscarried.
Misken, i. 197, mistake.
Mister, to need.
Mith, iii. 45, might.
Mither, i. 60, 83, 145, mother.
Mo, i. 30, 161, ii. 16;
moe, ii. 289, more.
Moche, ii. 47, much.
Mode, mood.
Moder, i. 126, mother.
Moiening, ii. 382, by means of.
Mome, ii. 258, blockhead.
Mon, ii. 11, man.
Mone, ii. 37, moon.
Mone lyyt, ii. 25, moonlight.
Mone, ii. 35, iii. 127, moan.
Monand, iii. 64, moaning, bemoaning.
Monnynday, i. 24, 34, Monday.
Mony, ii. 8, 13, 68, many.
More, iii. 17,
"originally and properly signified a hill (from A.-S. mor, mons), but the hills of the north being generally full of bogs, a moor came to signify boggy, marshy, ground in general." P.
Mores and the fenne, ii. 8, hill and dale;
mores brodinge, i. 64, 78, wide moors.
Morne, i. 101;
to morn, ii. 20, 83, on the morrow, in the morning.
Mornyng, ii. 49, mourning.
Morwenynges, iii. 208, mornings.
Mort, i. 25, dead stag.
Most, must.
Mot, i. 121, 126, may.
Mote, i. 157, might;
mote I thee, ii. 97, may I thrive.
Mou, ii. 70, mouth.
Mought, i. 68, 169, 308, might, may it, ii. 302.
Mowe, ii. 13, 31, may.
Muchele bost, ii. 8, great boast.
Mude, ii. 82, mood.
Muid, i. 147, mood.
Mulne, ii. 8, mill.
Mun, i. 63, 66, must.
Mure, mures, wild downs, heaths, &c.
Murn, ii. 85;
murnd, ii. 86;
murnit, ii. 81;
murnt, ii. 84;
murning, ii. 83, mourn, mourned, mourning.
Muve, ii. 366, move;
muvit, ii. 39, moved.
Mykel, i. 46, great.
Myllan, i. 29, Milan steel.
Myn, ii. 12, my.
Myne-ye-ple, i. 28, probably a corruption of manople, a large gauntlet.
Myrry, merry.
Mysuryd, i. 123, misused, applied to a bad purpose.
Myyt, ii. 26, might;
myyty, mighty.
Na, ii. 12;
nae, no, not, none.
Naebody, ii. 139, nobody.
Naithing, ii. 70, nothing.
Nane, i. 320, ii. 70, iii. 75, none.
Nappy, iii. 182, strong, as ale.
Nar, i. 25, 27;
nare, i. 30, nor.
[Pg 397]Nat, i. 143, ii. 35, not.
Natheless, ii. 264, nevertheless
N'availeth not, ii. 16, availeth not.
Ne, ii. 12, no, nor, not.
Near, ner, nere, ne'er, never.
Neat, oxen, cows, large cattle;
neates leather, ii. 100, cowhide.
Neatherd, a keeper of cattle.
Neatresse, ii. 259, female keeper of cattle.
Nee, i. 71, 178, nigh.
Neigh him neare, i. 94, approach him near.
Neir, i. 146, ne'er, never.
Neire, ii. 212;
nere, near.
Nemped, i. 409, named.
Nere, ii. 135;
ne were, were it not for.
Nest, ii. 12, next, nearest.
Nethar, neither.
Neven, i. 396, name.
New fangle, iii. 7, new-fangled, fond of novelty.
Nicht, ii. 85, night.
Nicked him of naye, i. 88, nicked him with a refusal.
Nipt, pinched.
No, not.
Noble, a gold coin in value twenty groats, or 6s. 8d.
Nobles, i. 120, nobleness.
Nocht, ii. 83, not.
Nock, iii. 295, the posteriors.
Nollys, ii. 21, noddles, heads.
Nom, ii. 12, took.
Nome, ii. 11, name.
Non, ii. 16, none.
None, i. 25, 31, ii. 37, noon.
Nones, ii. 27, nonce.
Nonys, ii. 22, nonce or occasion.
Norland, iii. 237, northern.
Norse, Norway.
Norss menzie, ii. 114, the Norse army.
North-gales, iii. 26, North Wales.
Nou, ii. 9, now.
Nourice, nurse.
Nout, ii. 8, nought, also not, ii. 14.
Nowght, nought.
Nowls, noddles, heads.
Noye, ii. 26, hurt.
Noyt, ii. 24, nought, not.
Ny, ii. 49;
nye, i. 136, nigh;
nyest, ii. 59, nighest.
Nyyt, ii. 27, night.
O, ii. 8, one;
O', iii. 99, of;
O, ii. 9, on.
O wow, ii. 68, an exclamation.
Obraid, iii. 99, upbraid.
Occupied, i. 121, used.
Ocht, ought.
Off, ii. 177, of.
Oloft, ii. 25, on horseback.
On, ii. 49, one, an.
On loft, ii. 22, aloft.
Onfowghten, unfoughten, unfought.
Ony, ii. 84, any.
Onys, ii, 23, once.
Opon, ii. 8, upon.
Or, ii. 42, before ever.
Ore, iii. 128, over.
Orisons, prayers.
Ost, i. 28, ii. 24, iii. 36;
oste, i. 42, 43, 44;
ooste, i. 272, host.
Osterne, i. 291, austere.
Oth, othe, iii. 49, oath.
Ou, ii. 12, you.
Ous, ii. 8, us.
Out-owr, i. 147, quite over, over.
Outbrayd, ii. 45, drew out, unsheathed.
Outhorne, i. 167, the summoning to arms by the sound of a horn.
Outrake, i. 285, 292, an out ride or expedition;
to raik is to go fast.
"Outrake is a common term among shepherds. When their sheep have a free passage from enclosed pastures into open and airy grounds they call it a good outrake." (Mr. Lambe.) P.
Owar, i. 31, hour.
Oware of none, i. 25, hour of noon.
Owches, iii. 316, bosses.
Owre, i. 144, ii. 70;
over, o'er; ere, i. 101.
Owreword, iii. 124, the last word, burden of a song.
Pa, i. 59.
Packing, i. 121, dealing.
Pall, i, 89;
palle, i. 71, a cloak or robe of state.
[Pg 398]Palmer, iii. 113, a pilgrim who, having been in the Holy Land, carried a palm branch in his hand.
Paramour, i. 310, gallant, lover;
mistress, ii. 45.
Pardè, ii. 41;
perdie, verily (par Dieu).
Paregall, i. 124, equal.
Parle, iii. 36, speak or parley.
Parti, party;
a parti, i. 26, apart or aside.
Partynere, ii. 41, partner.
Pat, ii. 132, pot.
Pattering, iii. 9,
"murmuring, mumbling, from the manner in which the Paternoster was anciently hurried over in a low inarticulate voice." P.
Pauky, ii. 68, shrewd, cunning, sly.
Paves, i. 121, a pavice, a large shield that covered the whole body. Fr. pavois.
Pavilliane, pavilion, tent.
Pay, i. 173, liking, satisfaction.
Paynim, i. 65, 88, iii. 41, pagan.
Peakish, i. 299, rude, simple;
peakish hull, i. 307, perhaps the Derbyshire Peak.
Peare, i. 80, peer, equal.
Pearlins, iii. 75, coarse sort of bone-lace.
Pece, piece of cannon.
Pee, i. 148, piece.
Peere, i. 73, 77, equal.
Pees, ii. 7, peace.
Pele, ii. 24, a baker's long-handled shovel.
Penon, a banner or streamer borne at the top of a lance.
Pentarchye, ii. 345, five heads.
Perchmine, parchment.
Perde, i. 187, verily.
Perelous, parlous, perilous, dangerous.
Perfay, ii. 85, verily.
Perfight, i. 123, perfect;
perfightly, i. 124, perfectly.
Perfytte, i. 272, perfect.
Perkyn, ii. 20, diminutive of Peter.
Perlese, i. 125, peerless.
Perte, i. 50, part, side.
Pertyd, i. 28, parted, divided.
Pese, ii. 45, peace.
Petye, i. 50, ii. 73, pity.
Peyn, ii. 16, pain.
Peyses, i. 48, pieces.
Peysse, i. 44, peace.
Peyters, ii. 13, Peter's.
Philomele, iii. 81, the nightingale.
Piece, a little.
Pil'd, peeled, bald.
Pine, i. 196, famish, starve.
Pinner, ii. 337, pinder, or impounder of cattle.
Pious chanson, i. 183, a godly song or ballad.
"Mr. Rowe's Edition of Shakespeare has 'The first Row of the Rubrick;' which has been supposed by Dr. Warburton to refer to the red-lettered titles of old ballads. In the large collection made by Mr. Pepys, I do not remember to have seen one single ballad with its title printed in red letters." P.
Pipl, i. 103, people.
Playand, ii. 115, playing.
Play-feres, i. 59, play-fellows.
Playning, i. 243, complaining.
Plein, iii. 123, complain.
Pleis, ii. 82, please.
Plett, ii. 112, plaited.
Pley, i. 59, ii. 83, play.
Pleyn, ii. 16, complain.
Plyyt, ii. 27, plight.
Plowmell, ii. 25, a small wooden hammer occasionally fixed to the plough.
Poll-cat, cant word for a prostitute.
Pollys, ii. 21, polls, heads.
Pompal, i. 233, proud, pompous.
Popingay, i. 308, a parrot.
Porcupig, iii. 285, porcupine.
Portingale, iii. 50, Portugal.
Portingalls, ii. 198, Portuguese.
Portres, porteress.
Poterner, iii. 7, probably a pouch or bag.
Pottle, iii. 187, a measure of two quarts.
Poudered, ii. 23, a term in heraldry for sprinkled over.
Pow'd, i. 59, pulled.
Powlls, polls, heads.
Pownes, i. 300, pounds.
[Pg 399]Praat, ii. 360, prate.
Pray, i. 125, prey.
Prayse-folk, ii. 27, singing men and women.
Preas, iii. 26, press.
Prece, i. 160, crowd, press;
preced, i. 167, 171, pressed.
Prest, i. 205, ii. 21, ready;
prestly, i. 171;
prestlye, i. 72, readily, quickly.
Prickes, i. 111, mark in the centre of the target.
Pricke-wande, pole set up for a mark.
Pricked, i. 68, spurred on, hasted.
Priefe, ii. 96, prove.
Priving, ii. 70, proving, testing.
Prove, ii. 46, proof.
Prude, ii. 8, pride.
Prycke, i. 175, the mark, commonly a hazel wand.
Prycked, i. 43, spurred.
Pryme, i. 156, daybreak, or six o'clock in the morning.
Prys, ii. 11, prize.
Pu, i. 145, pull.
Puing, ii. 363, pulling.
Puissant, iii. 110, strong, powerful.
Purfell, iii. 25, ornament, or border of embroidery.
Purfelled, iii. 25, embroidered.
Purvayed, ii. 45, provided.
Putry, iii. 6, whoredom.
Pyght, i. 43, pitched.
Quadrant, four-square.
Quaint, ii. 257, nice, fantastical.
Quarry, i. 255, the slaughtered game in hunting or hawking.
Quat, ii. 116, quitted.
Quay, iii. 75, a young heifer, called a whie in Yorkshire.
Quean, iii. 21, 203, 252, a sorry, base woman, a slut.
Quel, ii. 135, cruel, murderous.
Quelch, a blow or bang.
Quere, i. 124, quire, choir.
Quest, i. 165, inquest.
Quha, i. 101, who.
Quhair, ii. 82, where.
Quhair-eir, ii. 84, wherever.
Quhan, i. 144, iii. 75, when.
Quhaneir, iii. 75, whenever.
Quhar, i. 100, where.
Quhat, i. 143, what.
Quhatten, i. 83, what.
Quhen, i. 143, ii. 82, when.
Quhilk, ii. 116, which.
Quhy, i. 145, why.
Quhyle, ii. 83, while.
Quick, iii. 53, alive, living.
Quiere, ii. 288, choir.
Quillets, ii. 283, quibbles.
Quiristers, ii. 166, choristers.
Quitt, ii. 311, requite.
Quo, ii. 69, quoth.
Quyle, ii. 84, while.
Quyrry, i. 25, quarry of slaughtered game.
Quyt, ii. 85, quite.
Quyte, i. 34, requited.
Qwyknit, ii. 131, quickened, restored to life.
Rade, i. 147, rode.
Rae, ii. 24, roe.
Raigne, ii. 253, reign.
Raik, to go apace;
raik on raw, ii. 82, extend in a row.
Raise, ii. 69, rose.
Rampire, ii. 52, rampart.
Ranted, ii. 68, made merry.
Rashing, i. 208, the old hunting term for the stroke made by a wild boar with his fangs.
Raught, reached, gained, obtained.
Raw, ii. 82, row.
Rawstye, i. 116, damp(?)
Rayt, ii. 26, raught or reached.
Reachles, i. 113, careless.
Read, ii. 148;
reade, ii. 144, advice;
reade me, i. 87, advise me.
Rea'me, ii. 287, realm.
Reane, i. 34, rain.
Rearing, i. 88, leaning against.
Reas, i. 24, raise.
Reave, i. 89, 322, bereave.
Reckt, i. 143, regarded.
Reckyn, ii. 20, reckon.
Red, i. 101, read.
Redd, i. 79, advise.
Reddyl, ii. 23, riddle or sieve.
Rede, iii. 208;
redde, ii. 13, read.
Rede, i. 41, 66, iii. 94, advise;
[Pg 400]rede I can, ii. 37, advice I know.
Rede, i. 48, guessed.
Redouted, i. 120, dreaded.
Redresse, ii. 78, care, labour.
Redyn, ii. 23, moved.
Reek, i. 145, smoke.
Reev, ii. 17;
reeve, iii. 179, bailiff.
Refe, ii. 20, bailiff.
Refe, bereave.
Reft, ii. 26, bereft.
Register, iii. 210, the officer who keeps the public register.
Reid, ii. 83, advise.
Reid, i. 59, 83, 146, red;
reid roan, i. 83, red roan.
Reivs, ii. 83, bereavest.
Rekeles, i. 42, regardless, rash.
Remeid, ii. 83, remedy.
Renisht, i. 88, harnessed.
Renn, i. 196;
renne, i. 160, ii. 89, run.
Renneth, iii. 108, runneth;
renning, ii. 142, running.
Renyed, i. 122, refused.
Reporte, i. 124, refer.
Rescous, ii. 40, rescues;
rescew, ii. 175, rescue.
Reve, ii. 23, bereave, deprive.
Revers, ii. 114, robbers, pirates, rovers.
Rew, ii. 82, take pity.
Rew, iii. 98;
rewe, i. 70, ii. 46, regret;
reweth, ii. 9, regrets;
rewyth, i. 42, regrets.
Rewth, i. 174, ruth, pity.
Riall, royal.
Richt, i. 101, right.
Riddle, vulgar idiom for unriddle, or corruption of reade, to advise.
Rin, i. 147;
rinn, i. 60, run;
rins, i. 59, runs;
rinnes, i. 42, runs.
Rise, shoot, bush, shrub.
Rive, i. 244, rend;
rives, i. 284;
rends.
Rive, ii. 386, rife, abounding.
Roche, i. 128, rock.
Rofe, ii. 41, roof.
Roke, i. 48, steam or smoke.
Ronne, ran;
roone, run.
Roo, i. 42, roe.
Roode, i. 76, cross, crucifix.
Rood loft, the place in the church where the images were set up.
Room, i. 84, large.
Roun, ii. 80, run.
Route, i. 158, company.
Route, iii. 108, go about, travel.
Routhe, i. 122, ruth, pity.
Row, i. 145;
rowd, i. 60,146, roll, rolled.
Rowght, i. 45;
rowte, ii. 26, rout.
Rowyned, round.
Rowned, rownyd, whispered.
Rudd, iii. 8, red, ruddy;
rud-red, iii. 22.
Rude, ii. 82;
rood, cross.
Ruell bones, ii. 22.
Rues, pitieth.
Rugged, ii. 27, pulled with violence.
Runnagate, ii. 294, runaway.
Rushy gair, ii. 86, rushy strip of land.
Ruthe, ii. 46, pity, woe.
Ryal, ii. 30;
ryall, i. 45, 129, royal.
Ryd, iii. 36, rode;
rydand, ii. 22, riding.
Ryde, i. 91, for ryse (?)
Rydere, i. 178, ranger.
Ryghtwes, i. 427, righteous.
Ryhte, ii. 9, right.
Rynde, i. 46, rent, flayed.
Ryschys, ii. 27, rushes.
Rywe, ii. 30, rue.
Ryyt, ii. 20, right;
even, ii. 23.
Sa, i. 144, ii. 26;
sae, i. 144, so.
Safer, sapphire.
Saft, ii. 110, soft;
saftly, ii. 107, softly.
Saif, i. 144, safe.
Saim, iii. 99, same.
Sair, i. 60, 147, sore.
Saisede, ii. 8, seized.
Sall, i. 60, 84, 143, shall.
Salvage, iii. 117, savage.
Sar, i. 31, sore.
Sarke, iii. 95, shirt;
shift, i. 321.
Sat, i. 31, set.
Sauls, ii. 114, souls.
Saut, iii. 99, salt.
Saw, say, speech, discourse.
Say, i. 30, saw.
Saye, iii. 64, essay, attempt.
Say us no harme, say no ill of us.
Say'n, ii. 69, saying.
Scant, i. 90, 321, scarce.
[Pg 401]Scath, i. 65, hurt, injury.
Schadow, ii. 25, shadow.
Schal, ii. 20;
schall, i. 42, shall.
Schapen, ii. 24, shaped.
Schapped, i. 48, swapped (?), i.e. smote.
Scharpe, i. 46, 48, sharp.
Schatred, ii. 25, shattered.
Schaw, ii. 82, show.
Sche, i. 42, ii. 24, she.
Schene, sheen, also brightness.
Schepeskynnes, ii. 21, sheepskins.
Schip, i. 100, ship;
schiples, shipless.
Scho, i. 59, ii. 20, she.
Schone, i. 41, shone.
Schoone, i. 101, shoes.
Schoote, i. 45, shot, let go.
Schowte, i. 47;
schowtte, shout.
Schrill, shrill.
Schuke, shook.
Schuld, ii. 20;
schulde, i. 46, should.
Schulder, ii. 27, shoulder.
Sckill, iii. 327, skill.
Sckirmish, ii. 236, skirmish.
Sckore, ii. 236, score.
Sclat, ii. 16, slate.
Scomfet, ii. 23, discomfit.
Scorke, i. 259, struck.
Scot, ii. 9, tax, revenue;
also shot, reckoning, ii. 20.
See, ii. 8, sea.
Sed, iii. 47, said.
Seely, ii. 174;
seelie, iii. 68, poor, simple.
Seignour, ii. 135, Lord.
Seik, i. 60, seek.
Seires, iii. 328, for feires, i.e. mates.
Sek-ful, ii. 22, sackful.
Sel, iii. 96;
sell, iii. 123, self.
Selcouthe, ii. 391, strange.
Selven, ii. 32, self.
Selver, ii. 8, silver.
Sely, ii. 53, simple.
Semblyd, i. 25, assembled.
Sen, i. 34, ii. 83, iii. 95, since.
Seneschall, steward.
Senvy, mustard seed. Fr. senevé.
Serrett, i. 79, closed fist (?)
Sertayne, i. 48, certain;
sertenly, i. 49, 50, certainly.
Sese, ii. 49, seize.
Setywall, the herb valerian.
Sey, iii. 75, a kind of woollen stuff.
Sey yow, ii. 15, say to you;
I sey yow soth, ii. 16, I tell you truth.
Sey'd, ii. 114, tried.
Sey'd, saw.
Seyde, ii. 12, said.
Sha' na bide, ii. 116, shall not endure.
Shaint, ii. 360, saint.
Shave;
be shave, ii. 77, be shaven.
Shaw, ii. 114, show;
shaw'd, ii. 110, showed.
Shaws, i. 106, little woods.
Shear, i. 24, entirely.
Sheede, iii. 12, shed.
Sheel, ii. 98;
sheele, i. 88, 294, she'll, she will.
Sheene, i. 87, 106;
iii. 236, bright, brightness, beauty. Germ. schön.
Shees, ii. 70, she is.
Sheeve, ii. 256, shive, a great slice of bread.
Sheip, ii. 82, sheep;
sheips heid, ii. 132, sheep's head.
Sheits, i. 145, sheets.
Sheid, ii. 70, she would.
Shent, i. 72, 171, disgraced;
abashed, ii. 49;
confounded, ii. 84.
Shepenes, iii. 208, cowhouses, sheep pens. A.-S. scypen.
Shield bone, the blade bone, a common phrase in the north.
Shill, ii. 111, shrill.
Shimmer'd, iii. 237, glittered;
shimmering, ii. 142, shining by glances, glittering.
Sho, ii. 49, she.
Shoen, ii. 100, shoes.
Shold, sholde, should.
Shoone, i. 243, 320;
iii. 47, shoes.
Shope, iii. 54, shaped.
Shorte, ii. 43, shorten.
Shote, ii. 40, shoot.
Shott, ii. 149, reckoning.
Shoul, ii. 360, soul.
Shradds, i. 106, twigs.
Shreeven, iii. 10, shriven, confessed.
[Pg 402]Shreward, ii. 9, a male shrew.
Shrive, ii. 60, confess;
hear confession, ii. 166.
Shroggs, i. 111, shrubs, thorns, briars.
Shuld, iii. 147;
shulde, i. 32, should.
Shullen, shall.
Shunted, ii. 137, shunned.
Shuntyng, ii. 19, recreation, diversion, sport.
Shyars, i. 24, shires.
Shynand, ii. 113, shining.
Sib, kin, akin.
Sic, i. 84;
sich, i. 327, such.
Sich, ii. 84, sigh;
sichit, ii. 81, sicht, ii. 86, sighed.
Sicht, ii. 114, sight.
Sick-like, iii. 123, such like.
Side, i. 375, long.
Sied, i. 147, saw.
Sigh clout, i. 197, a cloth to strain milk through.
Sighan, iii. 134, sighing.
Sik, i. 144;
sike, i. 320, such.
Siker, i. 323, secure, surely, certainly.
Silk, iii. 100, such.
Siller, ii. 230;
iii. 97, silver.
Silly, i. 192;
ii. 68, simple.
Silven, iii. 100, silver.
Sindle, ii. 115, seldom.
Sist, iii. 55, sighed.
Sith, i. 68, 133, since.
Sitten, iii. 99, sat.
Sitteth, ii. 7, sit ye.
Skaith, ii. 115, scath, harm, mischief.
Skinker, one that serves drink.
Skinkled, iii. 237, glittered.
Skore, i. 28, score.
Slade, i. 108, a breadth of greensward between ploughlands or woods.
Slaited, iii. 98, wiped.
Slatred, ii. 25, broke into splinters.
Slaw, i. 308, slew.
Slaw, ii. 107, slow.
Sle, i. 15, slay;
sleest, slayest, i. 123.
Slee, ii. 69, sly.
Slean, i. 31, 33, 34, slain.
Sleath, iii. 108, slayeth.
Slein, ii. 70, slain.
Sleip, i. 60;
sleipe, ii. 211, sleep.
Sleive, iii. 95, sleeve.
Slo, i. 120;
sloe, i. 69, slay.
Slode, i. 66, 79, slit, split.
Slone, i. 49, 67, slain.
Sloughe, i. 28, slew.
Sma', i. 145, small;
little, iii. 95.
Smire, iii. 327 (? for swire = neck).
Smithers, i. 145, smothers.
Snae, iii. 97;
snaw, ii. 69, snow.
Soar, i. 31, sore.
Sodenly, ii. 15, suddenly.
Solacious, i. 130;
affording solace.
Soldan, i. 73, 74, 80;
sowdan, i. 96, sultan.
Soll, i. 34, soul.
Son, ii. 23, soon;
sone, ii. 44, soon.
Sond, ii. 26, sending, present.
Sone, ii. 41, soon.
Soothe, ii. 55, truth, true.
Sort, i. 122, 126, set, company.
Soth, i. 43, 49, 50, 51;
ii. 16;
iii. 30, truth, true.
Sothe, i. 27, south.
Sould, ii. 69, should.
Souldan, iii. 110, sultan.
Souling, ii. 257, victualling.
Sowle is still used in the north for anything eaten with bread. P.
Souse, iii. 181, the head, feet and ears of swine boiled and pickled for eating.
Souter, i. 416, psaltry.
Sowne, ii. 52, sound.
Sowre, sour.
Sowre, sore.
Sowter, i. 416, a shoemaker.
Soy, i. 320, silk.
Spack, ii. 230;
iii. 96, spake.
Spec, ii. 13, spake.
Speere, ii. 144;
speered, ii. 144, sparred, fastened, shut.
So in an old "Treatyse agaynst Pestilence, etc. 4to Emprynted by Wynkyn de Worde:" we are exhorted to "Spere [i.e. shut or bar] the wyndowes ayenst the south." fol. 5. P.
Speid, iii. 94, speed.
[Pg 403]Speik, iii. 96, speak.
Speir, ii. 69;
iii. 95, ask, inquire.
So Chaucer, in his Rhyme of Sir Thopas—
i.e. "inquired." Not spied, as in the new edit. of Cant. Tales, vol. ii. p. 234. P.
Speir, iii. 98, spear.
Spek, ii. 12, spoke;
speken, iii. 207, speak.
Spence, ii. 52;
spens, ii. 21, expense.
Spendyd, grasped.
Spill, i. 196, iii. 51;
spille, i. 75, spoil, kill.
Spillan, iii. 134, spilling.
Spindles and whorles, ii. 71, the instruments used for spinning in Scotland instead of spinning-wheels.
"The Rock, Spindles, and Whorles are very much used in Scotland and the northern parts of Northumberland at this time. The thread for shoemakers, and even some linen webs, and all the twine of which the Tweed salmon-nets are made, are spun upon spindles. They are said to make a more even and smooth thread than spinning-wheels." (Mr. Lambe.) P.
Spittle, ii. 282, hospital.
Splene;
on the splene, ii. 46, in haste.
Spole, ii. 198, shoulder.
Sporeles, ii. 9, spurless, without spurs.
Sprente, i. 29, spurted out, sprung out.
Sprite, iii. 132, spirit.
Spurging, ii. 197, drivelling froth.
Spurn, i. 34, a kick.
Spylt, i. 123, spoiled, destroyed.
Squelsh, iii. 295, a blow or bang.
Squyer, ii. 44;
squyere, ii. 44, squire.
Stalworth, ii. 19, stout.
Stalwurthlye, i. 41, stoutly.
Stane, i. 145, stone.
Starke, i. 72, stout, strong.
Startopes, ii. 256, buskins or half boots.
Stean, i. 103, iii. 99, stone.
Stede, ii. 23, place.
Steid, i. 83, iii. 98, steed.
Steill, ii. 131, steel.
Steir, ii. 83, stir.
Stel, ii. 8, steel.
Stele, ii. 46, steal.
Sterne, i. 28, fierce ones.
Sterris, stars.
Sterte, i. 69, 73, start;
sterted, iii. 15, started.
Sterve, ii. 16, die, perish.
Steven, i. 115, iii. 26, voice, sound.
Steven, i. 111, time.
Stint, i. 68, 133, 273, stop, stopped.
Stond, ii. 26, stand.
Stonderes, standers by.
Stonds, i. 44, stands.
Stound, i. 165, hour.
Stounde, i. 48, time;
for awhile, ii. 11.
Stoup, ii. 117, stoop.
Stoup of weir, ii. 115, a pillar of war.
Stour, i. 31, 96;
stower, i. 66, iii. 26;
stowre, i. 49, 74, 168, iii. 14, strong, fierce, stir, fight.
This word is applied in the North to signify dust agitated and put in motion, as by the sweeping of a room, &c. P.
Stown, ii. 69, stolen.
Stra, ii. 24;
strae, ii. 69, iii. 98, straw.
Strake, ii. 117, struck.
Strekene, i. 29, stricken, struck.
Stret, street.
Strick, i. 322, strict.
Strike, stricken.
Stroke, i. 28;
stroken, i. 228, struck.
Strout, iii. 119, strut.
Stude, i. 143, iii. 95, stood.
Styntyde, i. 30, stinted, stayed, stopped.
Styrande, i. 40, stirring.
Styrt, ii. 26, started.
[Pg 404]Suar, i. 28, 30, sure.
Suld, ii. 21, should.
Sum, i. 83, 146, ii. 25, some.
Summere, iii. 108, a sumpter horse.
Sumpters, i. 302, horses that carry clothes, furniture, &c.
Sune, soon.
Surmount, iii. 172, surpass.
Suore bi ys chyn, ii. 9, sworn by his chin.
Supprised, i. 124, overpowered.
Suraunce, ii. 49, assurance.
Suthe, ii. 386, soon, quickly.
Swa, ii. 24, so.
Swage, ii. 342, assuage;
swaged, ii. 180, assuaged.
Swapte, i. 29;
swapped, i. 48, struck violently, exchanged blows.
Sware, ii. 12, ii. 361, swearing, oath.
Swarned, ii. 206, climbed.
Swarved, ii. 197, climbed, swarmed.
To swarm, in the midland counties, is to draw oneself up a tree or any other thing, clinging to it with the legs and arms. P.
Swat, i. 29, did sweat.
Swear, sware.
Swearde, ii. 128, sword.
Sweaven, i. 106, ii. 63;
sweven, ii. 56, a dream.
Sweere, iii. 21, neck.
Sweit, iii. 74;
swete, ii. 19, sweet;
sweitly, ii. 212, sweetly.
Swepyls, ii. 25,
"a swepyl is that staff of the flail with which the corn is beaten out. Vulg. a supple (called in the midland counties a swindgell, where the other part is termed the hand-staff)." P.
Swerdes, ii. 8, swords.
Swiche, i. 430, such.
Swith, i. 96, ii. 119, quickly, instantly, at once.
Swound, i. 240, 296, ii. 179, swoon.
Swyke, sigh.
Swynkers, ii. 19, labourers.
Swyppyng, ii. 25, striking fast.
Swyving, ii. 8, wenching, lechery.
Sych, ii. 19, such.
Syd, side;
on sydis shear, i. 25, on all sides.
Syn, ii. 16, since.
Syne, i. 43, ii. 114, iii. 147, then, afterwards.
Syns, since.
Syschemell, ii. 74, Ishmael.
Syth, ii. 38, since.
Syyt, ii. 27, sight.
Taiken, ii. 118, taken.
Tain, iii. 94;
taine, i. 59, taken.
Tane, i. 289, ii. 193, taken.
Tane, iii. 238, the one.
Tarbox, ii. 256, box containing tar for anointing sores in sheep, &c.
Targe, ii. 53, target, shield.
Tauld, ii. 109, told.
Tayne, i. 50, taken.
Te, ii. 7, to;
te-knowe, ii. 11, to know;
te-make, to make.
Te-he, ii. 26, interjection of laughing.
Tear, i. 34, tearing or pulling.
Teene, i. 162, vexation;
i. 284, 291, injury; iii. 194, trouble;
teenefu, i. 147, wrathful.
Teene, i. 77, vex.
Teir, i. 101, tear.
Tene, i. 120, wrath.
Tenebrus, i. 128, dark.
Tent, ii. 83, heed.
Termagaunt, i. 85, 96, the god of the Saracens.
The old French Romancers, who had corrupted Termagant into Tervagant, couple it with the name of Mahomet as constantly as ours; thus in the old Roman de Blanchardin,
Hence La Fontaine, with great humour, in his Tale, intitled La Fiancée du Roy de Garbe, says,
—Mem. de l'Acad. des Inscript. tom. 20, 4to. p. 352.
As Termagant is evidently of Anglo-Saxon derivation and can[Pg 405] only be explained from the elements of that language, its being corrupted by the old French Romancers proves that they borrowed some things from ours. P.
Terrene, iii. 299, earthly.
Terry, ii. 19, Thierry, or a diminutive of Terence.
Tester, iii. 206, teston, or sixpence.
Tha, ii. 26, them.
Thah, ii. 7, though.
Thair, ii. 82, iii. 99, there.
Tham, ii. 21;
thame, i. 84, 102, 146, them.
Than, i. 145, 206, then.
Thanns, ii. 25, thence.
Thay, i. 321, they.
Thaym, ii. 23, them.
Thayr, ii. 21, their.
The, they;
the wear, i. 29, they were.
The, i. 189, ii. 13, thee.
The God, ii. 30, contraction for the he (i.e. high) God. P.
Thear, i. 33, there;
i. 29, their.
Theder, ii. 19;
thedyr, ii. 28, thither.
Thee, ii. 97, thrive;
so mote I thee, ii. 97, so may I thrive.
So in Chaucer, Cant. Tales, vol. i. p. 308, "God let him never the." P.
Then, than.
Ther, ii. 21;
there i. 289, their.
Ther, ii. 23, where.
Thes, ii. 19, these.
Thether, i. 41, thither.
They, i. 78, the.
Theyther-ward, thitherward, towards that place.
Thie, thy.
Thii, ii. 386, they.
Thilke, ii. 14, this.
Thir, ii. 69, this, these;
thir towmonds, ii. 82, these twelve months.
Tho, i. 207, then;
those, ii. 39.
Thocht, iii. 94, thought.
Thole, ii. 119, suffer.
Thore, ii. 13, there.
Thorow, ii. 30;
thorrow, i. 291, through;
thorowout, ii. 15, throughout.
Thouse, i. 198, thou art;
thou shalt, iii. 131.
Thoust, i. 289, thou shalt or shouldst.
Thowe, thou.
Thrall, i. 297, ii. 79, captive,;
captivity, i. 75, 135;
ii. 256.
Thrang, ii. 115, throng;
close, ii. 69.
Thraste, iii. 216, thrust.
Thrawis, throes.
Thrawn, ii. 115, thrown.
Threape, i. 198, to argue, to affirm or assert in a positive overbearing manner.
Threven, ii. 133, thrived.
Threw, ii. 214, drew.
Threw, iii. 238, thrived.
Thrie, three.
Thrif, thrive.
Thrild upon a pinn, iii. 47, twirled or twisted the door pin.
Thrittè, i. 34, thirty;
thritti thou sent, ii. 7, thirty thousand.
Thronge, i. 163, hastened.
Thropes, iii. 208, villages.
Through-girt, ii. 78, pierced through.
Throw, iii. 134, through.
Thruch, throuch, through.
Thrughe, through.
Thrustand, ii. 23, thrusting.
Thryes, ii. 23, thrice.
Thrysse, i. 47, thrice.
Thud, ii. 119, dull sound.
Tickle, ii. 299, uncertain.
Tift, iii. 237, puff of wind.
Till, i. 33, 65, 143, ii. 82, unto.
Till, i. 94, entice.
Timkin, diminutive of Timothy.
Tine, i. 64, lose;
tint, i. 71;
ii. 363, lost.
Tirled at the pin, iii. 131, twirled or twisted the door pin.
Tividale, i. 25, Teviotdale.
To, too, two.
Tokenyng, ii. 22, token.
Tomkyn, ii. 19, diminutive of Thomas.
To-flatred, ii. 25, slit.
To-rente, iii. 356, rent.
To-schatred, ii. 25, shattered.
[Pg 406]To-slatered, ii. 25, splintered.
Tone, i. 42, 87, iii. 103, the one.
Too-fall, ii. 365, twilight.
"Too-fall of the night" seems to be an image drawn from a suspended canopy, so let fall as to cover what is below. (Mr. Lambe.) P.
Tooken, i. 274, took.
Tor, a tower;
also a high pointed rock or hill.
Torn, i. 187, turn.
Tothar, i. 31, the other.
Tother, i. 87, the other.
Toun, i. 143;
town, i. 321, dwelling-house.
Tow, i. 145, to let down with a rope;
towd, i. 146, let down.
Tow, i. 106;
towe, i. 31, 87, two.
Towmonds, ii. 82, twelve months.
Towyn, i. 41, town.
Traitorye, i. 283, 289, ii. 309;
traytery, ii. 224, treason.
Tre, i. 28, ii. 13, wood;
i. 30, staff.
Tree, i. 291, ill.
Trewest, ii. 11, truest.
Treytory, i. 124, treachery.
Trichard, ii. 7, treacherous.
Tricthen (should be trichen), ii. 7, deceive.
Triest furth, iii. 94, draw forth to an assignation.
Trifulcate, three forked, three pointed.
Trippand, ii. 27, tripping.
Trim, i. 191, exact.
Troate, ii. 360, throat.
Trogh, ii. 24, trough.
Trone, yn trone, i. 43, enthroned.
Troth, iii. 131, truth, faith, fidelity;
trothles, i. 201, faithless.
Trough, trouth, troth.
Trouth plyyt, ii. 27, truth plight.
Trow, ii. 95, true.
Trow, iii. 96;
trowe, i. 270, believe, trust, also verily.
Trumped, boasted, told bragging lies;
a trump, a lie.
Tuik, i. 322, took.
Tuke gude keip, ii. 84, took good watch.
Tull, i. 320;
for till, to.
Tup, ii. 257, ram.
Turn, such turn, such an occasion.
Turnes a crab, ii. 258, roasts a crab apple.
Tush, ii. 57, tusk.
Twa, i. 320;
ii. 26, two.
Twatling, iii. 187, trifling.
Twaw, i. 27, two.
Twayne, ii. 37, two.
Twin'd, i. 59, parted in two.
Twirtle twist, ii. 112, twirled twist.
Twyes, ii. 23, twice.
Tyb, ii. 20, the diminutive of Isabel.
Tyll. com the tyll, i. 42, come unto thee.
Tyrry, ii. 26. See Terry.
Uch, ii. 14, each.
Ugsome, shocking, horrible.
'Um, iii. 333, them.
Unbethought, iii. 51, for bethought.
Undermeles, iii. 208, afternoons.
Undight, i. 309, undecked.
Unfeeled, opened, a term in falconry.
Unhap, ii. 77, mishap.
Unkempt, ii. 77, uncombed.
Unmacklye, i. 73, 80, mis-shapen.
Unmufit, undisturbed.
Unright, ii. 191, wrong.
Unsett steven, i. 111, unappointed time, unexpectedly.
Unsonsie, ii. 116, unlucky, unfortunate.
Untill, iii. 49;
untyll, i. 162, unto.
Upo, ii. 70, upon.
Ure, iii. 262, use.
Uthers, ii. 86, others.
Vaints, ii. 289, faints.
Vair, ii. 286, fair.
Valeies, ii. 41, valleys.
Vart, ii. 286, fart.
Vazen, ii. 286, for faith.
Vellow, ii. 286;
vellowe, ii. 287, fellow.
Venge, ii. 117, revenge.
Venu, iii. 356, approach, coming.
Verament, i. 25, 28, truly.
Vices, i. 129, devices.
Vilane, rascally.
Vitayle, ii. 42, victual.
[Pg 407]Vive, ii. 386, five.
Vools, ii. 288, fools;
voolish, ii. 288, foolish.
Vor, ii. 286, for.
Vorty, ii. 287, forty.
Vourteen, ii. 287, fourteen.
Voyded, i. 166, quitted, left the place.
Vrier, ii. 286, friar.
Wa, i. 142, 143, ii. 109, iii. 93, 95, wall.
Wache, i. 43, a spy.
Wad, i. 60, 145, 321, would.
Wadded, iii. 7, light-blue or woad-coloured.
Wadna, ii. 13, would not.
Wae, i. 83, 320, woe;
waefo', iii. 100;
waefu', ii. 110, woeful.
Wae worth, i. 145, 322, woe betide.
Wald, i. 145;
walde, iii. 94, would.
Walker, iii. 8, a fuller of cloth.
Walowit, ii. 119, faded, withered.
Waltering, i. 75, ii. 119, weltering;
waltred, tumbled or rolled about.
Waly, iii. 147, an interjection of lamentation.
Wame, iii. 238, womb, belly.
Wan, i. 72, 244;
ii. 26, won.
Wan near, ii. 120, drew near.
Wane, i. 29, the same as ane, one, so wone is one.
In fol. 355 of Bannatyne's MS. is a short fragment, in which "wane" is used for "ane" or "one," viz.:—
The word wane in the text, however, is probably a misreading for mane.
Wanrufe, ii. 83, uneasy.
War, i. 25, aware.
War ant wys, ii. 11, wary and wise.
Ward, ii. 120, watch, sentinel, warder.
Warde, iii. 97, advise, forewarn.
Ware, i. 43, 107, 158, aware.
Ware, i. 306, wore.
Ware, iii. 238, were.
Warke, work.
Warld, ii. 85, world;
warldis, i. 84, worlds.
Waryd, ii. 20, accursed.
Waryson, i. 46, reward.
Wassel, iii. 27, drinking, good cheer.
Wat, i. 322, ii. 68, wet.
Wat, i. 27, know.
Wate, iii. 97, blamed. (Preterite of wyte, to blame.)
Wauld, iii. 95, would.
Wayde, waved.
Wayed, iii. 195, weighed.
Weal, i. 33, wail.
Weale, well.
Wear, i. 29, were.
Wear-in, iii. 74, drive in gently.
Wearifu', ii. 70, wearisome, troublesome, tiresome, disturbing.
Weddeen, iii. 236, wedding.
Wedder, ii. 83, weather.
Wede, ii. 21, clothing.
Wedous, i. 33, widows.
Wee, ii. 69, little.
Weede, iii. 59, clothing, dress;
weeds, i. 88, 246, garments.
Weell, iii. 51, we'll, we will.
Weel, ii. 132;
weele, i. 150, well.
Weel-faur'd, ii. 139, well-favoured.
Weene, i. 193, think;
ween'd, i. 143;
weened, ii. 80;
weende, ii. 96, thought.
Weete, i. 101, ii. 216, wet.
Weet, ii. 95, know.
Weids, ii. 364, cloathing.
Weil, i. 145, well.
Weip, i. 60;
weipe, ii. 211, weep.
Weir, ii. 115, war.
Weird, iii. 224, witch-like.
Weit, ii. 231, wet.
Wel longe, ii. 13, very long.
Wel-awaye, iii. 128, an interjection of grief.
Weldynge, ruling.
Wele, ii. 24, well.
Welkin, iii. 201, the sky.
[Pg 408]Wem, iii. 303, spot.
Wem, iii. 357, hurt.
Weme, i. 284, 291, hollow.
Wend, i. 156, ii. 13, go.
Wend, ii. 85;
wende, i. 170, thought;
wende do, ii. 8, thought to do.
Wenden, ii. 12, go.
Went, i. 164, thought.
Wer, iii. 134, were.
Wereth, defendeth.
Werke, i. 163, 306, work.
Werre, ii. 11, war.
Werryed, ii. 65, worried.
Wes, ii. 8, was.
Westlin, ii. 120, western.
Westlings, whistling.
Wete, i. 31, wet.
Wether, iii. 328, whether.
Wex, iii. 238, wax, grow.
Wha, ii. 71, who.
Whair, ii. 69, where;
whair-eir, ii. 212, wherever.
Wham, ii. 11, whom.
Whan, i. 318, when.
Whang, ii. 70, a large slice.
Wheder, ii. 37, whither.
Whelyng, ii. 49, wheeling.
Whig, i. 299, ii. 256, sour whey, buttermilk.
While, until.
Whilk, ii. 71, which.
Whirry, iii. 202, laugh.
Whittles, knives.
Whoard, i. 214, hoard.
Whorles (see spindles).
Whyll, i. 48, while.
Whyllys, i. 30, whilst.
Wi', ii. 68, with.
Wight, i. 63, 65, 72, 191, man, human being.
Wight, i. 107, 288, strong, lusty.
Wightlye, i. 64, 78, swiftly, vigorously.
Wighty, i. 106, 147;
wightye, i. 161, strong, active.
Wild-worme, iii. 30, 36, serpent.
Wildings, ii. 257, wild or crab apples.
Wilfull, i. 110, ignorant.
Windar, iii. 302, a kind of hawk.
Windling, winding.
Winna, iii. 96;
winnae, i. 59, 144, will not.
Winyard, iii. 297, long knife or short cutlass.
Winsome, i. 323, ii. 70, 363, agreeable, engaging.
Wirk, ii. 83, do.
Wis, i. 269, know;
wist, i. 72, iii. 148, knew.
Witchd, iii. 24, bewitched.
Withouten, i. 126;
withowtten, i. 41;
withowghten, i. 40, 43, without.
Wive, ii. 255, marry.
Wo, ii. 81, 86, woe.
Wobster, ii. 131, webster, weaver.
Wod, ii. 82;
wode, i. 122, 160, 163, mad, wild.
Wod, iii. 94;
wode, i. 156, ii. 37, wood.
Wodewarde, ii. 43, towards the wood.
Woe-man, a sorrowful man.
Woe worth, ii. 215, woe be to thee.
Wolden, i. 274, would.
Woll, ii. 24, wool.
Wolle, ii. 38, will.
Won, ii. 49, wont, usage.
Won'd, i. 306, dwelt.
Wonde, wounde, winded.
Wonders, wondrous.
Wondersly, i. 125, wondrously.
Wone, i. 31, one.
Wonne, dwell.
Woo, i. 28, woe.
Wood, i. 145, ii. 145;
woode, iii. 57, mad, furious.
Wood-wroth, iii. 238, furiously enraged.
Woodweele, i. 106, the golden ouzle, a bird of the thrush kind.
Worm, iii. 30, 36, serpent.
Worship, i. 121, honour.
Worshipfully frended, of worshipful friends.
Wot, i. 69;
wott, ii. 139, know;
wotes, i. 219, knows.
Wouche, i. 28, mischief, wrong.
Wowe, i. 300, woo.
Wow, iii. 75, who.
Wow, ii. 22, vow.
Wrack, i. 296;
wracke, iii. 41, wreck, ruin, destruction;
wracked, iii. 117, wrecked.
Wrang, i. 147, wrung.
[Pg 409]Wrange, i. 41, wrong.
Wreake, ii. 135, pursue revengefully.
Wrench, ii. 81, 86, wretchedness.
Wringe, i. 122, to contend with violence.
Writhe, i. 286, writhed, twisted.
Wroken, i. 106, 147, revenged.
Wrong, i. 166, wrung.
Wrotyn, ii. 22, wrought.
Wrouyt, ii. 30, wrought.
Wry, ii. 49, turn aside.
Wul, i. 83, 143;
wull, iii. 235, will.
Wych, i. 44, which.
Wyld, i. 24, wild deer.
Wynn ther haye, i. 40, gather in their hay.
Wynne, i. 43, ii. 20, joy, pleasure.
Wynne, iii. 279, heard.
Wynnen, ii. 12, win, gain.
Wyrch wyselyer, ii. 24, work more wisely.
Wysse, ii. 12, 14, teach, govern.
Wyst, ii. 26;
wyste, i. 25, knew.
Wyt, know;
wyt wold I, ii. 20, know would I.
Wyte, iii. 97, blame.
Y, ii. 12, I;
y singe, ii. 11, I sing.
Y-beare, ii. 57, bear;
y-boren, ii. 8, borne.
Y-bent, bent.
Y-built, iii. 272, built.
Y-cald, iii. 374, called.
Y-chesyled, i. 129, chiselled.
Y-cleped, i. 326, named, called.
Y-con'd, i. 306, taught, instructed.
Y-core, ii. 12, chosen.
Y-fere, ii. 76, together.
Y-founde, ii. 13, found.
Y-mad, ii. 13, made.
Y-picking, i. 307, picking, culling.
Y-slaw, i. 175, slain.
Y-told, iii. 374, told.
Y-were, i. 87, were.
Y-wis, i. 132;
ii. 12, verily.
Y-wonne, ii. 13, won.
Y-wrought, i. 306;
iii. 275, wrought.
Y-yote, ii. 14, cast.
Yae, iii. 237, each.
Yalping, ii. 170, yelping.
Yaned, iii. 357, yawned.
Yate, i. 92;
iii. 62, gate;
yates, i. 144.
Yave, i. 272, gave.
Ych, i. 31, 48;
ycha, ii. 23, each, every.
Ych, ii. 26, same.
Ycholde, ii. 12, I would.
Ychone, i. 49, each one.
Ychulle, iii. 363, I shall.
Ydle, idle.
Yeaning, ii. 257, bringing forth young.
Yearded, ii. 384, buried, earthed.
Yeats, iii. 93, gates.
Yebent, i. 28, bent.
Yede, ii. 21, 44, went.
Yee, eye.
Yef, ii. 12, if.
Yeid, ii. 81, went.
Yeir, i. 101, year.
Yeme, ii. 12, take care of, govern.
Yender, yonder.
Yenoughe, i. 28, 34, enough.
Yent, ii. 11, through.
Yerarchy, i. 126, hierarchy.
Yerle, i. 26, 28, 29, 48, earl;
yerlle, i. 40, 44, 49.
Yerly, i. 24, early.
Yerly, i. 440, yearly.
Ye's, ii. 132;
ye'se, iii. 134, ye shall.
Yestreen, ii. 111, last evening.
Yet, ii. 20, still.
Yf, ii. 23, though.
Ygnoraunce, i. 441, ignorance.
Ying, iii. 374;
yinge, iii. 374, young.
Yit, yet.
Ylk, ii. 26, same.
Yll, ii. 36, ill.
Ylythe, listen.
Yn, ii. 9, house.
Yngglishe, i. 28, 47, 50, English.
Ynglonde, i. 27, 32, 34, 43, England.
Ynough, i. 155, enough.
Yode, iii. 67, went.
Yond, i. 285;
ii. 191;
yonds, i. 291, yonder.
Yong, i. 271;
yonge, ii. 38, young.
Youd, iii. 48, went.
Youle, i. 274, 290, you will.
[Pg 410]Your lane, iii. 94, alone, by yourself.
Youst, i. 290, you will.
Yow, ii. 16, you.
Ys, i. 189;
ii. 14, is; ii. 12, his.
Yt, it.
Yth, i. 25, in the.
Yule, ii. 229, Christmas.
[In several of the poems Percy used the letter z to represent the Anglo-Saxon character ȝ, but as this is incorrect, and, moreover, gives rise to a very frequent mispronunciation, the z has been replaced by y in this edition, and several words have therefore been left out that occurred in the original glossary.]
Zacring bell, ii. 288, sacring bell,
a little bell rung to give notice of the elevation of the host. P.
Zaints, ii. 289, saints.
Zaw, ii. 290, saw.
Zay, ii. 287, say.
Zee, ii. 286, see;
zeene, ii. 287 seen.
Zelf, ii. 287, self.
Zet, ii. 289, set.
Zhall, ii. 288, shall.
Zhowe, ii. 288, show.
Zinging, ii. 289, singing.
Zmell, ii. 286, smell.
Zo, ii. 289, so.
Zold, ii. 287, sold.
Zometimes, ii. 286, sometimes.
Zon, ii. 290, son.
Zorrow, ii. 289, sorrow.
Zorts, ii. 286, sorts.
Zubtil, ii. 290, subtil.
Zuch, ii. 288, such.
Zure, ii. 288, sure.
Zweet, ii. 289, sweet.
The Titles of the various Poems included in the Reliques are distinguished from the other entries by being printed in italics.
A, Robyn, jolly Robyn, I. 185-187.
Adam Bell, Clym of the Clough, and William of Cloudesley, I. 153-179.
Admiral Hosier's Ghost, II. 367-371.
Aged Lover renounceth Love, by Lord Vaux, I. 179-182.
Agincourt, For the Victory of, II. 29-31.
Alcanzor and Zayda, translated by Percy, I. 338-342.
Aldingar (Sir), II. 54-67.
—— Version from the folio MS. II. 61-67.
Alexandrine or Anapestic verse, II. 386.
Alfred the Great as a Harper, I. 399.
Alliterative metre without rhyme, II. 377-394.
Althea (To) from Prison, II. 321-323.
Ambree (Mary), II. 231-237.
—— Version from the folio MS. II. 235-237.
"Amys and Amelion," III. 373.
Anderson (John), the town crier of Kelso, II. 132.
Argentile and Curan, II. 252-262.
Arthour and Merlin, Romance of, III. 369.
Arthur (King), Poems on, III. 3-43.
—— King Arthur and the King of Cornwall, III. 367.
—— Legend of King Arthur, III. 3-43.
—— King Arthur's Death, a Fragment, III. 27-35.
—— —— Version from the folio MS. III. 35-39.
[Pg 412]—— Le Morte Arthure, III. 366
As ye came from the Holy Land, II. 101-103.
—— Copy from the folio MS. 104-105.
Auld (The) Good-man, III. 122-124.
Baffled Knight, or Lady's Policy, II. 336-342.
Bailiff's Daughter of Islington, III. 135-137.
Balet by the Earl of Rivers, II. 48-49.
Ballad of Constant Susanna, I. 209.
Ballad of Luther, the Pope, a Cardinal, and a Husbandman, II. 125-130.
Ballads and Ballad-Writers, I. xxiv.-xliv.
—— Imitators and Forgers of, I. xliv.-xlviii.
—— Authenticity of certain, I. xlviii.-lviii.
—— Preservers of the, I. lviii.-lxxii.
—— Collections of printed, I. lxiii.-lxv.
—— "Collection of old Ballads," I. lxix.
—— that illustrate Shakespeare, I. 151-246.
—— Ballad Literature since Percy, I. xci.-xcvii.
—— Meaning of the word ballad, I. xxx. 423.
—— Ballad-singers, I. xxxiii.-xxxiv.
Balowe, II. 209-213.
Bannatyne MS. I. lxii.
Barbara Allan, Sir John Grehme and, III. 133-135.
Barbara Allen's Cruelty, III. 128-130.
Bards, successors of the ancient, I. 385.
Barton (Sir Andrew), II. 188-208.
—— Version from the folio MS. II. 201-208.
Battle of Otterbourne, I. 35-54.
Beaumont and Fletcher, Farewell to Love, I. 310.
Bedlam, Old Tom of, II. 344-347.
Bednall Green, Beggar's Daughter of, II. 171-185.
Bedwell (William), II. 19.
Beggar's Daughter of Bednall Green, II. 171-185.
"Belesant (Lady), the Duke of Lombardy's fair Daughter," III. 373.
"Bevis (Sir) of Hampton," referred to, III. 215, 265, 279, 357, 365.
Birth of St. George, III. 215-224.
Blondell de Nesle, the Minstrell, I. 359.
Bodwell (Earle), II. 215-218.
Bohemia, Elizabeth, Queen of, II. 312.
Bolle (Sir John), II. 247.
Bond-story in the "Merchant of Venice," I. 211.
Bonny Earl of Murray, II. 226-228.
Bosville's (Godfrey), explanation of the "Dragon of Wantley," III. 281.
Bothwell's (Lady Anne) Lament, II. 209-213.
[Pg 413]Boy and the Mantle, III. 3-12.
Boy and the Mantle, as revised and altered by a modern hand, III. 315-323.
Braes of Yarrow, II. 362-367.
Brandon's (Charles) livery and device, III. 167 (note).
Brave Lord Willoughbey, II. 238-241.
Breton (Nicholas), III. 67, 80.
Bride's Burial, III. 148-152.
Bridges, Gascoigne's Praise of the Fair, II. 150-154.
Brown, Epithet applied to a sword, I. 122.
Brown (Mrs.) of Falkland, I. lxvi.
Bryan and Pereene, by J. Grainger, I. 328-331.
Cadiz, Taking of, by the English, II. 243.
Caliburn, King Arthur's Sword, III. 32.
Carew (Thomas), Unfading Beauty, III. 239.
Carey (Henry), Distracted Lover, II. 355-357.
Carle of Carlisle, III. 367.
"Carre (Captain)", from the folio MS. I. 148-150.
Cauline (Sir), I. 61-81.
—— Copy from the folio MS. I. 76-81.
Chambers (Robert), "Romantic Scottish Ballads" noticed, I. l.
Character of a Happy Life, by Sir H. Wotton, I. 317-318.
Charing-Cross, Downfall of, II. 323-326.
Charles I., Verses by, II. 329-326.
Chaucer, Original Ballad by, II. 14-16.
"Chevalere Assigne," an alliterative romance, II. 381; III. 369.
Cheviot Hills, the scene of Chevy Chase, I. 254.
Chevy Chase, the Ancient Ballad of, I. 19-35.
—— —— Names mentioned in, I. 51-52.
—— The more Modern Ballad of, I. 249-264.
—— —— Names mentioned in, I. 263-264.
Child of Elle, I. 131-139.
—— Copy from the folio MS. I. 138-139.
Child Waters, III. 58-65.
Children in the Wood, III. 169-176.
Chylde Ipomydon, a Romance, III. 371.
Clym of the Clough, I. 153.
Clyne (Norval) on the authenticity of Sir Patrick Spence, I. lii.
Complaint of Conscience, II. 279-285.
Constant Penelope, III. 261-264.
Cophetua (King) and the Beggar-Maid, I. 189-194.
Coppe, an enthusiast, II. 349 (note).
Corbet (Bishop Richard), Fairies Farewell, III. 207-213.
—— The Distracted Puritan, II. 347-351.
Corin's Fate, II. 262-263.
[Pg 414]Corydon's Doleful Knell, II. 274-276.
Corydon's Farewell to Phillis, I. 209-211.
Courtier, Old and Young, II. 314-318.
Crants, Ophelia's virgin, III. 152 (note).
Cromwell (Thomas Lord), II. 71-75.
Cunningham's (Allan) forged Ballads, I. xlvi.
Cupid, Hue and Cry after, III. 159-161.
Cupid and Campaspe, by John Lilye, III. 85-86.
Cupid's Assault, by Lord Vaux, II. 50-53.
Cupid's Pastime, I. 314-317.
Cymmortha in Wales, I. xix.
Daniel (S.), Ulysses and the Syren, I. 311-314.
Darnley, Ballad on his Murder, II. 213-218.
Dawson (Jemmy), II. 371-374.
"Death and Life," an alliterative Poem, II. 383.
Degree (Sir), a Romance, III. 371.
Deloney (Thomas), Ballad-Writer, I. xxxviii.
—— Sir Lancelot du Lake, I. 204-209.
—— The King of France's Daughter, III. 161-168.
—— The Winning of Cales, II. 243-246.
Dido (Queen), III. 191-196.
"Dioclesian, the Emperour," III. 373.
Distracted Lover, II. 355-357.
Distracted Puritan, II. 347-351.
Douglas, Heraldic Arms of the House of, I. 47.
Downfall of Charing Cross, II. 323-326.
Dowsabell, by Michael Drayton, I. 304-310.
Dragon of Wantley, III. 279-288.
Drayton (Michael), Dowsabell, I. 304-310.
Dulcina, III. 153-155.
D'Urfey (Tom), Frantic Lady, II. 357-358.
—— Lady distracted with Love, II. 354-355.
Dyer (Sir E.), My Mind to Me a Kingdom is, I. 294-298.
Dyttie to Hey Downe, III. 44-45.
Edom o'Gordon, I. 140-150.
—— Copy from the folio MS. I. 148-150.
Edward, Edward, a Scottish Ballad, I. 82-84.
Edward I., on the Death of, II. 10-14.
Edward IV. and Tanner of Tamworth, II. 92-100.
Edwards (Richard) A Song to the Lute in Musicke, I. 187-189.
"Eger and Grime," III. 368.
"Eglamour of Artas," a Romance, III. 370.
Eleanor's (Queen) Confession, II. 164-168.
Elderton (William), Ballad-Writer, I. xxxvii.
[Pg 415]—— his Ballad, King of Scots and Andrew Browne, II. 221-225.
Elizabeth (Queen), Sonnet by, II. 218-220.
—— Verses while Prisoner at Woodstock, II. 137-138.
Emanuel College, Cambridge, II. 348 (note).
Emarè, Romance of, III. 369.
Erasmus, Colloquy on Pilgrimages, II. 86.
Estmere (King), I. 85-98.
"Every Man," I. 433.
Ew-bughts, Marion, a Scottish Song, III. 74-75.
Excalibar, King Arthur's Sword, III. 32.
Fair Margaret and Sweet William, III. 124-127.
Fair Rosamond, II. 154-164.
Fairies Farewell, III. 207-211.
Fairy, Way to Get a, III. 210.
Fairy Queen, III. 204-207.
Fancy and Desire, by the Earl of Oxford, II. 185-187.
Farewell to Love, I. 310.
"Fit," meaning of a, I. xxiii.; II. 182.
"Florence (Le bone) of Rome," III. 373.
Folio MS. and the Reliques, I. lxxxi.-xci., 5-6.
Four Elements, Interlude of the, I. 441.
France's (King of) Daughter, III. 161-168.
Frantic Lady, II. 357, 358.
Friar of Orders Gray, I. 242-246.
Frolicksome Duke, or the Tinker's good Fortune, I. 238-242.
Funeral Garlands, III. 152 (note).
Gaberlunyie Man, II. 67-71.
Garlands of Ballads, I. 423.
Garlands (Funeral), III. 152 (note).
Gascoigne's Praise of the Fair Bridges, II. 150-154.
Gawain, the Duke and, III. 367.
—— and the Greene Knight, III. 367.
—— "Sir Gawan and Sir Galaron of Galloway," metrical Romance, III. 375.
—— "Gawan and Gologras," metrical Romance, III. 375.
—— Marriage of Sir Gawayne, III. 13-24.
—— —— Ancient Fragment from the folio MS. 323-330.
Gentle Herdsman, tell to me, II. 86-92.
Gentle River, Gentle River, translated by Percy, I. 331-338.
George (St. ), Birth of, III. 215-224.
—— and the Dragon, III. 224-232.
—— for England, the first part, III. 288-293.
—— —— the second part, by John Grubb, III. 293-308.
George Barnwell, III. 240-252.
[Pg 416]Gernutus the Jew of Venice, I. 211-220.
Gil Morrice, III. 91-100.
—— Version from the folio MS. 100-103.
Gilderoy, I. 318-323.
Glasgerion, III. 45-49.
—— the Harper, I. 396.
Gleemen, I. 392.
Glover (R.), Admiral Hosier's Ghost, II. 367-371.
Good-Man, The Auld, III. 122-124.
Graham (David) of Fintray, II. 229.
Grainger (J.), Bryan and Pereene, I. 328-331.
Gramarye, on the word, I. 96.
"Green Knight," III. 367.
Greenham (Richard), II. 350 (note).
Grehme (Sir John), and Barbara Allan, III. 133-135.
Grubb (John), St. George for England, the second part, III. 293-308.
Guy of Gisborne, I. 102.
Guy (Sir), Legend of, III. 107-113.
—— Romance of, III. 364.
—— Two Poems on Guy of Warwick, III. 364.
Guy and Amarant, III. 114-121.
Guy and Colbronde, Romance of, III. 364.
Hamilton (W.), The Braes of Yarrow, II. 362-367.
Hardyknute, a Scottish Fragment, II. 105-121.
Harpalus, an Ancient English Pastoral, II. 75-79.
Harpers and Minstrels, I. 390.
Harrington, Witch of Wokey, I. 325-328.
Hawes (Stephen) Tower of Doctrine, I. 127-130.
Hawker (Rev. R. S.), Imitator of the Old Ballad, I. xlv.
Heir of Linne, II. 138-150.
—— Version from the folio MS. II. 147-150.
Henry II. and the Miller of Mansfield, III. 178-188.
Henryson (Robert) Robin and Makyne, II. 79-86.
Hey Downe, Dyttie to, III. 44-45.
"Hick Scorner," I. 435.
Hock Tuesday, Coventry Play of, I. 445.
Holy-land, As Ye Came from the, II. 101-105.
—— Version from the folio MS. II. 104-105.
Horne Childe, Romance of, III. 363.
Hosier's (Admiral) Ghost, II. 367-371.
Howleglas, Merye Jest of, I. 431.
Hue and Cry after Cupid, III. 159-161.
Hugh of Lincoln, Story of, I. 54.
[Pg 417]Humbledon, Battle of, I. 35.
Ipomydon, a Romance, III. 371.
Ipotis, Poem of, III. 364.
Isabella's (Lady) Tragedy, III 155-158.
Isenbras (Sir), Romance of, III. 369.
Islington, III. 135.
James V. Gaberlunyie Man, II. 67-71.
James I. of England, Verses by, II. 300-302.
—— King of Scots and Andrew Browne, II. 221-225.
Jane Shore, II. 263-273.
Jealousy, Spanish Virgin, or Effects of, III. 255-259.
Jealousy Tyrant of the Mind, III. 260.
Jemmy Dawson, II. 371-374.
Jephthah, Judge of Israel, I. 182-185.
Jew's Daughter, I. 54-60.
Jews supposed to crucify Christian Children, I. 54.
John (King) and the Abbot of Canterbury, II. 303-312.
—— Version from the folio MS. II. 308-312.
John Anderson my Jo, II. 131-133.
"John the Reeve," referred to, II. 93, 179.
Johnson (Richard), Ballad-Writer, I. xxxix.
Jonson (Ben.) A Hue and Cry after Cupid, III. 159-161.
—— The Sweet Neglect, III. 169.
—— The Witches' Song, III. 196-199.
King (Francis), the Skipton Minstrel, I. xxiii.
King and Miller of Mansfield, III. 178-188.
King Arthur's Death, III. 27-35.
—— Version from the folio MS. III. 35-39.
King Cophetua and the Beggar-Maid, I. 189-194.
King Estmere, I. 85-98.
King Leir and his Three Daughters, I. 231-237.
King Ryence's Challenge, III. 24-27.
King of France's Daughter, III. 161-168.
King of Scots, Murder of the, II. 213-218.
King of Scots and Andrew Browne, II. 221-225.
"King of Tars," III. 374.
Knight and Shepherd's Daughter, III. 76-80.
"Knight of Courtesy and the Lady of Faguel," III. 372.
Lady Distracted with Love, II. 354, 355.
Lady turned Serving-Man, III. 86-90.
Lady Anne Bothwell's Lament, II. 209-213.
Lady Isabella's Tragedy, III. 155-158.
[Pg 418]Lady's Fall, III. 139-145.
Laing's (David) Opinion on the Authenticity of Sir Patrick Spence, I. xlix.
Lambewell (Sir), Romance of, III. 368.
Lancelot (Sir) du Lake, I. 204-209.
Langland's Visions of Pierce Plowman, II. 377-394.
Launfal (Sir), a Romance, III. 368.
"Lay of Erie of Thoulouse," III. 372.
Legend of King Arthur, III. 39-43.
Legend of Sir Guy, III. 107-113.
Legh (Sir Urias), II. 247.
Leir (King) and his Three Daughters, I. 231-237.
Levison (Sir Richard), II. 247.
Libius Disconius, analysis of the Romance of, III. 358, 366.
Lilli Burlero, II. 358-362.
Lilly (John), Cupid and Campaspe, III. 85-86.
Little John Nobody, II. 133-137.
Little Musgrave and Lady Barnard, III. 68-74.
Lord Thomas and Fair Annet, III. 234-238.
Lord Thomas and Fair Ellinor, III. 82-85.
Love will find out a Way, III. 232-234.
Lovelace (Richard), To Althea from Prison, II. 321-323.
—— To Lucasta on Going to the Wars, III. 264-265.
Lover (A) of Late, III. 177-178.
Loyalty Confined, II. 326-329.
Lucasta (To) on Going to the Wars, III. 264-265.
Lucy and Colin, III. 312-315.
Lunatic Lover, II. 351-353.
Luther, the Pope, a Cardinal, and a Husbandman, a Ballad of, II. 125-130.
Lusty Juventus, Interlude of, I. 442.
Lye (The), by Sir Walter Raleigh, II. 297-300.
Mad Songs—
1. Old Tom of Bedlam, II. 344-347.
2. The Distracted Puritan, II. 347-351.
3. The Lunatic Lover, II. 351-353.
4. The Lady Distracted with Love, II. 354-355.
5. The Distracted Lover, II. 355-357.
6. The Frantic Lady, II. 357-358.
Mahound, on the word, I. 97.
Maid Marian, III. 186.
Maitland MS. I. lxii.
Mallet (D.), Margaret's Ghost, III. 308-312.
MS. (Folio) and the Reliques, I. lxxxi.-xci, 5-6.
Margaret (Fair) and Sweet William, III. 124-127.
Margaret's Ghost, III. 308-312.
[Pg 419]Marlowe's (C.), Passionate Shepherd to his Love, I. 220-224.
Marriage of Sir Gawayne, III. 13-24.
—— Ancient Fragment from the folio MS. III. 323-330.
Mary Ambree, II. 231-237.
—— Version from folio MS. II. 235-237.
"Merchant of Venice," Bond-Story in, I. 211.
Merline, Romance of, III. 369.
"Milky Way," Names of, II. 88.
Miller of Mansfield, King and, III. 178-188.
Minstrels, I. xiii.-xxiv.
—— Essay on the Ancient, in England, I. 343-381.
—— —— Notes on, I. 382-430.
Mirrour for Magistrates, I. 444.
Montfort (Simon de), Earl of Leicester, II. 3.
More of More-Hall, III. 283.
Morrice (Gil), III. 91-100.
—— Version from the folio MS. III. 100-103.
Morte Arthure, III. 366.
Munday (Anthony), Ballad-Writer, I. xxxix.
Murder of the King of Scots, II. 213-218.
Murray, The Bonny Earl of, II. 226-228.
Musgrave (Little) and Lady Barnard, III. 68-74.
My Mind to me a Kingdom is, I. 294-298.
"New (The) Custom," I. 444.
Northumberland (Henry, 4th Earl of), Elegy on, by Skelton, I. 117-126.
Northumberland (Thomas, 7th Earl of), I. 266.
Northumberland betrayed by Douglas, I. 279-288.
—— Version from the folio MS. I. 289-294.
Northumberland (Elizabeth Duchess of), Dedications to, I. 1-3.
Norton (Richard) and his Sons, I. 267, 270.
Not-Browne Mayd, II. 31-47.
O Nancy wilt thou go with me, I. lxxii.
"Octavian Imperator," a Romance, III. 370.
Old and Young Courtier, II. 314-318.
Old Robin of Portingale, III. 50-54.
—— Version from the folio MS. III. 55-58.
Old Tom of Bedlam, II. 344-347.
Otterbourne, The Battle of, I. 35-54.
"Otuel, a Knight," III. 374.
"Owain Myles," III. 370.
Oxford (Edward Vere, Earl of), Fancy and Desire, II. 185-187.
Parker (Martin), Royalist Ballad-Writer, I. xl.
[Pg 420]Passionate Shepherd to his Love, I. 220-224.
Patient Countess, I. 298-304.
Penelope, Constant, III. 261-264.
Pepperden, Battle of, I. 252.
Percy (Bishop Thomas), Life of, I. lxxi.-lxxx.
—— Portraits of, I. lxxx.
—— Friar of Orders Gray, I. 242-246.
Perkins (William), II. 350 (note).
Phillida and Corydon, III. 66-68.
Pierce Plowman's Visions, alliterative Metre without Rhyme in, II. 377-394.
Pipers (Town) of Scotland, I. xx.
Plain Truth and Blind Ignorance, II. 285-290.
Politick Maid, II. 337.
Popham (Sir John), II. 247.
Portugal, Voyage to, 1588, III. 176.
Prior's Henry and Emma, II. 31.
Pucke, alias Hobgoblin, III. 199.
Puritan, the Distracted, II. 347-351.
Queen Dido, III. 191-196.
Rahere, the King's Minstrel, I. 406.
Raleigh (Sir Walter), The Lye, II. 297-300.
—— The Nymph's Reply, I. 233-224.
"Reliques," first publication of the, I. lxxv., lxxxix.
—— Sources of the, I. lxxxi.-xci.
Rembrun, Romance of, III. 365.
"Richard Cure de Lyon, Historye of," III. 356, 372.
Richard of Almaigne, II. 3-10.
Rising in the North, I. 266-274.
—— Version from the folio MS. I. 274-278.
Risp, or Tirling-pin, III. 47 (note).
Ritson's Attack upon Percy, I. xiv.
Rivers (Earl of), Balet, II. 45-49.
"Robert, Kynge of Cysill," III. 373.
Robin (Old) of Portingale, III. 50-54.
—— Version from the folio MS. III. 55-58.
Robin and Makyne, an Ancient Scottish Pastoral, II. 79-86.
Robin Good-Fellow, III. 199-204.
Robin Hood and Guy of Gisborne, I. 102-116.
Robin Redbreast, popular belief relating to, III. 171-176.
Robyn (A), jolly Robyn, I. 185-187.
Rolricht Stones, III. 302.
Romances, on the Ancient Metrical, III. 339-376.
Rondeau or Roundel, II. 14.
[Pg 421]Rosamond (Fair), II. 154-164.
Roxburghe Ballads, I. lxiii.
Ryence's (King) Challenge, III. 24-27.
Sale of Rebellious Household-Stuff, II. 332-336.
Sandes (Lady), II. 150.
Scott (Sir Walter) on the Controversy between Percy and Ritson, I. xiv.
"Scottish Feilde," an alliterative Poem, II. 384.
"Sege of Jerusalem," an alliterative Poem, II. 381; III. 369.
Shakespeare, Ballads that illustrate, I. 151-246.
—— Take those Lips away, I. 230.
—— Youth and Age, I. 237-238.
Sheale (Richard), the Preserver of Chevy Chase, I. xviii. 19.
Shenstone (W.), Jemmy Dawson, II. 371-374.
Shepherd's Address to his Muse, III. 80-81.
Shepherd's Resolution, III. 188-191.
Shirley (J.), Death's Final Conquest, I. 264-265.
—— Victorious Men of Earth, II. 242.
Shore (Jane), II. 263-273.
Sir, the title applied to Priests, I. 116.
Sir Aldingar, II. 54-67.
—— Version from the folio MS. II. 61-67.
Sir Andrew Barton, II. 188-208.
—— Version from the folio MS. II. 201-208.
Sir Cauline, I. 61-81.
—— Copy from the folio MS. I. 76-81.
Sir Degree, Degare or Degore, a Romance, III. 371.
Sir Gawan and Sir Galaron of Galloway, metrical Romance, III. 375.
Sir Isenbras, Romance of, III. 369.
Sir John Grehme and Barbara Allan, III. 133-135.
Sir John Suckling's Campaigne, II. 318-321.
Sir Lancelot du Lake, I. 204-209.
Sir Patrick Spence, I. 98-102.
—— Authenticity of, I. xlviii.
Skeat (Rev. W. W.) on the Essay on Alliterative Metre, II. 394.
Skelton's (John) Elegy on Henry, fourth Earl of Northumberland, I. 117-126.
Soldan or Sowdan, on the words, I. 98.
Song to the Lute in Musicke, I. 187-189.
Sonnet by Queen Elizabeth, II. 218-220.
Soules (The) Errand, II. 297-300.
Spanish Ballads, I. 331.
Spanish Lady's Love, II. 247-251.
Spanish Virgin, or Effects of Jealousy, III. 255-259.
[Pg 422]Squyr of Lowe Degre, a Romance, III. 372.
Stage, on the Origin of the English, I. 431-458.
Stedfast Shepherd, III. 253-255.
Sturdy Rock, II. 169-170.
Suckling (Sir John), Why so Pale, II. 343-344.
—— Sir John Suckling's Campaigne, II. 318-321.
Surtees (Robert), Forger of Old Ballads, I. xlvii.
Susanna, Ballad of Constant, I. 209.
Sweet Neglect, III. 169.
Sweet William, Fair Margaret and, III. 124-127.
Sweet William's Ghost, III. 130-133.
Syr Triamore, a Romance, III. 371.
Taillefer the Minstrel, I. xvi. 403.
Take those Lips away, I. 230.
Take thy old Cloak about thee, I. 195-198.
"Taming of the Shrew," Story of the induction to, I. 238.
Tearne-Wadling no longer a lake, III. 14 (note).
Termagaunt, on the word, I. 96.
Thomas (Lord) and Fair Annet, III. 234-238.
Thomas (Lord) and Fair Ellinor, III. 82-85.
Thoms (W. J.), Note on the Reliques, I. lxxxviii.
Thorn (M.), Sturdy Rock, II. 169-170.
"Thoulouse, Lay of Erle of," III. 372.
Tickell (Thomas), Lucy and Colin, III. 312-315.
Tirling Pin or Risp, III. 47 (note).
Titus Andronicus's Complaint, I. 224-229.
Tom (Old) of Bedlam, II. 344-347.
Tottenham, Turnament of, II. 17-28.
Tower of Doctrine, by Stephen Hawes, I. 127-130.
Triamore (Syr), a Romance, III. 371.
Turke and Gawain, III. 367.
Turnament of Tottenham, II. 17-28.
Turnewathelan, III. 375.
Tutbury Court of Minstrels, I. 368.
Ulysses and the Syren, by S. Daniel, I. 311-314.
Unfading Beauty, III. 239.
Valentine and Ursine, III. 265-279.
Vaux (Thomas, Lord), Cupid's Assault, II. 50-53.
—— The Aged Lover renounceth Love, I. 179-182.
Verses by K. James I., II. 300-302.
Verses by K. Charles I., II. 329-332.
Victorious Men of Earth, II. 242.
[Pg 423]Waits attached to Corporate Towns, I. xvi.
Walsingham, Shrine of the Virgin at, II. 86, 101.
Wandering Jew, II. 291-296.
Wantley, Dragon of, III. 279-288.
Wanton Wife of Bath, III. 333-338.
Waly Waly, Love be Bonny, III. 145-148.
Wardlaw (Lady), Imitator of the Old Ballad, I. xliv., xlix.
—— Hardyknute, II. 105-121.
Warner (W.), Argentile and Curan, II. 252-262.
—— The Patient Countess, I. 298-304.
Waters (Child), III. 58-65.
Waters (Young), II. 228-231.
Westmorland (Earl of), I. 266.
Wharncliffe Lodge and Wood, III. 281.
Wharton (Thomas, Marquis of), Lilli Burlero, II. 358-362.
Why so Pale, by Sir John Suckling, II. 343-344.
Wife (Wanton) of Bath, III. 333-338.
William (St.) of Norwich, I. 56.
William of Cloudesley, I. 153.
William (Sweet), Fair Margaret and, III. 124-127.
William's (Sweet) Ghost, III. 130-133.
William and Margaret, by D. Mallet, III. 308-312.
Willoughbey (Brave Lord), II. 238-241.
Willow, Willow, Willow, I. 199-203.
Willow Tree, a Pastoral Dialogue, III. 137-139.
Winifreda, I. 323-325.
Winning of Cales, II. 243-246.
Witch of Wokey, by Dr. Harrington, I. 325-328.
Witches' Song, III. 196-199.
Wither (George), Shepherd's Resolution, III. 188-191.
—— The Stedfast Shepherd, III. 253-255.
Wokey-hole in Somersetshire, I. 325.
Wortley (Sir Thomas), III. 282.
Wotton (Sir H.), Character of a Happy Life, I. 317-318.
—— You Meaner Beauties, II. 312-314.
Yarrow, The Braes of, II. 362-367.
You Meaner Beauties, II. 312-314.
Young Waters, II. 228-231.
Youth and Age, I. 237-238.
Ypotis, Poem of, III. 364.
Transcriber's Notes:
Simple spelling, grammar, and typographical errors were corrected.
Punctuation normalized.
Anachronistic and non-standard spellings retained as printed.
Proper drop caps were not possible with poetry as the poem would not wrap properly around the image. The drop cap images were included in the left margin adjacent to where they should have been.
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